"I was quite a late-comer to Moodyman's music. I didn't really hear it when it was new to other people. Joe recommended Mahogany Brown to me. When I was in Germany on tour I brought a white label that had the track 'Pray 4 Love' on it that's on the Picture This album. I just fell in love with the sound - the Fender Rhodes and that kind of swung, half-time rhythm that is quite slow to this sort of disco groove, and it keeps going back and forth between those two rhythms, and being quite natural in the way that it does it. It suggests that it's going to explode into something, and then it just drops down into half-speed. It's a very teasing record in the same way that 'Shades Of Jae' by him was. He really understands the dancefloor, and a record that replicates sexual build-up. It's a very sensual and playful record. That in itself is a bit like Prince, but it's all sample-based stuff, and then the vocals as far as I can tell. Sometimes I'm playing in clubs where the expectation is that you'll just play very digital and harsh, abrasive music. I don't really like being known as an electronic artist because I don't think of myself like that. I like everything, predominantly soul music and music that is soulful, rather than just from the soul genre. Moodymann's inspiring because of his approach to production, and he's very inventive."

"This is Aaron Bruno’s solo proect. I put this on the list because I’ve been listening to it recently. I tend to find an album that is eclectic enough to keep me interested and I listen to it over and over again, obsessing over it… and then I stop. And I just stopped with this! Ha ha! Well, I’ll probably give it a bit of space and then come back to it. I try and listen to new music as much as I can, but that’s probably the first genuinely eclectic new album that I’ve enjoyed in years. The story goes that somebody in Texas played one of the album tracks and it’s caught on and everybody’s playing it now on their radio stations. And it’s become a sort of mega hit. To me there is some stuff on it that sounds like the Pixies and some stuff that sounds like The Beatles, but it’s all slightly electronic and his voice is great. There’s loads of obviously ad-libbed stuff that they’ve kept in and it’s very cool. Rough round the edges in the right way. It’s not guitar heavy, but there is some really great live drumming happening in it. I think he’s a surfing man who’s influenced by hardcore and stuff like that, but some of it’s very poppy. I think it’s just a guy who is not afraid to explore songs and take them where they feel like they should go, rather than worry about what it’s supposed to sound like. It’s the best new album I’ve heard in years."

"Definitely my favourite song on that record [Yeezus]. I think it's a great record, if you can get past the ""bitches"" and what's that about Chinese pussy? Kanye, fucking grow up man, you're not 15. I was talking to Michael Azerrad, 'cause he's got me to do a couple of podcasts for him. And his clever little thing is to get musicians to review other albums. In conversation, I mentioned this track, and he said he got Lou Reed to write about the record. He said Lou Reed was in tears listening to this track. It's a very emotional track and it's very clever. He switches between making jokes and sounding very desperate indeed. One minute he's being very flippant, and I guess it's like being drunk and not drunk. The drink and the comedown, the hangover, whatever. Really beautiful, but also powerful, and quite punk in a way. And the arrangement is so clever and unexpected and unusual. He'll give you one thing and then give you something quite different, but it all works from section to section. I heard this while I was making What Happens Next and I was really impressed with the synth bass sounds, so I ended up having Thomas [McNeice] in, and we worked out where there would be a mixture of his bass playing and some electronic bass. You know, Lou Reed's point is that Kanye is demonstrating what he can get away with, which is good. I think there's quite a few ""I can do what I like moments"", including talking about ""sweet and sour pussy"" [sic]."

"Well, what can I say? This is a hugely exciting record. Aphex Twin has got a huge reputation, obviously. When I was 16 it was one of the things which I had on MiniDisc, which we all had back in those days! I would just listen to it continuously. It was just around the time I was starting to make electronic music on my own, and I remember thinking, how can you make this? The technology I had and the software I had was absolutely shit, and I remember fiddling with it and thinking that I couldn't figure out how to make these drum beats so complex, and so delicately put together. Every five seconds or couple of bars something new happens. There's none of this copy and paste which all dance music at the time was doing, thinking in particular of that kind of Ibiza dirge that was shit and was on the radio 24/7. You just get 15 bars of the same thing, then one change, whereas Aphex Twin was the exact opposite of that. He would just keep your interest piqued the whole time, and that's one thing which I have always strived to do with the band, just to stop things being boring. Perhaps we push it too far, but I think all the 'inciness' and the whole thing about not letting it rest and be copied and pasted, I think is in my music as well. The other thing about that record is that it's not really a dance record at all, it's just music. I mean you can dance to it if you want, but there's lots of classical stuff on there really. There are lots of quiet moments, and lots of awkward stuff that is not really dance music."