"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'."

"He had to get in there. He's definitely my all-time favourite singer, vocalist, simply because there's something about the arrangement of his vocal cords that really strikes an instant... I just recognised it from the moment I heard it and I felt, "this is like my surrogate brother or something!" The moment that I heard it, I could sort of sing a bit like him, I'd developed those vibrato tones and I enjoyed doing it so I just felt an instant kinship. Add to that he wrote some great songs, but more than that he was like the foremost interpreter of Jaques Brel in English. I'd not heard of Jaques Brel before I'd heard Scott Walker's songs - after I listened to Scott, I listened to Brel, and enjoyed that hugely also, but in a very different way. Scott and also the Walker brothers, they did make a particularly awesome noise back in the sixties, which many other people tried to do but didn't do as well. The first record that I heard by Scott was the wonderful best of that came out in the early nineties, The Best Of Scott Walker And The Walker Brothers I think. It's pretty much the only collection you need if you want to hear what they did. But Scott Walker Sings Jaques Brel is fantastic - it's only ten songs I think. He only did ten songs, so that seems reasonable, but 'Jackie' is hilarious and wonderful. I stopped sending all my albums to Scott Walker after I read, I think it was in Les Inrockuptibles as well, they managed to get an interview with him, which nobody could at the time and he said "yeah, this wee Irishman keeps sending me his records - I don't know why". And it was simply because I loved him so much I wanted to give my things unto him [laughs]! You know, "I've made this for you Scott!" I suppose I've got a bit older and I don't feel the need anymore. As well as that, I understand where he's coming from these days much better. I enjoy his modern records, his insane modern records, but it's quite obvious that he doesn't care about the old sixties output, so the fact that some guy is really terribly enamoured of them, I'm sure he doesn't give a shit [laughs]! He can buy them in the shops like anybody else!"

"I think this is Steve's masterpiece. On my first day on foundation in Winchester, the tutor played everybody 'Piano Phase' and it was the first time I'd heard music like that. It completely blew my mind. The repetition; the shifting; the way those two pianos phased in and out with each other; it's an extraordinary piece of work. And he resolved that through a number of pieces and he came up with Music For 18 Musicians, which was the first large scored piece he'd done. I went to India in the early 80s and I had a very small number of cassettes with me that I could listen to, and that was one of them. I remember sitting on a roof somewhere listening to that and looking up at the sky. It is a kind of cosmic record in a way. I don't know if you have to like Steve Reich to know what that is, in a way. If someone was coming to it and they didn't know that music I don't know what they'd make of it. If you're used to listening to tunes would you just wonder where the tune is? It's all about harmony and rhythm, but it's intensely beautiful."