"This is probably my absolute favourite record ever made. I remember driving to my friend's house and he put 'The Sad Skinhead' on I remember thinking, ""What the hell was that?"" When he said it was Faust, I had heard of them but had no idea what they sounded like. I remember going off and trying to 'find' the band on my own – I wanted to discover them for myself and not have people tell me which was the best record, or which were the best songs to listen to. I wanted to go off and discover Faust for myself. It was when I listened to Faust IV from beginning to end that I was absolutely blown away. It's playful, it's beautiful, it's exciting – it starts with a 10-minute Krautrock song and then goes into this weird, all-over-the-place song which has no rules. And I love that. The conviction of it is tongue-in-cheek in places, which I am almost jealous of - it even ends with a song called 'It's A Bit Of A Pain'! For me it has the best attitude of any album I have heard. Also, I must mention the extraordinary sound of everything – the placement of all the little weird guitar parts. It's almost like you can close your eyes and pinpoint where everything is coming in. There is so much I love about the record but its attitude is the most prevalent thing. I hope it has seeped into my music. It's what I try go for when I am in the studio – to try and record in as short amount of time, so that I can achieve a sense of spontaneity. I cannot achieve that during lengthy recording sessions – it would iron all of that stuff out. For me, recording really quickly means you can keep some of that playful attitude that I so love on this record."

"This song polarises opinions. I suppose when people think of Don Henley, or the Eagles, they just think of Dads. It is Dad music, I guess, but there’s something special about this song. It’s hard to describe and hard to pin down. It’s so evocative – it makes you feel nostalgic for something you haven’t even experienced. There’s this word in Japanese, ‘Setsunai’. There isn’t really an English equivalent, but ‘bittersweet’ is close. Setsunai describes a feeling between bittersweet, painful and wistful, and ever since I heard the word I have loved looking for this feeling in songs. When I heard that Japanese word it lit up a lot of things for me. My favourite records have that feeling – that bittersweet longing that you’ve not necessarily experienced first-hand. This song has Setsunai. It feels like Don Henley didn’t necessarily mean to transmit that feeling and it’s a weird accident that he did. It’s got a quality to it that sums up everything I love about music. Some people will hear it and won’t get it, but I think it’s one of the best songs of all time. Some people might say it’s just an overplayed song, but it’s more than that. There’s the dream, the ideal on top, then underneath is the sadness or the end. It reminds me of America. It a strange thing, but I often feel more at home in America than anywhere in England. Places in America feel way more like a hometown to me than England does. And these lyrics are about the American summer, the loop that goes on consistently underneath – the insistence of that loop to me is linked to driving through America. It morphed from a song I would hear everywhere when I was a kid, on car radios or café radios or whatever, to a song I heard objectively and realised how great it was"