Thom: "A lot of that was experiencing being on the outskirts of the whirling vacuum, which is current politics, really. When you get to the center, or you start to sort of see the center, you know, like a tornado, there's just basically nothing there. And 'Myxomatosis' was really sort of born out of that. Born out of this idea like... well, again I guess, like 'Punch-up' as well, it's like 'well, I was there, and no, it wasn't like that'. But yet... I must be ill, because what I saw and what was reported was a totally different thing. Very specifically provoked by something that happened a few years ago, the 'Drop The Debt' thing, that just stuck with me when we went to Cologne. I mean, I've talked about this before, how all these nice old ladies and quakers and stuff were all there protesting the G7 or 8... I can never remember who they dumped off last. We handed in this petition with millions of signatures, or whatever, to Schröder at this thing in Cologne. And there was a small riot... there's a protest, that turned into a riot, back in London. Reclaim The Streets were involved in all that, I'm quite sure they weren't involved with the rioting. But somehow the British press, obviously the Murdoch papers in particular, because they love this sort of shit, were just writing it up as if all these old ladies and all these nice quakers were somehow anti-capitalist lunatics - and it was all part of the same coordinated protest - which was just nonsense, you know. And the whole thing was just written up so badly and everyone was ignoring the fact, that there was actually millions of people's fixed signatures on this thing. It was... I don't know. It just stuck with me how utterly powerless people are to really represent what goes on, if other people elsewhere see fit... if they see a nicer and more convenient story to be written another way, they can write off the wishes of millions of people in a split second at editorial decision, which I feel is immoral."
Jonny: "That's all playing around a lot with the idea of how keyboards used to be, they used to sound frightening, and Tubeway Army style, I suppose, or slightly out of tune. You forget that presumably in the 80s when keyboards were being recorded people would be playing them. And even if a band just had keyboards in it, they'd have to one at a time play keyboards onto tape, which is a really alien concept, because of computers and sequencing and how music is made today. So, that was done like that, pretty much."
Ed: "Well, it was a tricky one, because it was... the version, that Thom did on it, it was - he demoed it - it was really sort of... it was very digital, it was very... it was really great, but it was a bit of a different beast, in a way. And we wanted to incorporate the live thing. And the Tubeway Army thing was the perfect thing to do. But again, we had to find an approach to it, and we didn't quite get it in L.A., but we eventually got to loop Phil's drums, and then we did a sort of a live rough in the control room. And then other stuff was added. It's that totally playing something in the spirit of how you think they might have made records in '79, '80, or whatever."
Jonny: "And it was one of those occasions where you're recording, and the element you think is the key to the song, the rhythm, actually isn't, and it's in the detail. It's just in the single keyboard lines. And as soon as they became overpowering and took over the song, the song started working. And the rhythm was just a way to lead you through the song, but it wasn't the feature anymore. And suddenly it had this atmosphere attached to it, which is why it works, why it's on the record, really."