"I love altered tunings, and guitarists who use them like Michael Chapman, whose Train Songs album was great. To me, this is like a lost film soundtrack, full of soft beauty, powered by this overdriven electric guitar against found sounds and synths. It makes me think of this trip I did to the Joshua Tree National Park: I hadn't known what was there, and I'd thought the Joshua Tree was just one tree! But walking in the high sierra, the quietest place I'd ever been, the idea of cars, planes, city noise, feeling so far away…there was this silence. This reminds me of that.
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"I love William S. Burroughs, and if anybody could do an adaptation of his work, it’s Cronenberg, who made this movie very true to the book. But the movie makes sense, and the book really doesn’t for me—the moment you think it’s starting to make sense, you lose it again. The movie is very cheap and kitschy at certain points yet very sophisticated at others. Naked Lunch is one of the few movies to depict hallucinations that are actually very close to how they really are. It’s not like when you see something like Inception, where the dream sequences are just the Hollywood idea of what a dream could be."

"I was never that big a U2 fan actually! The others, especially Dominic [Scott] who left before we got a record deal, were massive fans. He was a great guitarist - I think Keane would be a really different animal had Dominic stayed with us, he’s a brilliant guitarist. He basically just played a bit like The Edge meets Jonny Greenwood. And the others would harp on about U2, I was a bit younger and I was still into the Beatles and Queen, but Achtung Baby, of all of their records, is my favourite. It’s quite exposed, I suppose. I think that The Edge was getting divorced when they wrote that record and a lot of the songs were trying to make sense of that mess. But my favourite U2 song is 'Who’s Gonna Ride Your Wild Horses' and it’s really weird because that has the best middle eight that has ever been written - it might even be like 32 bars long! It’s a total heart-stopping moment, it’s vintage U2, it drops down with Bono doing his posturing, rock star thing, and then it builds and builds and launches into that great chorus. It’s classic U2, all quite pretentious. One of my problems with U2 is that it can sometimes smack of bad school poetry from time to time! I remember someone saying to me, “Oh that line about playing Jesus to the lepers in your head was the greatest line every written in a pop song!”. That’s the fucking lamest line I’ve ever heard! We met Steve Lillywhite when we signed our record deal, he produced that song, and we were saying, "Tell us about 'Who’s Gonna Ride Your Wild Horses'", and he was like, “Oh, I’ve got nothing but bad memories about that song! We couldn’t ever get it to work!”"

"Elvis Costello changed everything for me. I had to have everything he made and I had to hear it all. I loved everything about him and I think I modelled myself after him a little bit. He was a solo artist and I loved the way he incorporated a band like The Attractions, it was a cool concept. I thought his whole vibe was so cool - this cool guy in the shades, kind of goofy looking and awkward, but it was all part of his aesthetic. "Red Shoes” is a great example of how he could write an instant classic, that song sounds like it’s been around forever. I really started getting into the cracks of songwriting when I heard it and it opened more technical doors for me as well. I’m definitely a fan, though, not just a scholarly fan. A lot of people I know don’t like him or don’t get it, and maybe that’s true in a grander, bigger scale - either you like him or you don’t. I love his voice and he’s a singer that I’ve tried to emulate a lot, even though I have no business doing that. He’s inspired me to write so many songs of my own and that’s helped to motivate me."

"This has a similar story to Pixies and Beastie Boys in that it came out when I was in high school and me and all our friends totally lost our mind over it. We'd watch it every week and then the next day at school we'd confer and talk about what happened. Which is funny because so many of my conversations with my friends now are so similar. Especially now that you can binge-watch all of these TV shows and TV is just so good right now that it dominates all of our conversations. Especially with a show like True Detective which is kind of like a mystery and you talk about all the weird stuff, you theorise and come up with all these conspiracies. So it was like that with Twin Peaks and that was the first time that I ever had that relationship with a TV show. Then after that there wasn't another TV show that I replaced it with. It was very specific to Twin Peaks. And it was filmed in the region I lived in, the Pacific Northwest, and me and all my friends connected with that and felt a little bit of ownership over that. The music is really pretty and haunting. I actually bought the songbook so that I could learn how to play them. And I really like Julee Cruise, I thought her voice was really pretty. [Nancy played 'Twin Peaks Theme' as an intro the LCD Soundsystem's 'New York I Love You, But You're Bringing Me Down' at their final show in 2011] When we first started playing 'New York I Love You…', I was still trying to learn how to play it, and I don't think I've ever played it the same twice. Even for the recording there was no music written for it. But then as I got more comfortable playing it I started doing different things with it. There's this bit in the middle where it slows down, like the bridge, or the part before the big outro, where it slows down and I can hear other songs that could fit in there. The first song I played in that little interlude was 'Empire State Of Mind', then I got bored of that and started doing Brian Eno's 'By This River', then we would even sing the whole of that song before going back into 'New York I Love You…' but my favourite is when I did 'Twin Peaks'."