"He's the best frontman of all time. Iggy Pop and Nick Cave are up there for me in different ways, but Nick Cave didn't invent the stage dive. I could have picked any Stooges, but Raw Power has everything. I picked this mainly because of my love for Iggy Pop. When Post Pop Depression came out last year I fell in love with it, a collaboration between two of my favourite artists [Pop and Josh Homme], and to see this man play the Royal Albert Hall and stage diving is pretty fucking next level. It was a monumental moment. I was quite young when I first heard The Stooges. I had a couple of weird mixtapes my uncle had made. He was into stuff like The Specials but there were a few random tracks on there and the Stooges were one of them. Now, any time I have to DJ I mainly just play Iggy. He's got so many classic songs that you don't have to think about it, you can just turn to him first, a decent 40 minutes of Iggy Pop, then fill it out with whatever else you need to put in. Iggy's hits are a bit stretched out over his entire career, but Raw Power's got my favourite lyrics he's ever written. It's got the song 'Raw Power' which is just next fucking level and it's got 'Search and Destroy'. ""I'm a street walking cheetah with a heart full of napalm"". If you want to sum up how a man feels walking down a Hollywood street feeling like a badass, it doesn't get any better than that. The name of the album says everything you need to, it's where I took inspiration from when I was trying to come up with Modern Ruin."

"This is a movie about showbiz, musicals, death, Bob Fosse, his love life: it’s all over the map. I can’t tell you what it’s about, but I love it. It’s so sexy. The first ten minutes are a feat of editing and music. One of the great openings of a musical. “It’s showtime,” says Roy Scheider as Joe Gideon, a thinly veiled portrait of Fosse himself. Little echoes of Joel Grey singing “Willkommen” in Cabaret. Gideon is our master of ceremonies, warning us to get ready to see some blood, sweat, and tears. I love movie musicals about showbiz—The Band Wagon, A Star Is Born, Singin’ in the Rain—and this really fits in that genre, with the dark edge of The Bad and the Beautiful. That should have been a musical directed by Fosse! Fosse as a choreographer turned director reminds me of another director I love, Stanley Donen. Aside from dance and music, their movies have another thing in common: incredible editing. All That Jazz and Lenny both play around with time in a way the Donen film Two for the Road does. A lot has been written about Fosse and his love of Fellini films. All That Jazz does borrow from 8½, but this is not an homage. Fosse, inspired by Fellini, created something new. It’s a tragedy that Fosse didn’t live longer, because in his five films—Sweet Charity, Cabaret, Lenny, All That Jazz, and Star 80—I see what could have been one of the great filmmakers of all time. Imagine Bob Fosse directing Chicago! All That Jazz is the beginning of that journey. It’s as if all his gifts—the love of dance and the inspiration from Jerome Robbins and Jack Cole; the personal and profound collaboration with his partner, Gwen Verdon; and the man himself—were coming into focus."

"I've never seen them live, but I've seen loads of footage of them performing live. 'Hotel California' is an incredible track, or at least I think so. It's like a best of American rock, or country rock or whatever you want to call it, it's the perfect example of that genre. It's got perfect harmonies, really good songs. I love watching them with their double necked guitars and shit like that, it's just really professional, really impressive, something that I could never do. It's an admiration thing. I got into The Eagles late, about 1990 or something. I started hearing them a lot on the radio, I'd known their songs but hadn't paid any attention to them in any detail. Then when I started listening to them properly, I thought, ""Yeah man, that's pretty damn cool"". Living in America it's been interesting to discover that there's a much bigger alternative scene here than I imagined there was. I live in Brooklyn and there's a big electronic scene here, lots of people doing experimental music. The whole thing started with electroclash really, I loved that [chuckles], it was so cheeky. Since I did that record [VCMG] with Martin Gore I've been listening to a lot of techno stuff, it's not one particular artist, but I'm on Beatport every day. It's quite a revelation, I was quite out of touch with electronic music, but now I'm finding loads of new stuff. I'm working on another collaboration record, with various DJs and mixers, it's quite a long project, but I thought that rather than work with an individual it'd be interesting to get different people, get different angles on the music. Hopefully when Martin comes off tour and has a bit of time we could do another record together, because I really enjoyed doing the last one."