"A lot of journalists will lazily say that something's lo-fi because it wasn't recorded on computer," growls Graham. "I say, 'Does Jimi Hendrix's 'Little Wing' or 'Castles Made Of Sand' sound lo-fi?' It's just guitar, bass, drums and a voice - it's not lo-fi! 'Song 2' was recorded with the guitars going through those toy Marshall amps and no-one's said that's lo-fi!"

"It's great. The bog is right next to where the amps are, there's a little sink and a kettle, you go upstairs and there's wires everywhere and a sofa - if you can get to it. You see more of what's going on at a smaller studio because you're tripping over it. Big studios mean big money and big producers, and big producers mean the band can f*** off for three hours while the producer does his big producer work. I can't stand sitting around doing nothing in studios, and that's why I record more quickly. The grittier the studio the better."

"I had a funny old Fender Mustang that I'd just bought from Andy's (famous London guitar shop) for 300 quid. I used that most. I had this tiny little Fender Deluxe amp and Mike had an old '30s Gibson too. I also used an Ampeg for guitars from the '60s or '70s which was a funny-looking silver thing. All of it looked like it had come out of a B-movie.


"I don't like fussiness at all. I can't deal with an amp that has a graphic equaliser. I like bass, treble and that's it, really. I usually have middle on nought with the bass and treble full up - that's my favoured sound."

"He just knows the room so awesomely well and how to use his microphones, too. There's a lack of people like that these days. People are too reliant on making it sound better on a computer. That isn't good enough."

"Louis [Vause], the piano player, would wear a suit while he was recording so that its smell would get onto tape as well. I'd wear cowboy boots, a check shirt and stuff. Leather and denim is the greatest music-making clothing. There's just no arguing with that. And if it's greasier, it's even better."