The shift from playing with a full band to performing solo was one of the first sparks for his new record,  (Deep Digging), released this year. “I used to bring a sort of Walkman and would use samples from tapes, but it’s a real drag carrying so much around, so I’ve simplified it a bit. I keep changing things, but the essentials are a drum machine, a sampler and a mixing desk, effects and so on. It’s all played live. I mean, the live set now feels more like a dub set since there’s also a lot of delay.”

Dub is another of the main influences that experiencing the European underground scene brought to Romero’s career. “I started listening to dub because some friends told me that I’d love it given the things I liked, and honestly I’d listened to it very little. Then I kept finding labels I liked that were always tagged as dub on Bandcamp and thought, what is this? So I started with the first things you listen to in dub, like Lee "Scratch" Perry or Scientist.”

“I also realised that many of the records I loved were heavily influenced by dub. One of my favourite albums is Lifetones’ For a Reason (1983), and then there’s the whole Factory Records discography, or John Peel, or The Clash. They’re all steeped in dub. I like reggae, and I like overrock too, but above all what I love is the feel of it: the analogue recording, the tape delay, it suddenly connected with things I was already doing, things that had already been discovered and done.”