"My son Ben went to Elliot School, which is quite famous for producing musicians. The first one that I knew was Kieran Hebden, who makes music as Four Tet. There was a culture at one point that was encouraging people. Ben was in the same class as the xx’s Romy [Madley-Croft] and he knew Jamie [Smith] quite well, and I knew his parents. We even went to their holiday house in Norfolk. The xx were the shy ones, they were like a little gang. Jamie was the most outgoing one, and he was pretty shy. I knew quite a lot about how that record happened, that they tried first with a producer and then did it in a house studio. We were living just down the road from where that was going on."

"People who know my albums from ten years ago will have heard me trying to rip off Silver Apples. I think it was Kieran Hebden [Four Tet] who introduced me to their music. It's so remarkable - it doesn't sound like anything else that was happening at the time. This record was made before Can started recording - it was actually a toss-up between this or something from Can or NEU!, or something along these lines. If this record came out today people would still be flipping out over it. It still sounds like the sound of tomorrow to me, but it has those amazing folk melodies over the top of it. I guess most of my favourite music is both strange and familiar at the same time, and has some kind of melodic content you can hum along to and gets stuck in your head. The production and the musical ideas around it are totally otherworldly on this record. We booked Simeon for the ATP shows we curated a few years back, but I've never really read any interviews with him to try and find out how this happened - how they made a record that sounded like this in 1968. It didn't sound like anything else."

"I first heard the record in Joe's [Goddard, Hot Chip] house, and I think we would have been about 16 or something. He'd been told about Palace by Kieran [Hebden, Four Tet], and we would all go to the Beggar's Banquet record shop in Putney after school, and buy and listen to things in there. We'd buy hip-hop, different indie records and pop albums. It was particularly good for hip-hop, and these lo-fi indie rock records. That's where we bought the album, and we were in Joe's room where we would work on Hot Chip recordings, and it sounded so different to anything I'd ever heard before, because it's so slow-paced. Will Oldham's voice is so unusual when you hear it, and particularly at that time before he'd developed into being slightly more well-known, his voice was particularly eccentric - it cracks in some interesting ways; it's not a formally trained voice - over that sparse piano and drum machine backing. The song that I first heard was 'You Have Cum In Your Hair And Your Dick Is Hanging Out' - a memorable title! The song doesn't have those words in it. It's just a beautiful heartbreaking ballad, and it's hard to know sometimes what that dense lyrical terrain is all about with Will Oldham. Some of the symbolism is quite hard to read, but it makes an emotional impact straight away. It took me a long time to get to know that record. I bought my own copy in Lancaster when I went to visit a friend at university, and I just kept going back to it. Each time there would be another song that I would get to know and love. I had a long car journey with all of Hot Chip, and some friends of ours from a festival recently, and we listened to the record, and it was another breakthrough where it became more meaningful to me."