"Another great live record. Once I started playing the guitar, Judas Priest was one of those bands that went immediately into my playlist, although back then there were obviously no playlists, as we know them now. It was just a case of what vinyl you had. The band that I was in prior to Metallica, a band called Panic, had a guy called Dave Harmon playing in it. He was a huge Judas Priest fan and while we were trying to get that first Panic formation together, he and I would jam 'Victim Of Changes' over and over again. To me it was the heaviest thing I'd heard in my life up to that point. I think we all have our own idea of what a great twin guitar attack is. I always loved K. K. Downing. I haven't seen Priest with this new cat that's in the band, but the key to the dual guitar is how the two interrelate. In Thin Lizzy, for example, the riffs were a little happy. In Iron Maiden they were somewhere in the middle. But with Priest they were a lot darker and I always gravitated towards that. Regarding the rumours that the record was heavily overdubbed, I never heard that and frankly I don't care. We have had to fix some live performances and whenever you say that people automatically assume that you did it because your performance wasn't good or that you want to fake a really great performance. But sometimes stuff just happens. For example, we did a live broadcast of a show in Mesa, Arizona during the Cryptic Writings era. They went ahead and released a live show and I had not heard it. They said: ""Just trust us."" I had never let anything go out unapproved up until that point and the one time I did it, I noticed that one of the kick drums was turned off. And also David Ellefson's background vocals were completely missing. I thought: ""I will never let this happen again."" Sometimes you get into the studio and hear that things are wrong, like a microphone is inverted and it sounds like it was recorded in a fishbowl. But are you going to shitcan all the audio and video just for that? No, you fix it. But if you're going in there and replacing stuff because you play like shit live, then that's different."

"I was in hospital this year and I made a point of listening to Exai and Oversteps, and Oversteps is amazing. I completely missed it at the time because I thought they'd disappeared way up their own arses. Academic music for academics. There is an element of that, I think. But those EPs remind me of walking around London completely off my head. It's the best music for that. For me, they represent coming back to electronic music after doing my homework. I immersed myself so much in the idea of the heritage of where my music came from that I missed out on rave culture and a whole scene that I belonged to, having come out of that whole electro/breakdance thing. I felt like I'd taken a wrong turn. But coming to Autechre… What I heard in them was Sonic Youth in electronic form. You've got that whole thing of mutated music turning itself inside out. Destroying itself as well. It induced a bit of a head rush and a panic that was actually quite enjoyable. Walking around London with a huge pair of headphones on completely off my tits listening to Autechre is the city experience for me. I like the overload of it. But they are also capable of beauty – I think that's what makes them so real. I have struggled with a few of their records. Chiastic Slide was one I bought when I first moved to Kilburn and I really didn't think much of it at the time. But what's amazing about Autechre – even at that point when they hadn't become IDM gods – was you knew that you had to persist with them; that it wouldn't reveal itself on first listen. You had to dig a bit, the same with Sonic Youth. I persevered with Sister and it became a favourite after a while. Chiastic Slide is now my favourite Autechre album. You can't rely on them to just do what's expected. Picking the EPs is a bit of a cheat, but some of my favourite tunes are on them – 'Cichlisuite' and 'Envane'."