"Do you know that film Empire Records? It's got Liv Tyler and Renée Zellweger in it and it's a very 90s’ coming-of-age movie about these kids who work in a record shop. I used to be completely obsessed with it, I wanted to be Liv Tyler and I wanted to have her fluffy jumper. They used to put loads of sugar in their coffee and when I was fifteen and starting to make coffee for the first time, I used to put ten sugars in it, because that was what the kids in Empire Records did! This song comes on at the end, just as all the characters are dancing together. It’s so lifting and so fresh. There are no other songs in the world where an accordion sounds so good. “I've listened to other songs by The The but I'm much more of a song person than an album person. I'll make playlists and go back again and again to the exact same song. I feel like they've got a couple of other bangers, I can't think what they're called, but 'This is the Day' sounds exactly like what it is. It sounds exactly like what they're singing: ""This is the day when things fall into place!"" “It's also a song that me and Celia really bonded over when we first met. We both realised at the same time how much we love that film and we both have it as our 'wake up in the morning and pull your finger out' song."

"It’s hard for me to narrow it down to my favorite directors and favorite actors, too, but I love Matt Dillon. I love Beautiful Girls and I love Flamingo Kid — he’s responsible for a lot of my favorites, but I’m gonna have to pick Drugstore Cowboy. I saw it when I was a kid and I felt like it was such a different culture than any that I’d ever been exposed to, and I felt like instantly I was a part of it — even though I had no frame of reference. I mean, I wasn’t a “kid,” I was 14 or 15. I had started getting into, you know, that sort of pretentious high school literate phase where you start reading, like, Kerouac and Ginsberg and, I don’t know — I loved that world, that romanticized, thuggy, kind of petty crime world. I really romanticized it myself and just wanted to be a part of that world; there was something exciting about that for me. And I love the way it’s shot. I love the drugged out scenes; I love the way [Gus Van Sant] shoots with cut-outs, those kind of simple, free-floating cut-outs to convey the psychedelic scenes. It was one of my very first exposures to that style of filmmaking that was a lot more patient and took its time and allowed itself to breathe. And from there I got into, like Hal Hartley and the independent movies of the ’90s. But my love of that type of film all started with Drugstore Cowboy."

"This was a great time for Iggy Pop. He'd been through a lot but this particular time period, things really seemed to work for him. And I like the exploration of early synths here as well. You've got a song like 'The Endless Sea' which has the over-loud synths. I'd have turned them down a little bit but it's great because it's really in-your-face and you can really hear the excitement of the guys getting hold of a Moog. There's an innocence here coupled with an early discovery of stuff. And this album is more about the songs. I don't know if it's a case of something being overplayed but I much prefer listening to this than say, 'The Passenger' or 'Lust For Life'. Maybe it's because those songs are always on and they're just overplayed - and they are brilliant and amazing songs - but there's a tightness about New Values, especially in the drum sound. They've obviously come back from Hansa and the open room, which is a sound that people have tried to emulate over the years, to do something different. Certainly when you look at albums like this, Horses and Marquee Moon, Supergrass were really trying to channel that '75-'79 period and that edgy punkiness but with elements of sophistication. I bought a Telecaster Deluxe guitar in the late 90s and I was really chuffed to get it because it was probably played by one of those musicians from that time period."