"I can remember being introduced to this album at a very specific moment. I went round to my friend's house, and I think my sister had the CD and put it on, and I heard the introduction to 'Lithium' and those drums and I just thought: ""What the hell is this?"" It was the most exciting thing I'd ever heard. It was like that for a lot of people of course, I was no different. But it was very shortly after we heard that that my friend got a drum kit and my brother got a guitar, and my brother had a bass, and I knew that all I had to do was pick up that bass and we had a band. Nirvana were a three-piece and there were three of us. You didn't have to play very well, and you could play the same thing quietly and then play it loudly and that was kind of a revelation for a little kid. That was all Nirvana ever did and created the most amazing feelings with it. It was a very powerful thing to put into the hands of a little teenager. It's really easy to get together. You just all need to play the same thing on these three instruments and it will work, and you will sound like a band and that's so empowering. In terms of my musical style, Cobain has a really good way with melody and he doesn't really sing very obvious things. He always comes down on the major or minor third of a chord, and it really colours the music both positively and negatively in a way that not a lot of melodies do. The aggression in it and the fact that it can be tender in one moment and then the opposite the next is something which happens in my music. The emotional intensity of Nirvana is something which I definitely think my band is probably guilty of, in terms of high emotional stuff happening. They are really interesting, just in terms of the fact that there's so much depth in it, despite it being very simple, and the lyrics don't actually mean anything, and yet you can get so affected by Nirvana in such a strange way - not necessarily just because of Kurt's story, but because there is something in the music and it's very difficult to describe."

"I had an older friend who was hugely into dance music. He was a proper teenager with decks. That was all cool to us. The Prodigy were absolutely the band of the moment, we would just listen to them so much. You always feel like you're listening to a real drummer with The Prodigy, even though you're not and you're listening to highly processed drums, they always retain a sense of reality. To this day, The Prodigy have a sense of rawness and aggression and reality, and they have always felt like a real band to me, even though it's just a guy with a laptop and a couple of idiots jumping around. They made the world shift for me, and made me feel like I didn't have to choose between a PC and Nirvana, and that's liberating, knowing I could do anything I want. The music I have in this Baker's Dozen is influential, because the albums are all about breaking rules, or don't fit into camps, and that's where my band has always been. People don't really know what to call us or describe us, and that has come from having diverse influences. The best bands don't fit."

"In terms of mind-blowing experiences, I would say the first film was Willy Wonka and the Chocolate Factory, just because I think — I’m pretty sure — that’s the first time I ever saw a live action movie in a movie theater as a kid. My dad took me and my brother to see it. I think up till then I’d only seen one animated movie in a movie theater. I think it was Robin Hood, which, for some reason, was really boring to me. But we went to see Willy Wonka, and I was so blown away, and it so freaked me out, that I couldn’t stop thinking about it for years. I had watched movies on TV and stuff, but that was the first time I think I was old enough to go to the movies, and be able to sit through a movie without wanting to get up and run around the theater. Just seeing it that big and getting sucked into it. I don’t even think I realized those were actors and that anything was fake. I think I just thought it was all real, that Charlie was a real kid, and Willy Wonka was a real person. I really think I thought it was real. I really thought the whole family lived in that one room. I was probably in second grade or something… So I probably didn’t actually think it was real, but I responded to it like it was real."

"One is probably the biggest surprise for my fanbase. If they were to say, “What’s the movie that would most surprise someone that Omari likes?” it would be Mean Girls. I love Mean Girls. Freaking love it. I think she’s at an age where she can watch it. So, we had it on, days before we get on the plane to come back to New York, because obviously, this time of year, we keep coming back for the start of Power. She started kindergarten, so I thought she’s old enough to watch it. But that fight scene in the hallway, with the girls, when everybody goes crazy on each other. She ran out, into her playroom, and I looked at my wife, like, “It’s Mean Girls. It’s not that bad.” What I realized is, part of my daughter’s reaction was because it’s so… not necessarily over the top, but it is. Where it’s not over the top is, girls, as you and I know, that’s the way they fight. Whereas, in kindergarten, we punched each other in the face, and then the guy that you punched becomes your best friend for 35 years. So, it’s just the level of truth in it that makes it so freaking funny. The level of how mean girls can be to each other just makes it really, really funny. Also, I just find Tina Fey’s writing to be very subtle, and so good."

"Somebody gave it to me in the late nineties, just on a blank cassette and then yep, I was completely dubious, because when people mention Miles Davis or jazz in general, I would just think of those crazy funk-jazz things they did in the seventies, and I didn't know he was capable of this incredible orchestral soundscape. It helps that he's reading from an already fantastic piece of music but what he did to it was astonishing again, so I love it. It's just the most evocative record. Recently I had the pleasure of a train journey from Bilbao to Madrid and I put that on my headphones and it was like, "oh yeah, everything is cool". Actually, it didn't [unveil new layers to the record], as I think it was really cool to experience it on the train going through Spain and yet I always think that music is so powerful that the images that you have in your head if you're listening to it in your bedroom are as powerful, if not more so, than if you were in some incredible vista. After that I went back and bought the early Blue Note records, which are generally brilliant. I'm not a real jazz aficionado and if I've put on an old jazz record, it's mostly about mood, because I can't really understand what's going on. Whereas with Sketches Of Spain, it seems more orchestral, where I can understand what's going on better."