I'm always interested in very, very futuristic music and bridging the gap between the physicality of organic guitar music and trying to translate that into something electronic is really fascinating.

Justin Broadrick has stated that the drum machine sound was heavily influenced by hip hop artists in the late 80s, particularly the beat on “Christbait Rising” which Broadrick was quoted as saying, “It was my attempt at copying the rhythm sample on 'Microphone Fiend' by Eric B & Rakim”.

I always fear dogma. I don't like anything that's dogmatic because it becomes purely religious again and I despise any form of organized religion.

What I like about electronic music is you don't really need to be that learned or educated in any particular context. You can just make sound, noise even, whatever it may be.

As a label I don't care about piracy. I want the music that we [my band] love to be heard by as many people as possible. The more people like the music we put out, the better the label and artists will do. If anyone genuinely likes what we do they will find us, buy our vinyl or come to see the artists play live.

I'm always interested in very, very futuristic music and bridging the gap between the physicality of organic guitar music and trying to translate that into something electronic is really fascinating.

Rhythms, beats, etc., are fundamentally central to my creative drive: my first instrument was the drums, nearly every band I have been involved in or at the helm of, is driven by rhythm, my band is driven entirely by rhythm, machine rhythm, and the purpose of the rock instrumentation is literally to speak the beats, to emulate the rhythms with guitars and bass, with very little articulation, and without being 'progressive'.