"This is when I first started taking my bass seriously. This was this was a when I got hungry to understand what it meant to play bass. I thank God that there was a Stanley Clarke as a frame of reference to what to what is possible with the bass, along with Jaco [Pastorious] and Marcus Miller. There was a period where I stopped liking the practice, I was like 'uh I don't wanna practice', and my mom was really clever about it. She offered to pay me to transcribe Stanley Clarke's School Days. And of course, I'm like, 'I want to buy comic books and Marvel cards', so of course I transcribed School Days. Journey to Love and School Days became really personal to me. It was just like, I felt like this was my n**, and I felt like this was who I am; I identified with those two albums. I didn't even discover the self-titled album until later in life; I was very much married to School Days and Journey to Love. I think that Journey to Love is still very much a story to me that I feel resonates in my mind and body. I don't know what you would call it musically, but I paraphrased the album on my very first album, sonically."

"I was already into the game and I already knew Cube when this came out. I already knew Public Enemy too because I worked with them with my first band, The 7A3 and they produced one song on our album. At this time, I was hip to the game and when Ice Cube released this record I was just like 'This is fucking dope.' I knew a little of what to expect [from hearing mixtapes] but he was taking the best from two different coasts and just putting them both together; you knew this shit was going to be special – there's no way it could not be. With his time in NWA coming out of the West Coast, it was the first time you heard a great rapper coming out of that area: not a good one, but a great one with power. Now you had a West Coast MC with a New York based production unit, a New York sound which was something revolutionary in the game and I felt that the power that he brought was incredible. Ice Cube brought what was going on in certain parts of LA to the world. He left NWA, he did his first solo album with Public Enemy's producers. The storytelling, the self-centric lyricism of Ice Cube was phenomenal: that shit just took over. It was in many ways like a gangster Public Enemy and it changed the way people viewed and listened to this music, including me. Previously, you thought there were limits to how far you could go when you listened to this type of music but he just shattered every fucking limit that you thought there was: Ice Cube shattered your perception of music."

"I’d just say Greatest Hits, if we’re making a list of albums to turn people on, a greatest hits will do fine. Some of that music I listened to when I was nine to thirteen did not stand the test of time, but Sly and the Family Stone is kind of ridiculous in how good it is. Songs, musicianship, just fucking weirdness, sound and ‘how the fuck’; again - as I was saying about 1999 – you’re just scratching your head, like, ""how did this happen?"" If you play in a band and you’re young and you haven’t listened to Sly and the Family Stone, then your band is gonna fucking suck [laughs]. Probably not a true statement, but to me it is. I grew up in the seventies so I’d hear these stories, like he didn’t turn up to his gig, he was four hours late to the gig... I mean they were huge but it was just willy nilly live. I would say the influences on my bass playing was a really wide thing, I didn’t really decide I was going to be a bass player until I was 19, 20. I was playing drums, I was playing guitar, I was playing bass and when I finally took that big step and said, ""okay, I’m going to be a bass player"" and I kind of melded a load of things together. The band Magazine, that bass sound with the chorus on the bass... it took me some years to work out that effect, 'cos I didn’t know much about effects in the eighties, but the sound you hear with Guns is really derived from listening to that first Magazine record, combined with first Sly and the Family Stone and Prince, with a real punk rock ethic underlining the whole thing."

"We can throw in Fantastic Planet, La planète sauvage. We can throw that in there. The cut-out animation style, the psychedelia of it. I think it’s such a hypnotic piece of work, and I loved it ever since I heard the samples of the movie. I heard the samples before I saw anything. Madlib sampled that s—. I was like, “What is this animated movie?” So I credit him for me hearing about this, and I have just been on it ever since. I own some of the original cut-outs of the movie that they did. I buy some weird little pieces of art sometimes, but that is one of my prized possessions right there. You know, bits of little movie history."

"I watched Alien again, Ridley Scott’s movie, and I felt completely taken by it and distracted for a while. When I watched (it), I really wasn’t thinking about coronavirus – or our terrible president, or anything – I was focusing completely on what was going on in the movie and exclusively on the drama within (it). So I’d say (quarantine watching) can totally be entertainment, (but) just make sure that it actually takes your brain energy, you know? Like horror movies, or (films) that really (give) you anxiety, and happiness, and joy – everything because of the movie. It shouldn’t be that your mind can wander off, it can’t be too easy. Also, I’ve discovered that I can cook as well – that’s big to me."