"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."

"Cool Hand Luke, to me, and I’m not a film historian, but what it feels like to me is it’s in this intersectional point between the glamorization of film and that golden era of Hollywood where everything was meant to look perfect, like all the old Cary Grant movies like His Girl Friday and Arsenic and Old Lace, where everything is supposed to look so nice and everybody’s always impeccably dressed and charming and all that. Cool Hand Luke comes after that, where it’s a more cinema verite realism kind of thing. But also, there are still elements of the older films that you don’t get anymore, like using imagery in a really cool way. Like, there’s one scene where, to inspire a feeling of tension and stress, there’s just a really slow push in on a whirling fan that just keeps whirling and whirling, and I feel like they don’t do that much anymore. Now they have to really pander to the audience, and make sure that they serve up to you exactly what’s going on, instead of using that kind of stuff. Also, Paul Newman is the f—ing best, and he’s so good in that movie, and it’s just cool, man. It’s just a guy who just won’t get beat by the system, and I really like that. There’s so many layers to that movie. It’s one of the few movies that I make sure I keep downloaded on my iPhone or my iPad, just so that I always have it available."

"Phil Lynott. Genius. And a bass player as well. Have you noticed that most of the music normally comes from guitarists? But he was the driving force in this band. He was a skinny black guy, who was writing great songs and dealing with the consequences of racism in the UK at that time. He was always the main attraction to me. A real rock star and you'd feel that whenever he walked into a room. You can instantly recognise Phil's voice, and he had a really cool way of creating melody on songs like 'Jailbreak'. This album is distinctly Irish, and I'm not sure why I think that to be honest but it definitely makes it special. At the time they were about as unique as they could be. And it was quite successful in the charts, which, along with seeing bands like them on Top Of The Pops, was another important factor. After Phil died and Thin Lizzy came back a few years ago we took them out on tour but that's partly because the songs have held together so well even to this day. It was a real joy to do that and to be able to hear those songs played every night, and played so well. And to be honest I think that's enough, because the songs are really what matter. They're still playing together, but I think they're called Black Star Riders now. The last record was very good, but nothing compared to this."

"I probably first encountered this when Neil Tennant sang [sings]: "I feel like taking all my clothes off / Dancing to The Rite Of Spring / When I wouldn't normally do this kind of thing" and I thought "ah, well if Neil Tennant wants to take all his clothes off and dance to The Rite Of Spring, I ought to as well". He's one of my idols also - I couldn't put any of the albums in, because they're not as good as the hit singles, but I do love the Pet Shop Boys. I do love Stravinsky as well, and The Rite Of Spring, if you were going to sum up the history of humans and music, this might be the thing that you end up showing off as the absolute zenith of achievement. I remember on the Walt Disney film Fantasia, they had a bit of this and they animated it with dinosaurs and volcanos, and although it was a bit silly, I kind of knew what they were driving at: this music sounded like it existed before humans and after humans! It's like the earth itself is kind of grumbling! He wrote it for a ballet about tribal rites, pre-history, people being human sacrifices, but it says even more than that to me - it's almost nightmarish, although it's got so much virility and astonishing, complex rhythms going on and some great, great tunes. And you can never beat the opening - it's actually a bassoon played up really, really high, going [hums melody] - it's like the eeriest thing I've ever heard!"