Influences: Tom Furse (The Horrors)

I had a bit of a Talking Heads conversion a few years ago. I went from not knowing much to thinking they were one of the most progressive pop groups around. Of particular influence to me was Bernie Worrell’s insane keyboard chops on this live version. Bernie played with Funkadelic and it’s probably not talked about enough of what an inspired match this is. Bernie’s just really cutting loose at points, making the most of the modulation at his finger tips and being so expressive. Although I lack the chops I think I attempted in some way to channel that into this EP, and got quite into doing takes of just playing atonal two note chords bursts in place of trying to do traditional melodic parts.

I think every Kraftwerk record has been an influence on me in some way but when I saw them play at the Tokyo Summersonic in 2014 it was like I was finally starting to understand all the manipulation that was going on. So much of the train of thought that led to ‘Run To Me’ was initiated by watching that show. Almost every element of their music is in a state of flux, little things changing all the time to keep it interesting. We met them afterwards (a rare privilege) and I started to probe about what was going on behind their podiums. Fritz Hilpert just kind of rolled his eyes and said ‘That’s what everyone wants to know.” They really are at the top of their game still, there’s not really any one electronic artist or group as skilled or as accomplished.

I always thought of Model 500 and Cybotron as the punk version of Kraftwerk. Rougher and weirder, but not as sophisticated as their German counterparts. Juan Atkins has been an influence for many years now, as are the rest of the early Detroit fraternity. This 1988 remix of Cosmic Cars is my choice to play out as it’s weird and heavy on the dance floor.

I actually think this is my favourite LCD record, really adventurous and sums up why they were a great band and why JM is a great producer. It’s a strange thing when a band makes it’s best record when they’re probably not really thinking about making a record in the same way they would if they were doing their new album. I think the pressures and expectations are different, and maybe for once they can just make what they actually want to make, not what they think they want to make. Air’s Virgin Suicides OST is another example. Or maybe I’m just being really presumptuous. Also shout out for the Padded Cell remix from this album, pretty staple track when I DJ.

Without Barry 7’s involvement it’s quite possible we might not be having this conversation (if you can call it that) right now. Barry was hugely encouraging in getting me to into synths, giving me a full run down on what was hot and what was not. Add To (X) were and are a major influence, and remain to this day somewhat of a unique group. An all synth, instrumental rock band – drawing influence from as far and wide as they could cast their ears. They’ll probably prove to be decades ahead of their time or at the very least a unique and shining musical oddity.. or both.

Once again, we come back to fun in dance music, which is something I think Todd does very very well. It was so refreshing to hear his album. People forget that it takes a lot of courage to be silly and also want to be taken seriously. He’s also a brilliant melodist and he makes it sound effortless. Bastard.

Marshall Jefferson’s absolute club slayer. I love playing this record with groups of sexually uptight men dancing together. They love it until they realise what’s going on. The sound of early Chicago house is some of the best electronic music out there, and any educated ear could hear the influence in the basslines and rhythms of ‘Run To Me’. Those repetitive patterns always get me… JACK YOUR BODY PEOPLE, IT’S GOOD FOR YOU.

This is a pretty definitive track and was probably one of my first exposures to club music when I was younger. It was particularly influential on this EP as it was one of the first tracks that I noticed had a ‘bounce’ that was somewhat irresistible to get down to, I think it very much informed the rhythms I used. I love the way there’s just loads of little things going on that form this consistent whole, that’s something I’m fascinated by. ‘White Horse’ is also a really fun track, something which I think is somewhat lacking from modern dance music.