"I can remember being introduced to this album at a very specific moment. I went round to my friend's house, and I think my sister had the CD and put it on, and I heard the introduction to 'Lithium' and those drums and I just thought: ""What the hell is this?"" It was the most exciting thing I'd ever heard. It was like that for a lot of people of course, I was no different. But it was very shortly after we heard that that my friend got a drum kit and my brother got a guitar, and my brother had a bass, and I knew that all I had to do was pick up that bass and we had a band. Nirvana were a three-piece and there were three of us. You didn't have to play very well, and you could play the same thing quietly and then play it loudly and that was kind of a revelation for a little kid. That was all Nirvana ever did and created the most amazing feelings with it. It was a very powerful thing to put into the hands of a little teenager. It's really easy to get together. You just all need to play the same thing on these three instruments and it will work, and you will sound like a band and that's so empowering. In terms of my musical style, Cobain has a really good way with melody and he doesn't really sing very obvious things. He always comes down on the major or minor third of a chord, and it really colours the music both positively and negatively in a way that not a lot of melodies do. The aggression in it and the fact that it can be tender in one moment and then the opposite the next is something which happens in my music. The emotional intensity of Nirvana is something which I definitely think my band is probably guilty of, in terms of high emotional stuff happening. They are really interesting, just in terms of the fact that there's so much depth in it, despite it being very simple, and the lyrics don't actually mean anything, and yet you can get so affected by Nirvana in such a strange way - not necessarily just because of Kurt's story, but because there is something in the music and it's very difficult to describe."

"I guess there is singing on it, but it's still instrumental music that opens your brain. It starts out almost sounding like weird pots and pans that I guess, my theory is, they're speeding up and slowing down their four-track so it's like [makes hissing, distorted sound]. So it does that for probably ten minutes, you're just sitting there, it's like psychedelic meditation, like you could tone it out. It's definitely analogue, it's probably four-track because, all of a sudden, out of nowhere, you feel something lift up, like it un-pause and start to record again and it's just like [makes skronky sound] and there's this weird guitar shit. But then they just have a good thing with mood where it just takes you on this weird textural journey and then somewhere along the way, it gets really heavy and the drummer starts in, and you don't know what he's saying, so it may as well be instrumental. The first Dead C record I ever got was Trapdoor Fucking Exit, which is an amazing title and an amazing album cover. That came out on Siltbreeze, which is a Philly label, so that's close to home. My buddy Richie, who I worked at this brewery with, he turned me on to that kind of thing and he made rethink how the... he basically hit me on to how my path in music should be, which would be: some people can jump up to a decent-sized label, but other people have to do it themselves, much like The Dead C, where you just start small and make it your own artform and then eventually, bigger labels aren't going to be able to ignore you because you're doing it yourself anyway. They can decide, if they like you, you're going to be doing it anyway. So I got that Tusk record pretty early, but I remember listening to it on the airplane in-between touring/recording for this new album and it's just another that just opens your brain and opens your mind. They're just as passionate, or they come off that way, about their music, except they're from Bumblefuck, New Zealand, but they put out tons of records, so it might as well be jazz - they're definitely influenced by that sort of thing. I have no doubt in my mind - but of course I could be wrong - that they're influenced by those psychedelic jazz records."