"Around the time that this album was released I was driving my car and I heard 'Man In The Box' [from 1990's Facelift] playing on the radio. To me it sounded like another style of music that was completely out of the leftfield. The incredible combination of Layne [Staley]'s voice and Jerry [Cantrell, guitarist] is just so cool. They were making music like a lot of these bands that was getting played on the radio, and even today in America you need to have songs that can make it onto the radio. They knew that, and they got played all the time. Their vibe was entirely different to KoЯn, and KoЯn's was entirely different to Nirvana, who were in turn different to Pantera. All of these bands were coming out at the same time but they were all making their own unique impressions. It's incredible really. If you look at the history of rock & roll, the beginning of that decade was one of the most exciting times. There was never really anyone with a similar vocal style to Layne though, and that's important too. I think a lot of it is always down to the singer to some extent."

"This is what I'm listening to most right now. Feldman is on constant rotation, but his series of pieces he wrote throughout the 70s for a solo instrument and orchestra is what I'm continually listening to. This version of Violin and Orchestra that the Radio-Sinfonie-Orchester Frankfurt did I'm obsessed with. I've been listening to it everyday for a little over a year. It’s one of my favourite pieces because of the forces that he’s implying but it does not sound like an orchestra piece. He’s so keenly aware of sound. He turns his eye to a different way of way of composing that makes it something that can’t easily be reduced into some formula. You can just get wrapped up in it. It’s mysterious and kind of unknowable. But it’s really compelling - I’m moved by how his mind works. He does away with very basic principles of orchestral writing, an understanding of chord progressions and melody and harmony, even rhythm. He develops the piece in a way that shows he’s clearly operating with another set of variables, like in the way he resolves a chord. You don’t feel the familiarity of that way of operating within Western music."

"I was 11 when this film came out and it was the first time I ever went to see a film twice in one week. It blew me away and changed my life. Not just the film, but largely [György] Ligeti's atonal choral pieces. This discordant, sometimes beautiful, intertwining of voices, that were dark and then beautiful and then disturbing and then uplifting. I went out and bought the album, and then put it on my record player in my room and shut myself in my wardrobe with a flashing light and spent hours in there. I wanted to shut myself off from the world and immerse myself completely in this extraordinary sound. And I went on to be an artist that built environments and quadrophonic sound spaces – purely based on this experience. And years later, when we came to write the score for Danny Boyle’s Sunshine, I said, "do you think 2001 can be referenced?" and Danny said, "absolutely", and that was just like heaven for me. This album is at the core of where my head’s at. One minute it will be playing some Brahms and then it’s playing this beautiful, yet discordant, choral music and I think like that now. This is the rhythm of my bones. Something for the future is to score for a choir."