"Who hasn't had the discussion of favourite Bowie albums? And I always go for this one. There's so much behind it in terms of knowing that just weeks or months before it, Bowie had met Mick Ronson and you know that this is a very new relationship and what Bowie had just come from. And it's kind of like the birth of The Spiders From Mars. It's quite complex in a way and I feel everything around it and the importance of that record. I guess that at the time this must have been quite a mental album for people to hear; it must have been quite insane. You know, like: 'What the fuck has Bowie done?' It's this really dark, fucked-up record and that plays a massive part in how I feel about it. I feel the same way about 2001: A Space Odyssey which I saw again the other day for the first time in about 15 years. And I wonder how it must've been for people when they saw it first time around. Sci-fi back then was kind of cheesy, low-budget B-movie shit and suddenly this movie comes out that's a complete change in direction with this seriousness, and gravitas, and coldness and it's not very inviting. And that's how I feel about The Man Who Sold The World. It was Bowie's 2001 at a time when people weren't used to that or ready for that. There's the darkness and the depth and, of course, there's the beauty. 'After All' is a beautiful song and very tender. It's like the birth of so much really."

"I was never a western guy but I happened upon Tombstone one day on TV and was really sort of taken with it. It’s one of those movies that, if it’s on TV, I can’t turn it off. I just have to watch the whole thing. I really love Kurt Russell in it, but I think Val Kilmer’s performance in Tombstone is perfection. I just think he’s funny and cool and sad and broken. He’s a bad guy, but you’re rooting for him. He’s an interesting sidekick because Doc Holiday is a criminal, you know? But it’s like, “I’ll be your huckleberry” is such an amazing kind of line of bravado and bravery. And then at the end, when he’s dying, Kurt Russell wants to play cards with him, and Val Kilmer just wants him to leave and let him die. It’s beautiful. And Sam Elliott and Bill Paxton and Kurt Russell — it’s just quite a team. And you’ve got Billy Bob as a bully on the card table. It’s just expansive, and I’ve lived a little bit in Wyoming and being out there — really it just gives you a scope of the West: those big skies, and it’s beautifully shot. It’s just one of those movies that, when it’s on, I’m going to watch it."

"This came out a month after Ride formed. They were such an important band for us. In fact, I’ve just checked and we formed in between the release of the two EP’s You Made Me Realise and Feed Me With Your Kiss, which were both massively influential on Ride. But the album was a step forward even from the EPs. It had a sound all of its own. The touch was lighter, more hip-hop influenced, the arrangements were less like jams and more like studio constructions, the songs were short and concise; there’s just so much going on with this album that shows how they were grasping the moment that they were having as a band. In particular, Colm O Ciosoig really stands out as being really important to the album. His drumming throughout is incredible, and his song, ‘(When You Wake) You’re Still in a Dream,’ is my favorite song on the record."