"This was what my sister was listening to in her room and when I heard it there was a defining moment. We all have these pivotal moments where there’s a sense of clarity where we can recall what we were seeing at the time, we can remember what things smelled like and their color and I remember walking through the hallway of our house and hearing ‘Heartbreaker’ coming out of her room and the world stopped. I was stunned because it struck such a nerve and had so much energy. Then when the solo came on I discovered another dimension of music. I was probably ten or eleven. I hadn’t picked up a guitar by this point but that’s when I knew I had to play. I had seen guitars since I was in kindergarten and was obsessed by finding photos of guitars but after hearing Led Zeppelin II I crossed the line between just liking guitars and wishing I could play one, to saying, ‘Ok, I’m going to play…’"

"A film soundtrack so good no film is deserving of it. I've been listening to this record for 20 years. Eno's one of the forefathers of using the studio as an instrument. He gets credit for that, but actually maybe he reduced what pop music was – produced, studio pop music into its essence, to create this ambient music. He's definitely someone who I fell in love with as I was getting into a lot of new approaches in music, all of his music I really love. Another Green World, Music For Films, Apollo - those are the ones I really took to. There is an odd parallel between this record and the Morricone record for me – because once you really get into this stuff, you think "What film would be worthy of this kind of music?". You can't really imagine it. I don't know how liberal he is about licensing his music, but I wonder if any film has dared to license this music– because that's a tall order."

"I didn’t play on that one either, and also heard it for the first time while listening to the radio. It just has an indescribable feel about it that involves a lot of yucky things from life. You can watch a movie and it will have horrible bits in it, but it will have nice bits in it too, and if you didn’t get through the horrible part of the movie, then the nice bits wouldn’t be as nice. That was one of those songs like that, where it was nice, but it was horrible as well. For me anyway! I could include more from his career later on that I really liked, of course, but certain ones just hit me as a normal member of the public, so I wasn’t going: “Oh this is a Bowie song, I better hear it,” I just heard it and it caught my attention. That just happens sometime, when something is playing in the background and then it just grabs you, while you might be doing something else."

"My older brother used to play this a lot in the house - the piano sample in 'C.R.E.A.M.' is probably one of the earliest things I can remember. It predates the first records I fell in love with, it was just always getting blasted out of his room. I didn't actively keep up with hip-hop - all I had access to was through him while I got more interested in guitar and rock music. When we were mixing Antidotes, I started to go back and actively rediscover a lot of the stuff my brother had been listening to at the time, from around '94/'95. I love the production, the lyricism and how evocative this incredibly captivating cinematic cartoon world is. I love the whole gang mentality, their self-sufficiency, the grittiness of the production. I don't think I've taken direct musical influence from them, but I admire their ethos and the self-mythologising, the way they turned it into something much bigger than just the tracks. It's just a fucking amazing record."