"This is from Live-Evil, which is a really intense and brutal album, but ‘Little Church’ is a little three-minute moment that’s a really beautiful, otherworldly, disorientating and extremely contained song within a crazy, fiery record. “It’s amazing what this pulls off in three minutes. The lead is somebody whistling in combination with a trumpet, there’s this moving, really melodic bassline and a crazy organ sound swirling around the entire track to this beautiful, almost Brazilian chord progression, but there’s no rhythm whatsoever. It’s so unique and I’d never heard that kind of tonality or sensibility. “It probably relates more to the kind of songwriting that we do rather than jazz, it’s not really jazz, it’s closer to Brazilian music or like writing a ballad, but without words. It’s another one of those songs I’ve always come back to, I still refer and think back to it when we’re making records as an example of a certain kind of energy, vibe and intensity. “It sounds like it’s on another planet, I couldn’t have imagined hearing anything like this before I heard it and as soon as I did it transported me in a way that I’d never experienced, it was like entering a dream world. That’s something I always think of as a goal in making music, entering a landscape, a dream-like state or trance, like accessing something outside of your own reality. I love when music can do that, it feels like you’re entering another reality basically. “I first heard this when I was fourteen and when you’re that age the serotonin in your brain functions so differently, everything means so much more. Your brain chemistry changes over time, it’s still fun, but you’ve got to work a little harder to make it as fun as when you were younger, but because I still have that memory, I can kind of conjure the same serotonin rush it gave me as a kid. “You learn to appreciate other sides of music as you get older, you can access the same kind of stimulation without it being this overwhelming serotonin blast."

"The last one I think might be the most unusual one and this is footage shot by Zora Neale Hurston, who we know as a writer, a novelist, the author of Their Eyes were Watching God (the basis for the eponymous film), which is her best-known work. [She] was also a playwright, short story writer, and screenwriter for a while in her career. Really a Renaissance woman. When she was a student, she was studying anthropology with France Boulez at Columbia, and she was doing her fieldwork as an anthropologist on the kinds of communities that she grew up in, in Florida. In the late 1920s, she had a car and a 16-millimeter camera and she drove down to Alabama and Florida and she shot footage, ethnographic footage, as a part of her research. We featured some of this material on the Pioneers of African-American Cinema box set that I co-curated that was released by Kino. The footage is not narrative and it’s not exactly documentary either, in the sense that she never put together a work that then she was sharing with other people — it was for her research purposes. But she shows men who are logging, for example. My favorite passage of the footage was when she shows children playing games. The can game, and games when they’re in a circle or square and trading off movement and those kinds of things. We can see she’s capturing information that she’s going to use to talk about these cultural practices in her academic writing. It’s also really clear in the attention she pays the children and the attention that she pays to the movements of women, the way that she captures, even in the silent films, the rhythm and the musicality of church service. We can see visually the style that she’s developing that then she folds into her writing practice. We can say, because we know about this work that Zora Neale Hurston seems to be one of the first African-American women filmmakers, and so it gives us a deeper sense of her creative practice and her intellectual practice as well."

"I sometimes worry that I don't like current music. I remember when I was thinking about today's interview that I was so glad this is a current album. Well, actually it's four or five years old. When I first heard this album it blew my mind – it has hit after hit. There is a conviction he has when he does things that could possibly be deemed as being cheesy or not cool and this conviction overshadows all of that and it is wholly satisfying. I knew of him before, but it was a wonderful surprise to hear this music. You hear a song like 'Round And Round' and it is epic – it's like a mini-musical with all the different parts – and everything is so intricate, be it the percussion or the different vocal parts. I think it is a masterpiece. It was really wonderful discovering him and finding that he had a trail of all these really bizarre records that he had been doing for years. You could buy all these weird albums - he was beatboxing on some of them - and I loved generally finding out all of his history. He would tour and not turn up at gigs, or just lie on the ground and shout ""I'm too ill to do this!"" and leave, or he would just turn up with a bag of mixtapes and put them in a tape machine and sing karaoke. I think there are a lot of faux eccentrics knocking around, so it is nice to find someone who is genuinely eccentric. It's satisfying to know it comes from a real place. I was lucky enough to see him play in a church in Koreatown [in Los Angeles] about eight months ago. There is always a worry when you really love a record that a gig might not be as good. He came on stage wearing leopard-print trousers and a floral shirt and carrying a basket of flowers and told us he was Little Miss Riding Hood – it was just wholly entertaining. He is a real treasure."