"I was involved with Homelife, but I was more of a session musician in a way as I wasn't involved in the writing of the music; I don't see it as my band. The core of the band was Paddy Steer and Tony Burnside, who'd both been in Yargo, and a musician called Simon King who was from London and had been in many bands. Computers had just reached that phase where you could do proper recordings on them. It wasn't Pro-Tools but you could do decent hard drive recordings. It was an interesting mix of people of varying age groups and genders, which made it very rich. There was a singer called Seaming To who'd appeared on records by Mr Scruff and she had this incredible octave range, and I played bass clarinet. It was like a digital orchestra and it felt a bit like Sly And The Family Stone and it crossed the jazz line as well. The whole album has the feel of some Mediterranean place that doesn't exist, and place to wallow in; it's very languid. It's Impressionist music that came from a terraced house in Manchester!"

"They're a psychedelic rock band from the early '70s. I didn't know about psychedelic rock when we began, but we were often compared to psych music. To be honest, I was completely ignorant of it. People would use quotes like: ""Mercury Rev is the new Hawkwind."" I had no idea who Hawkwind were! But now, many years later, my girlfriend is introducing me to psych rock from the mid-'60s. Not just stuff like 'In-A-Gadda-Da-Vida' by Iron Butterfly, but also from the esoteric, better defined albums that are wholly obscure. Not only that, but it also has the idea of a concept record and melodrama, flutes and guitars going on. It was strange when I heard Lemmings when we were recording The Light In You and I thought, wow, nothing new under the sun! The moment you think you're onto something original, all you have to do is listen to something from thirty years ago to see someone was onto this all the while back! So it was really stunning to hear this Bachdenkel record from 40 years prior that was attempting or aspiring to something we were in the midst of."

"Bill Murray, Scarlett Johansson. I was secretly thrilled that Sofia Coppola, who was panned for Godfather III, made such a triumphant movie so – it was so cool. I think it’s the single coolest movie I’ve ever seen. I haven’t revisited it in a long time, it just meant a lot to me at the time. Partially, I think it’s like I identified very strongly with the idea of being a stranger. I could talk to my therapist for a long time about this, but for me, it was like an Asian-American movie, because the idea of being a stranger in Asia was, to me, more of an Asian-American experience than it was a white American experience. That portrayal felt very inside baseball to me, and I identified very strongly with it. Perhaps it really is psychologically a commentary on me feeling Asian in white America, but I identified with that situation in a very personal way. It always meant more to me than I think the film should have, but I really have a lot of affection for it. I should revisit it, and I wonder if it’ll remain on my list, but I suspect it would."

"There are a lot of parallels between this record and the roots of Underworld’s inspiration. Film music. Taking sounds and songs and melodies from other tunes and fusing them together with other music in a completely different key. And it just has this dusty, beautifully dirty quality – like film noir through a dirty window. I absolutely love it. We took it to Chile with us, Rick and I, and played it in our hotel room and decided it was the best thing we’d heard in years. It inspired us to start writing there and then in our hotel room – music that went on to be part of the download-only records we did. It encouraged us to be a little less produced. It’s an amazing soundtrack for what’s going on around you. There’s a link between these first three records – especially with James Blake – the way that the voice is treated. It was very exciting to hear the voices on the Burial record treated in such an unprecious way. Taking vocals as oscillators, as we’d always seen them, like another synthesiser that’s capable of generating incredible noises. That in itself was inspiring."

"I got into this a few years back when I was really getting going with the solo thing. I thought, “This is unusual.” It reminds me a bit of ESG. I really love that delivery – those female vocals that have a drive, power and confidence but are punk and not flying around everywhere. It’s edgy and cuts through in a really cool way. It’s so refreshing in these days of immediacy to hear something like this. I hear some debut EPs that sound like really expensive records and you think, “Where’s the growth coming from here?” When we first started out it was always about playing together ’cos there was no other option – I was too young to get a gig and I wasn’t allowed in venues – so you play, write, mess around and watch movies. There were no distractions, we were just a gang in a living room in front of an open fire, messing around. We did some quick bashed-out B-sides and ropey gigs but it was about the attitude. I wish I saw more uncertainty and vulnerability in young artists."