Picking up on the bloody-mindedness, the wilful obstreperous nature of the music, design and people who make it, I ask Anderson about whether or not it’s over the fact that fans tend to pick over everything that they do. “There's definitely the agent provocateur in Richard and in me. You want to know how much I pay my staff at TDR? It’s half a million quid a year and you can say ‘that’s nonsense’, but there's a reason I've told you that, other than being honest with you. And if you keep asking, you are just going to get another number. In Richard's case, I don't think it’s about exposing himself though what he's doing, I think he knows in the same way that I do, that, okay, 'how can you tell someone everything about this album?’ Well, the sandwiches cost two quid from Pret a Manger. That’s how you make an album”.
Naturally, we return to disinformation. “I like the idea of creating mystique because I think it’s more interesting,” says Anderson. “It’s that idea that questions are more interesting than answers. To me, it’s not a question of trying to keep it underground, that doesn't come into it”. The last thing you could say about Anderson is that he's hiding underground. “One of the the things that attracts us to working with him is that he does have such strong ideas and he delivers them in a non-compromising way,” says Burton. “And, in a way, his voice is heard as much as the artists in some of the stuff we release. That’s both good and bad, that’s the reason we don't work with him on some things — he just wouldn't get on with the artists in some cases”.