"I picked Steve Reich because I think it changed the parameters of how I thought about music. At the time I was 17, playing in The Edmund Fitzgerald and I hadn't really ever been aware of modern classical or minimalism and it inspired me and also reinforced stuff that I intuitively liked in music, such as points of sounds and structural emphasis. The band Youthmovies introduced me to Reich - they had a quite formative effect on me in a sense that, up until then, I still listened to music in a tribal way, as in I had to identify with whatever subculture was going on, so I listened to Skinny Puppy and really plunged my identity into that, for example. I was in that teenage phase of tying up your fashion and your self identity with music. They also played me Gwen Stefani, Missy Elliott and Stars Of The Lid and they showed me that you didn't have to only identify with one tribe - they broke that way of thinking down. So that record was really important. And on a more simplistic level, it's just stunning. It's the kind of record you can listen to in any environment, unbound by context - it induces a trance-like state. It's a particularly good record to listen to when you're on the Underground, it's soothing - the perfect soundtrack to seeing thousands of people walking past you. He's one of my top five favourite musicians of all time."

"This was something of an anomaly in Faith No More’s catalogue, from a film made in the early ‘90s called Judgement Night. The soundtrack was a sort of experiment where they would get bands - white people, essentially - and they would couple them with hip-hop groups and see what happened. This was one of my first introductions to hip-hop to be honest and it wasn’t even ‘proper’ hip-hop, it was bands playing with rapping over the top. “I just thought it was absolutely amazing and I couldn’t get enough of it, this worn-out tape. ‘Another Body Murdered’ was one of the best tracks on it and it ended up introducing me to loads of bands and loads of rappers and this wasn’t like nu-metal, it was mostly edgy rappers. But then there was also a track ‘Fallin’ with Teenage Fanclub featuring De La Soul, things like that. It gave me a really broad introduction via a medium I already understood, which was bands. “But because it was a faceless tape, I didn’t really know who everyone was or who was doing what on each track. I didn’t realise then what cultural lines might have been crossed, because it was all just blurred into one: here’s the guitar, here’s somebody rapping. It didn’t matter to me at all and I think that was a healthy way to discover that sort of music."

"On Xbox you could burn CD’s and some in games you could play the music in it, so Boy in Da Corner, Songs in A Minor and Speakerboxx/The Love Below were on my hard drive on my Xbox and would get played in any game that could do it in. So as much as this record is culturally significant, I just always had it on and I can just remember vividly it being a part of my teenage years. I think this track in particular because it’s got Wiley as well has that perfect energy, even if I wasn't from here I could tell that Dizzee is from East. It just feels like London, it just feels grey, someone’s pissed off, I don’t even know why or who’s pushed him too far but that could be anything, you know TfL, someone’s stepped on your trainers, someone’s chose not to sit next to you on the bus, you know, it could be anything. It's so angsty. I love music that can make you feel like that. Not that I’m trying to get people to go and moshpit or anything but music’s powerful. I like being able to tap into those things - you were fine before you came to my show and now you're hyped to do whatever, even to this day if I hear ‘2 Far’ I’m in the mode like ‘What! What! Who wants it!’"