"I liked Jerry Lee Lewis, because my dad turned me on to him, so I had this collection of all the Sun sessions that I would listen to a lot. I mainly just listened to 'Whole Lotta Shakin' Goin' On'. I used to love that line, ""got the bull by the horns"", I used that line in 'He's Alright', my song from a long time ago. It's so bluesy and goofy and from a wild man. But then at a later period, I read that book The Dark Stuff by Nick Kent. Adam [Granduciel], my buddy, one of my best friends, from The War On Drugs, he sent it to me for my birthday, which was nice. He wasn't even around, but he sent it to me. Anyway, I couldn't put that down. He knew I would like that book. The best article [in there], is on Jerry Lee Lewis, who's just a notorious maniac and is obviously an incredible piano player. In that article, he talked about a book, a biography about him by Nick Tosches called Hellfire and this book is off the hook, it's unreal. So just around that time I found the vinyl of this one, the Sun Sessions, maybe it's volume one, again I burned it and cranked it in the 'phones and played it a lot when I was driving around LA. There's a song, 'Little Queenie', which is a cover, but he says: ""She's too cute to be a minute over 17"" and I morphed that line in 'Pretty Pimpin': ""a little too cute to be admitted under marbles lost"". Whatever that part of the song is, the first time I say: ""All I want is to just have fun, live my life like a son of a gun"", but it's like a morphed version of that Seeds song, 'Pushin' Too Hard', like [sings]: ""All I want is to just have fun, live my life like it just begun"", so it's sort of referencing those old guys, two different eras. Obviously, if I had to pick one, Jerry Lee Lewis slays The Seeds. But it's just like that down-home, real rock & roll. How do you explore his back catalogue? I think you just start with the early stuff. He had a crazy career, because he had all these hits young and then he married his super young cousin, but he was totally in love with her and she was, and then they went to Europe and during that time they found out it was his cousin and then he was banned everywhere, basically. Then he had a resurgence, he started doing country music and was bigger than ever, so he would always go up and down, but he was a maniac. He would just always be battling demons. He would go back to Jesus. He would go to church where they would speak in tongues, he would just live extreme lives. He would go back and forth, lose his mind, take a million pills, play shows and his hair was flying around, playing with his foot. I mean, he was a bad motherhumper, as you would say!"

"I have a Polaroid of Kurt Cobain on my kitchen corkboard. It's him holding a kitten, two of my favourite things in the world: Kurt and kittens, the two 'k's! I was deeply in love [laughs] with him, on a hormonal level, for a long time. But I think in terms of what he taught me as a budding creative person and an angsty, very troubled teenager. It sounds really cheesy, but he got me through many many days of bunking school. When I think of Bleach, I've just put [points to phone] "bunking school", that's basically what I did. Just that first track 'Blew', there's that bass sound [sings], and it was just so dirty and rank and then there's feedback and his voice - [sings] "NO RECESS!' - on 'School'. What was so exciting about the fact that they had become so loved and so big was that they didn't compromise any of that aggression, anger and rawness. I just love people that become really successful by not compromising anything, and being completely true to their own spirit. At that time, I was starting to writing books of poetry and play guitar in my bedroom. I'd pretend to get the train to school, and then come back in and climb through the window and just spend all day with Bleach and Incesticide on a tape, and I'd just turn them over and [listen to] 'Dive', 'Love Buzz' and 'Floyd The Barber'. It was just the ability to play this album as loud in my bedroom as I possibly could and just scream along to it, and just feel there was a little soulmate, who had this similar thing, just guiding me through. I think that visceralness really gave voice to something that I was finding difficult to express and because I was finding my own singing voice, and very shy about it, it was like really nice to be able to not have to sound, as a girl, pretty and nice - all the female musicians like that, they're very beautiful, but to get that kind of guttural, animalistic scream was really liberating."

"I’m going to go with The Godfather. It’s weird — I didn’t see The Godfather in theaters. I actually saw it on television. I think when I was a little kid, they ran it in a series. It was on over three or four days on television. I remember just being immediately sucked in, and I was a young kid. My mom was actually amazed that I was just so sucked in. I kept asking her all these questions about the film that she had no answer for, and didn’t really care to sit down and watch it, and couldn’t answer the questions, but I was just so curious and I just loved all the drama of it, you know? And it still, it holds up. My wife and I were just watching it on HBO — I think it was HBO — like last night or the night before. They play part one and part two together now. It’s like five hours of The Godfather."

"My first gig I ever went to, when I was nine, was at Wembley Stadium to see the Bad tour. When he died, I was in my bedroom in Brighton and I heard it on the radio and I just spontaneously absolutely burst into tears. Michael Jackson, when I was little, was just this God-like being. You know when you're little and you're singing in the car with your mum and your brother and the sister, the world is so good, there's nothing more fun and nothing better. I don't think I've ever listened to someone singing something with that much joy, he was channelling something so fucking out there and it's like he constantly had a bolt of creativity running through his body, like the way he danced and the way he moved. A consummate dancer, referencing Fred Astaire and Ginger Rogers and James Brown and all these people that he channelled but made completely and uniquely his own. I saw a Spike Lee documentary the other night about Bad. Someone else wrote 'Man In The Mirror' but he took and did all of his - [mimics Michael Jackson] "I'm gonna make a change" - and all of that shit. It's just like, who else would do that? Who else would wear plasters all around their jacket? Who wears white socks with loafers and manages to make it look cool? Nobody was telling him to do that. He's just this fucking eccentric one-off. When he died, I thought the climate of music will never be like that again. It was like he was a child and his brain was a playground and anything he could think of, he bloody manifested that in the world; not many people can do that. The arc of music that he lived through, his education and his training all the way through, coincided with all these revolutions in music, music videos and dance. I just think that that was a one-off thing. I'm getting philosophical now [laughs], but I was watching Brian Cox the other day and his astro-physics thing and he put 50 stones all in a row on a desert floor and he was like "each of these stones represents billions of years in the history of the universe and where it's going to go." Then he went "here's one stone" and he showed about a millimetre of that stone: "in this bit, this is where the conditions were perfectly right for mankind to exist, this is this time, we're here now". When you think about culture and popular music from the 50s through 60s, 70s, 80s, 90s, 00s, it does feel like there has been a bit of a cycle, and I've been lucky that I came in at the end of that cycle. People that were born in the 50s had it amazing, because they got to see fucking David Bowie and punk music, but Michael Jackson was a guy that happened in our lifetime. I get really passionate about music, but music, for some people, it's like a religion and he was like a fucking icon."

"I really like Fargo a lot. It has everything. I love the Coen brothers. I love Frances McDormand, I think she’s just an extraordinary actress. She’s so funny in that movie, as Marge. I’m from the Midwest, I’m from Iowa; so obviously that accent’s really heightened, but it’s something that I hear every time I go home. It’s something that feels like very much where I grew up; that backdrop is exactly where I grew up. It’s definitely exaggerated but yeah, there’s definitely that, “Oh, oh my gosh” where I come from. And when I go home and after I have a couple of beers you’d probably hear it come out: “You betcha!” [laughs]"

"This is hard — to choose five — because there are a few in this genre that I really like, so I don’t know which one to pick. This is sort of going to be [from] an underworld, mobster kind of [genre]. So it’s either The Godfather II, even though I like all The Godfathers — I even like Godfather III; it’s just a different type of movie. But it’s between Godfather II and then also, there’s a movie that I did, and it’s not just because I’m in it — I love it — but it’s a movie called Paid in Full which happened to be a true story about these three drug dealers in the eighties who really made it big, and all this downfall happens. So I would have to put a couple of those in the fifth category. I would say Paid in Full, Godfather II — when Michael [Al Pacino] really grabbed the reins — and Goodfellas. And Casino — I was going to pick two of them, but I’m not. I would say Casino to me — I hated how Sam Rothstein got manipulated by Sharon Stone’s character in Casino. I mean, I just hate how he gets manipulated; that just gets ridiculous to me. I know it’s historic, but I hated that. So those are the three that I would put in as my fifth, in the genre of the underworld. The top of that list, I gotta go with Francis Coppola, Godfather II. Just for the epicness of it. And usually sometimes movies are long for no reason, but it was long for the right reasons, which is very rare. Usually, you’re like, “You could cut out twenty minutes of that,” but for me it was all story. To me, if I had to choose, I’d go with the classic Godfather II."

"I think I was on MySpace, that's how long ago it was, and I was looking for Omar Souleyman. I ended up finding Ali Hussan Kuban by mistake. I found this track called 'Habibi', and it blew my mind. The first bit of drums when it comes in, it's almost like drum & bass, but it's not but it's not folkloric African either, it feels like rock & roll. It's so direct, and it's speaking our language, but it's from a completely different culture, and I just love that. And when you hear his voice… His voice is killer - it sounds like Joe Strummer. His voice just feels so punk, especially later on when they start dubbing it and putting all this delay on it. It was that one song that made me start Melt Yourself Down. I was playing it at a party and people were going mad. By that point I'd been obsessed with this song for months, I was listening to it over and over again. Everyone I played it to was like: ""Oh my god, what the fuck is that?!"". I thought: I want to make a cover of this song, I want to start a band. Because I didn't have a band at the time. Acoustic Ladyland was over. I said: I think I'm going to form a band just to do that one song. The next day when I was coming down from my birthday party evening, I just thought, let's do that - brilliant idea. I phoned everybody and said: ""let's do it!"". I organised a rehearsal and then the next day I came to and thought: 'oh shit, I think a formed a band yesterday'. And then I thought, 'well OK, let's just start writing'. I went upstairs and wrote 'Fix My Life', and then it all came together really quickly."