"Iggy reminds me a lot of me. And it's all in that name; it's all in the title of that album. It’s raw power, you know? I like the funk that David Bowie was able to get behind Iggy. Believe it or not, I first saw an image of Iggy Pop at church, and they were talking about secret messages and backward masking - and they had [a picture of] Iggy Pop looking crazy. I didn't get into it until later, but I think how I was introduced to it was 'I Wanna Be Your Dog'. And what I like about Iggy is it's just genuine raunch. And the album seems like it’s all done in one take. 'Let's do that one, leave it, just try something else'. With his energy on stage, it seems as if the studio was just destroyed after that album - or at least you'd like to believe that. I just read an interview with him in which he said he wrote a lot of it in Hyde Park sitting under a tree wearing pyjama's too, which gave it a cool twist as well. I just love 'Search And Destroy' and 'I Need Somebody' as well."

"’Blueberry Hill’ was one of the first songs that made an impression on me as a child. I remember hearing it at my parent’s friends’ house, along the road where I grew up on. I would have been very young, but my ears immediately pricked up. “I was brought up with lots of music, but this song captivated me and I asked to hear it again. It was just one of those songs that was a catalyst for me getting into, I guess you could say soul music, in a way. “My love of this track comes back to the melody, which to me is the most important thing; both the melody and the delivery of the melody. I can’t really fathom the words to describe what it was about this song, but it was always going to feature. From my early childhood, it was either going to be this or ‘Green Onions’ by Booker T. & the M.G.'s. I heard those two songs on the same day and they have stayed with me as benchmarks for what you can do with melody and relatively few instruments."

"Both of Atom TM's records on the Raster-Noton label are some of my favorite electronic records ever made. Liedgut was his first one for the label. It feels cinematic without being pandering. Inventive and beautiful. Being that it’s electronic, and just that it in its own particular style, it’s a lot more having to do with texture and sound design. But then there’s this weird kind of melodic framework that goes in and out throughout the record, that’s very “hypermelodic”. Very consonant. It almost sounds like… you know those snow-globes that have a twisting belt? Like a music box. It’s texturally focused sound design. And he’s able to go back and forth here in a way that’s really compelling. And again, you can tell it’s very intuitive - he’s just going where the music takes him. In a world of forward thinking electronic music, where anyone can pick up a computer and do this thing, his voice is so unique. I'd be able to pick him out of a thousand records – his own distinct voice. I really love his records, especially the ones he did for Raster-Noton."

"There are a lot of parallels between this record and the roots of Underworld’s inspiration. Film music. Taking sounds and songs and melodies from other tunes and fusing them together with other music in a completely different key. And it just has this dusty, beautifully dirty quality – like film noir through a dirty window. I absolutely love it. We took it to Chile with us, Rick and I, and played it in our hotel room and decided it was the best thing we’d heard in years. It inspired us to start writing there and then in our hotel room – music that went on to be part of the download-only records we did. It encouraged us to be a little less produced. It’s an amazing soundtrack for what’s going on around you. There’s a link between these first three records – especially with James Blake – the way that the voice is treated. It was very exciting to hear the voices on the Burial record treated in such an unprecious way. Taking vocals as oscillators, as we’d always seen them, like another synthesiser that’s capable of generating incredible noises. That in itself was inspiring."

"My father was a film buff. He instilled in me an appreciation of the art of movies. He felt that there was no cinema artist greater than Kurosawa. At a very young age he took me to see Throne of Blood and Seven Samurai. Since then I’ve seen Seven Samurai over fifty times, in theaters, on VHS, laserdisc, and DVD. The latest Criterion edition is my favorite version of my favorite action movie. I love all the extras, especially the history of the samurai, which really enhances the movie’s historical context. In the second season of Heroes, we did a story line set in seventeenth-century Japan. The Seven Samurai box set was an invaluable resource for the costume and art department. About half of our crew watched it and were really inspired by what they saw. It’s one of those movies that I can’t turn off. One minute of viewing and I’m hooked. I’ve heard many people say that about the first two Godfather films, but for me Seven Samurai is the one that lures me into watching multiple hours of a movie I know by heart."

"I saw this at Helsinki’s Love and Anarchy Film Festival, only missed the beginning of the film, and had to leave early to present my own film at another cinema. This was just a great debut. Really stripped down and honest without the frills and trappings that often come with first film insecurity. I was completely immersed in the couple’s predicament and to my shameful ignorance, there was so much I didn’t know about IVF prior to seeing the film. I’d only seen Josh O’Connor in “God’s Own Country,” but he was just as believable and brilliant in “Only You,” and Laia Costa completely pulled me into the depths of her frustrations. It was also great to see not only a European character in a British film, but also a European played by a European rather than a Brit putting on an accent, which is still often the case. I wonder how that will pan out after Brexit. I had to leave the cinema when the protagonists had a row towards its final minutes and still don’t know or want to know how it ended until I watch it again."

"Another favorite movie of mine is The Wizard of Oz. It’s just a beautiful movie all the way around. It would get a little dark and scary for me as a kid when those flying monkeys came out. Hoo-Hoo! Yeah, the flying monkeys kind of threw me off. I’d start watching the movie at three o’clock, by five o’clock the movie’s about to end, and I’m scared and dinner’s ready — I’m giving you too much info. When Dorothy first lands and the house falls on the shoes and the feet curl up, and then she goes walking and finds all these different characters — all of that was beautiful — gorgeous. Matter of fact, it was straight-up genius and it hasn’t been matched… It was too incredible. Who ever penned that was genius. And the director was genius. And the Lion was genius. And the Tin Man was genius — everything about it. I love all the characters but Dorothy was the best character. She was everything. She was a great singer. She was a great actress. She was kind. She wanted to take everybody with her."

"Had to at least include one from the master Hitchcock. Being the huge De Palma fan that I am, it would be tough to not be a huge Hitchcock fan as well. Bronwyn loves Ingrid Bergman and was the person to introduce me to Notorious when we were younger. What I love about this film is that you get this sincere, Old Hollywood romantic chemistry between Bergman and Cary Grant, in addition to some classic Hitchcock greatness. We project films while we write and record, and this film played a lot during the making of our debut album. Fritz Lang is another one of the greats who I had to have on this list. I first discovered his films through Giorgio Moroder’s 1984 restoration of Metropolis, whose iconic image of the robot on the soundtrack and posters always intrigued me as a child, and once I eventually saw the film, it quickly became one of my all-time favorites. Most who have seen it, The Testament of Dr. Mabuse, and M will agree that Fritz Lang is one of the best to have ever done it, but perhaps no one film has earned him that reputation more than M."

"I got into this a few years back when I was really getting going with the solo thing. I thought, “This is unusual.” It reminds me a bit of ESG. I really love that delivery – those female vocals that have a drive, power and confidence but are punk and not flying around everywhere. It’s edgy and cuts through in a really cool way. It’s so refreshing in these days of immediacy to hear something like this. I hear some debut EPs that sound like really expensive records and you think, “Where’s the growth coming from here?” When we first started out it was always about playing together ’cos there was no other option – I was too young to get a gig and I wasn’t allowed in venues – so you play, write, mess around and watch movies. There were no distractions, we were just a gang in a living room in front of an open fire, messing around. We did some quick bashed-out B-sides and ropey gigs but it was about the attitude. I wish I saw more uncertainty and vulnerability in young artists."