"Come on, it’s common sense. Jaws is a fantastic film. Maybe the second film I saw in my life — I saw The Gumball Rally prior to Jaws — but Jaws is the first one that made a deep, deep impression. I saw it a drive-in with my parents when I was five, which is kinda weird in retrospective. It was PG at the time. My kid’s nine and my wife still won’t let me show her Jaws. I made the mistake of showing my kid Gremlins when she was six and I have heard no end of it from my old lady. She’s all, “She’s still afraid of Gremlins.” Gremlins is a harmless f–king movie."

"This is another circumstantial choice from my long drive across America. Some of the tracks on this are twenty minutes long and perfect for a seven hour drive! It's good to have that time to let a song build and, because they are metronomic and electronic, it's great travelling music. There's a song called 'Patchwork' that Kliph played over and over again. It's maybe a portal into the records I've been listening to over the past decade, bands like Emeralds. I've got kids of various ages and records like these are compromise records because I can put them on to get them to sleep and I also like listening to them, though one baby didn't react to meditative music and I had to put on head-banging music to get them to sleep. I could head bang away! I listen to a lot of instrumental music in the house, loudly. I enjoy not having a voice to interfere with my day."

"Around this time I started heading out on tour and The Gaslight Anthem really started moving. It was just after The ’59 Sound came out. That was when I started learning about the music industry and how it all works, and how insincere it all is. People pick you up and spit you out. I was taking a drive one day and I heard The Promise by Bruce Springsteen come on the radio. But it wasn’t the album version; it was just him and a piano as it appears on an album called 18 Tracks.” This song opens with the lyrics: ‘Johnny works in a factory / Billy works downtown / Terry works in a rock and roll band / Looking for that million dollar sound.’ Then towards the end of the song he says: ‘The promise was broken, I was far away from home / Sleeping in the back seat of a borrowed car.’ I remember being on tour and sleeping in the back of a car that wasn’t mine, and I heard that line and I was like, ‘I don’t know about this whole thing. I don’t know if this is right. What do I do?’ As Springsteen sings: ‘The promise is broken, you go on living / It steals something from down in your soul.’ That’s when I realised that music wasn’t about the rock star dream. It’s about connecting with people, but that’s not enough for the industry. They see you as a product and they want you to make money, and I understand that, but it’s never enough for them. They’re never satiated and they’re never satisfied. It’s a beast with a belly that will never be filled. “I’d feel a sense of dissatisfaction after every tour and I’d come home and get in my van and just drive. I’d drive around habitually for one hour playing The Promise on repeat, just to clear my head. The song made me feel like I wasn’t alone, like someone understood me. It was a huge, huge song for my development, and it always put me back in a perspective that I wasn’t alone. And even though it’s a depressing song and there’s not a lot of advice in it, it makes sense to me. I still feel good when I listen to that song."