"I was doing a lecture tour mostly in California and I was being driven from place to place by my friend David Snow. I bought this CD [Glider], I don't know why I brought it with me, I hadn't heard it, I'd just picked it up on the way over from England. I put this first song on ('Soon') and I never played anything else. I don't know if I ever have ever played the other songs on it. I just put that thing on and it's just such a sonic experience, and in a car it's amazing. We had a hired car with an amazing sound system, and just being inside that music actually has a lot to do with what I'm doing now with this three-dimensional thing. You get that feeling in a car where you're really inside the music, you don't really get it in a room very often. It's such a statement. I remember that experience in the car so strongly as we hadn't actually used the hi-fi before in the car and it was turned up really loud. Oh my god. It's so chaotic, and recording doesn't capture chaos very well, it usually tames it, it contains it in a way. Again, it's about voices. One of the things that I really love in that is the fact that there's singing in there but you have no idea what it's doing. You can hear that somewhere in that thicket of noise there's somebody doing something but you have no idea what it is. I thought that was great, that singing could be like that. It doesn't have to be this person at the front with all the articulation and every word clear. It can just be a person in that mess and that was a real liberation for me."

"It's an unstoppable record. I nicked my copy so I never had a sleeve for it, so I never got any of the song titles or anything like that. But again it's a very complete record. It's one of the few albums that I can just leave on and it can play all the way through and you don't go oh, not this track again, I hate this song. Everything on it sounds like it was recorded in somebody's bedroom. I've never even looked up how they actually did do it, but I just love that the machines and the loops they used were pretty much standard for the dance crowd, and things like where I would have said oh, not that beat again, everybody's heard that loop, you know, actually they turned round and said ah, but if we do it like this it sounds really good. And the production on it is amazing. Some of the things that are going on with the timings on the compressors and the noise gates, on that level there's plenty to listen to, as well as the songs being great. The dynamics and the editing in and out and the mixes are really quite something else. I wonder sometimes if it's only because I've made records myself that I get how much work must've gone into that to make it happen. But at the same time it still sounds like it was done in a bedroom. But again, they're very minimalist in what they use. They pick their shots. When they do something they make sure it's in the right way and in the right place. There's nothing in there that clouds the water or gets in the way of the vocals or loses the bass. It's always relevant."