"The record came out in October and Roc Marciano is like a national treasure, basically [laughs]. The record KAOS that we did together is just fucking ridiculous and I couldn't wait for it to drop. I wanted to include it because when I heard what Roc had done, I felt the same kind of excitement I felt with some of those early records which is rare for me. He's created a whole different style of subcultural, subversive music right now and he's undoubtedly one of my favourite MC's. His work is mad, original and extremely lyrical like GZA. Like every line he writes, you could make a fucking movie out of each one. To work with somebody, I've got to click with them and I've got to meet them and if it's cool, we do some music together. It has to be like that for me. I've worked with everybody I ever wanted to work with growing up and now, I really like picking artists and working with artists that aren't really well known but who do something extraordinary. This project was all just about getting up, creating art and having fun and just enjoying myself. I've been producing people's music my whole life and I've turned down working with a lot of big pop stars for a lot of money because I just like doing my own thing and it has to be right. I don't like making a beat for someone and just giving it away – it has to be something I love and something I enjoy, which is what this project was all about."

"I found out about the Cardiacs and discovered A Little Man And A House And The Whole World Window and On Land And In The Sea simultaneously. They’re very hard to find now, the CDs are going for upwards of 60 or 70 quid on eBay. It’s progressive music, but done in a really mental way. It sounds like one guy’s mind being acted out by some willing and accomplished musicians. It’s really insane. There are loads of tempo changes. I think Tim Smith’s voice sounds a little like Robert Smith, but in a much more manic way. I think that’s what really speaks to me [laughs]. It’s almost like what progressive rock is made for. You expect progressive rock to be manic. The production sounds a little bit more like a real band on On Land And In The Sea, but on A Little Man And A House And The Whole World Window there’s a song on it called ‘R.E.S.’ which is just seven minutes of strange music. It’s like 60s easy listening music but it’s still definitely prog. I was criticised once actually. We did a trip into the rain forest in Costa Rica last year and I DJed it, and afterwards everyone was like, “yeah that was great… maybe too much Cardiacs though.” It’s a floor filler, but a floor emptier as well – and it’s hard to know where the threshold is! On those albums there are a lot of people called Smith, and I’m not sure whether they’re brothers or cousins or aunties or whatever, but there’s a saxophonist, bassist, guitarist, keys, and it’s all very symphonic. More symphonic than you’d expect."