"Magazine were also one of my favourite bands and that they came from the same city as me was a marvel. It didn't make any difference to what I thought of their music, but it was definitely a bonus. As a teenager I was very critical at the state of guitar playing and the usual cliché-ridden approach that was either blues rock or prog rock. It didn't mean anything to my generation. In John McGeoch, Magazine had a guitar player who was modern and relevant and interesting, while Howard Devoto was, and still is, one of my favourite ever lyricists. There is a thought that the first couple of records for many bands are the ones that are considered seminal. As is the case with Wire, I think that when bands break away from their first seminal albums - in Magazine's case that was Real Life and Secondhand Daylight - and they take somewhat of a left turn, it is really interesting. On The Correct Use Of Soap, Magazine did something original and almost ahead of themselves. There is a lot of space on The Correct Use Of Soap and I think it is better than the first two records. The space means that John McGeoch can really stretch out. Songs like 'Philadelphia' and 'Because You're Frightened' are based on guitar-playing that is utterly unique. It is one of those records that you can say that if it came out now, it would still not only be fresh but ahead of the race."

"Cartola is a salty, classic samba character from Rio who I don’t think a lot of people outside of Brazil really know about. I only found out about him through someone I know who married a Brazilian woman and he got super-deep into Samba and its history. “Brazilian music has always been a part of what Grizzly Bear do, especially Tropicalia records, Marcos Valle and Gilberto Gil. All of that stuff has been part of our vocabulary since our early years and in the last couple of years after Shields, I started discovering and getting into straight-up Samba. It isn’t trying to be psychedelic, blast anything open or trying to be crazy, it hits you right in the heart and does exactly what it’s supposed to do. “It’s not trying to blow your mind or anything, it’s just doing what people do in a Samba and it communicates so much. I know a little Portuguese, I don’t speak it well enough to know exactly what he’s saying but you can still feel the vibe and emotion of the song without knowing the words. There’s something so great about music that’s so straight-up in its own vernacular, that’s is exactly what this is and it’s just killing it. “‘Preciso Me Encontrar’ is my favourite track on the record and it’s such a good example of what that music does so well, it’s really honest, as honest as you could possibly be, there’s absolutely zero pretention going on and it’s played beautifully."

"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."

"I couldn’t say enough about how important and extreme as the music was, he was never unaware of this dramatic element of what he was doing. It was always staged in a way for maximum drama. There was always maximum drama whenever Glenn was in the building, whether there was an argument, or the music, or a discussion about high art or whatever it was. Branca was so responsible for so much stuff, for energizing this down town scene in a major way. He was one of these artists that you didn’t really experience his music unless you were in front of it. You could hear the records and The Ascension was some of his best work ever and it’s a great record but it didn’t sound anything like what it sounded like to stand in front of it at 110 decibels. He also started his own label and released a couple of the first Sonic Youth records. He asked us to be the first release on his label so there was kind of a mentoring thing going on there as well. It was definitely some of the most important music that was going on in New York at that time, because it was straddling all these worlds. It had one foot in the punk world, one foot in the art scene and then in the Phillip Glass, Terry Riley, Steve Reich kind of world of art music, he had elements of all of that stuff, and beyond all of it, just what he was doing was brilliant"