"Robyn Hitchcock is another one of my songwriting heroes. He gets a special fucking prize for following his songwriting impulses better than anyone on the planet. He's so wonderfully unapologetic in his songwriting style that I think he really influenced me to remove filters. His songs often follow a kind of inner logic unto themselves. I probably got Globe of Frogs when I was 15 or 16. I look back at the music I was listening to then when I was fermenting as a songwriter, and I was obviously really influenced by the things I was listening to. Robyn Hitchcock's songwriting sort of gave me blanket permission to write about anything I wanted to – because he did. While I had my sad, emotional, poetic music off to this side, with the Cure and Leonard Cohen, Robyn Hitchcock opened up a whole world, off to the left – 'You can write about anything!' And also, like a lot of these people, he's just a fantastic songcrafter with a hooky sense of melody. I could go on and on about Robyn Hitchcock, but as far as full albums go, Globe of Frogs holds up the most, with every song being genius."

"I've made a really valuable association with a gent from Los Angeles, Mr Ben Merlis. I quite admire Ben as a performer – he's a bass player in a pretty lively band, they travel out of LA frequently. And like much of the stuff we're talking about, you have to dig deep to find something of value. I found this through Ben. There's an ambience here, the unsettling presence of impending doom, which is part of the environment that we step into day by day in this contemporary world. It's part of what we have to exist with. 

I was talking with Terry Manning and Joe Hardy from our recording studios in Memphis and we got onto this topic of ambience. There was once a constant struggle to overcome background noise, the hiss of tape passing across the recording head. However, when absolute digital silence came into play, it was very unsettling. It's not in our genetic code. You can enter an anechoic chamber, which eliminates all sound, and very quickly it's so disturbing that you want out."

"Dirty Mind is the first one where I feel Prince became the Prince we all know and love. There had been somewhat suggestive lyrics with 'Soft & Wet', which came out earlier, but this is where he went full force with songs like 'Sister' and 'Head'. The record cover, the whole package, really says something to me. Instead of looking like a black guy from Minneapolis, he looks New Wave and you can't really tell what he is. He's got bed springs behind him and the album is called Dirty Mind, the first song is called 'Dirty Mind' and it just hits you over the head with this new direction. Maybe my favourite song on the record is 'Partyup', the last song on it. I understand there's rumours that he sort of traded that song with Morris Day. He said if you give me that song I'll record an album for you or I'll put together The Time For You. It's just an amazing song. Spoon covered it a long time ago for this Prince compilation."

"All of his albums are just collections of songs because this was in the pre-album era, but I guess there was one in Mississippi called Key To The Kingdom. He was a spiritual blues singer who played an instrument, a fretless zither. Even though it's the blues era, he can't bend the notes like a guitar player would. He's sometimes known as George Washington Phillips. His music is really serene and otherworldly and pure. It's all very religious but it has its own atmosphere that I've not really heard anywhere else. I think when I really got into Washington Philips was when Sonic Boom put a song of his onto a compilation album called Space Lines. My sister painted a picture of him for Christmas. My sister the painting goth."

"I heard 'Novocaine For The Soul' on the radio and bought the album the very next day. And with their second record, I got it expecting more of the same. This was pre-internet, so there wasn't a lot of information about it, but it would appear that he lost his sister and mum, and so he wrote this record about being in hospital and watching people die. It was extremely sad, and for a teenager it was like, ""Holy shit! What is this?!"" Kids are always intrigued by sob stories of one kind or another - Nirvana being a perfect example - but this guy had clearly been through a lot. He writes very short and simple yet very affecting songs, not produced in a twee way, but very cold and using lots of samples. They didn't really sound like a band at all. Again, they were a three-piece, and a very simple band. He had a really cool voice and a story to tell, and that again really made me think about the fact that the band doesn't have to be that thing which I always thought they were: that you played your drums and you play your bass, when actually it can be anything you want. That really influenced the way I write music. I used a lot more technology after I got into that album. I started to integrate my live sounds - my guitar for example - with my laptop, and I started using a lot more sampling, thinking I want to be a lot more like Eels. I think an element of his very black humour has crept into my music. You always get the sense that he is talking about something very grave, but he does so in a slightly distracting way. Take 'Susan's House': it's got this ridiculous, quite clearly silly motif, which sounds like Neighbours - he knows it does! He's talking about his problems at Susan's house as he's walking past all these awful things in the street, like a kid who has been shot and a pregnant teenager, but it's couched in this happy, jaunty, slightly sarcastic world, and that is precisely where I'm at in my own music. Like the song 'Get To Heaven' is all about the same thing, walking past horrors but with a smile on your face, whistling a jaunty tune. I think a lot of influence came from Mr Everett, because of his outlook on life, where you can be in a very dark position but music doesn't have to abide by those rules, it can subvert it."