David Holmes: "I've done about 20 tracks and I'm just picking the cream of them now It's a pretty mad album - quite dark. I wanted to make it a whole performance thing, with gospel, rock, funk, psychedelia and an underlying score with all this dialogue from a script this girl is writing. It's meant to be a soundtrack to this film that hasn't been made.

"I'm working with a band now and I'm proud to take this album live. It's got a real edge. It's a lot more crafted than the last album, trying to keep that electronic injection in there. But we didn't go into the stadio with any ground rules - the best things that happen are mistakes. I work with a collective of people I vibe off and respect, like my mate Glen Leyburn, who's doing the artwork.

"The track with Jon Spencer is like Dr John on a heavy voodoo trip with yearning gospel backing vocals. It's like a death march in New Orleans, y'know, with chickens being slaughtered. Bobby Gillespie's on two tracks with Innes and Kevin Shields - Sick City' is like the Stooges with psychedelic dub, and 'Penetration' is pure Can with the most amacing bassline.

"Carl Hancock Rux is this black poet from Brookiyn who has the most outrageous voice, like Sly Stone and Jimi Hendric His track's called In The Living Room; it's fucking ferocious. It's got the filthiest, dirtiest punk rock bassline that sounds like it's been recorded on a shitty amp. The music over the top sounds like Miles Davis.

"It's been a mental year. New York was brilliant, working with pure analogue equipment. That's where we did Blood Money' for the Primal Scream album. I love their attitude. They make dangerous music. I also did a three-minute ad for Absolut with the director who did that Nike ad with Cantona and the Devil.

"I've been listening to avant-garde French sound- tracks, old skool hip hop, Alice Coltrane, Dr John, Minnie Ripperton, Miles Davis, Can, early Krafrwerk, the Stooges, the Velvets... basically what I've been Dung with. I thirik that's the sound of the album."

Originally Appeared in Feb 2000 issue of Select Copyright © Select.