"I was in the studio down in Phoenix doing the first Fight album and someone came down and told me that I had to check this out. They put it on and when I first heard 'Blind' I started asking myself what this album was going to do. It was an extraordinary time in the mid-90s, especially in America because heavy music was becoming really fast-paced. That's why I've also included Alice In Chains. Korn were from Bakersfield but a lot of stuff was filtering down from Seattle, whether it was Pearl Jam or Nirvana. When they came along they completely changed the direction that heavy music was heading. I thought it was great because we suddenly had something that was totally new. They're still pushing the boundaries and getting criticised for it, but really, fuck the critics. I'm still a fan. I was watching Korn the other day and they were absolutely amazing. The material from this record is still brilliant live, 20 years on."

"I love Brian Eno, but I picked this album specifically because it's one of those albums that if you're up at six in the morning, stressed out wondering why you were up all night, I can just put this on and everything feels OK. It's almost superficial because it's so sweet and ambient, but I respect it a lot because it always piques my interest. I know he wrote some of the songs with Robert Wyatt from Soft Machine, and Robert Wyatt has this delicate, fragile sort of energy, I feel like that's there. An old friend of mine, Yuka Honda from Cibo Matto, the first band I was in, first played this to me on vinyl in the mid-90s. I was smoking a lot of pot in those days. I've read that Eno made it with the intention of actually playing it in airports. For fun I have put it on [in an airport] and there is something quite airporty about it… something machine-like about the melody. It reminds me of the architecture of an airport, it's not bustling or busy, it's like an airport when no one's there. I think it's the number one album I'd recommend for taking a bath to."

"Obviously, I'd been listening to hip hop since the mid-80s and kept half an eye on all that stuff as it grew. I was involved in rave culture really early, Spiral Tribe raves and stuff like that and clubbing in Leeds in the early 90s. There was always this really hard UK Garage sound that was great. I loved it. Wiley's come from being a kind of garage MC, one of those guys we listened to on pirate radio in Leeds. He's still got that really underground sound, the way he spits and he never loses that energy either. I was listening to his first album the other day and it still sounds like the future to me. It sounds so contemporary. When you actually analyse grime rhythms, a lot of it is from Nubian rhythms and a lot of the scales are Nubian scales, Algerian scales. When you hear grime, it just sounds like someone's car in the street in London. But then you analyse it and you realise there's all these global influences - it sounds like the whole world. This is what I wanted Melt Yourself Down to be. I wanted to try and create a sound that felt like the whole world."