"The drum sound! The greatest bass sound ever! The rawness of it. ‘Isolation’ I absolutely love, and obviously we covered ‘Working Class Hero’. It’s really tight but there’s something about it that feels like they haven’t rehearsed much either - you see the film and they’re all coming in on the hoof. There’s some kind of bluesy nastiness - and I’m not a fan of the blues either - but there’s something about it, John Lennon’s guitar is really good on it, I think his guitaring was underrated actually. There’s so much savage bitterness there, ‘Mother’, just to start with the fucking bell chiming. I love that savageness. He’s having a go at McCartney, but he does it with so much wit, he can always glide over the top of it. I wish I had that ability, not to always drag it down with pure pettiness. “I don't believe in Elvis. I don't believe in Zimmerman/ I don't believe in Beatles” - I don’t think he could get “The Beatles” in, so it’s just “don’t believe in Beatles”. I love that album. There was a lot of that on [Wire’s solo album] I Killed The Zeitgeist actually, and there’s a lot on this album. I tried to learn that critical self-examination. I think John was a lot more psychoanalytical, he could use what he considered help, where as I was fucking on my own."

"I'm still learning about Alice Coltrane; I can't really claim to know a lot about her. I've heard a lot of music from her - she did a lot of different things - but this is the first of hers that I really listened to. The first time I heard her, I was performing on this all-night radio show in LA and it took place in a church. After I'd performed, I lay down on this pew to sleep and the DJ played this record and I woke up and it just really hit me. It was the track 'Yamuna Tira Vihari' and I was like, ""Oh my god"". It was so immersive and a flood of light, and so ecstatic. I can hardly explain. I was delirious, almost. There were all these strings and an organ, I think, and then her voice chanting and it's so insane. I listen to it a lot. It's spiritual, I think - and I don't know anything about that aspect of it - but I listen to a lot of music in that way. I listen to a lot of early music and Renaissance music, a lot of choral stuff. You know that this is a spiritual record and you almost don't need to know about that aspect of it. It just gets you. But I think that's okay, I think you can do that."

"I still hadn’t really bought a record, so I was still listening to things mainly on the radio, but also watching the chart rundown on “Top of the Pops.” That’s when I became aware of more grown-up music. I liked glam-rock; we’re not allowed to mention his name now, but Gary Glitter’s music was quite good. “Blockbuster!” by Sweet really takes me back to that time because that song starts with a siren. Whenever I hear that record, it immediately transports me back to being on the bumper cars at fun fair. It’s perfect music for that. I was into music like that, but my mum would still get babysitters, because my sister was 8 at the time. So we would have teenage girls come around the house, and one of them had a copy of Pink Floyd’s Dark Side of the Moon. The record was broken—apparently, she had left it on the radiogram and somebody had sat on the lid—so you couldn’t play the first track on side one or side two. But she still brought it around. I had to go to bed for school the next day, but I listened to that record through the floorboards. I was actually quite frightened by the bits and bites of deranged laughing, and I wished that I had not listened to it. But I started to realize that music wasn’t just things that you listen to at fun fairs, that there was a more adult side to music. I think Pink Floyd’s music still stands up, actually. Still don’t like The Wall, though. Animals is as far as I got."