"I loved Drive. Drive is one of my favorites, actually. Yeah, I would put that down. Stylistically, it was like nothing I’d seen in a while. The soundtrack is one of the best soundtracks ever — I loved the soundtrack — and the way that he directed that; there are so many interesting directorial choices there. Ryan Gosling and Carey Mulligan — their falling in love with each other, the kiss that is in that movie in the elevator, and then the violence that proceeds right after that. And it’s one of the most amazing movie kisses ever because you kind of sense that this thing is coming right afterwards, and it’s so, so brutal. There are so many elements of that movie that I think are really, really well done. Great movie."

"That's pretty obvious. When I got turned onto it, I was like, "Okay, I'll pick up the guitar!" My favourite parts of it are the sonics. It's nothing like anyone's heard. Pete Townshend was like, "Alright, I quit the guitar." [laughs] That instrumental, 'Third Stone From The Sun', boy, how good is that? There's a video of Stevie Ray Vaughan - have you seen that? He did it fucking note-for-note! It's incredible! It's like, "Who the fuck is this guy?!" I just love it. I would say around 12 years old when I bought it. Then, I loved the poppier ones, like 'Fire' and obviously 'Purple Haze', had to learn that riff. I figured out what he was playing through a painful process. I'm not as fluid on guitar as my little brother, who can hear it once and just do it. That song has a chord, an E7#9 - I use it a lot! I use it on 'Tame': it's the one where everyone's hitting three chords and I'm hitting that chord and that's all I'm hitting. It's one of those chords that's either a question mark or an answer. It's very neutral, but more interesting than a major chord."

"The Painted Ship are a psychedelic garage band from Vancouver. My favourite kind of garage is not so much straight ahead, riff driven garage, but warped and atmospheric garage – that’s what I love to listen to. “Like a complete loser, I’ve made a playlist on my iTunes called ‘Mood Garage.’ They’re the kind of songs that are perfect for when you’re in the car late at night. It was Rhys Webb from The Horrors who first played me this song a couple of years ago, I told him about my ‘Mood Garage’ playlist and this specific sound and he suggested ‘Frustration’ and it was totally right. “Garage is an amazing genre. The name comes from kids at home making music with only the means available, but then you’ve got all these weird records that came out of it and went in another direction. It’s like it becomes more than the sum of its parts, it has something unearthly about it that you can’t pin down. It’s sort of like a darker version of the ‘Setsunai’ bittersweet feeling. It still hits you in the same place, but it brings you down another path. “Artistically, garage music has impacted me because of how instinctive the genre is. When it comes to music that actually inspires me to want to make things, it’s always music that is a little more instinctive and spontaneous. I remember when I read Rip It Up and Start Again by Simon Reynolds, this whole history of Post-punk that made me want to start like, four different bands. When you read about people who are making music with simple means, it feels spontaneous and it makes you want to play. “When The Horrors first started there wasn’t any discussion or question of anything, we didn’t even know how to be in a band. So it was all instinctive, a raw transmission of emotion and expression. And that’s why I love garage – it’s through this raw expression that a whole movement of kids in parents’ homes and garages made something that sounded, in the best cases, like it wasn’t even from this world."

"Their songs have these great back-and-forth male-female vocals and really introspective lyrics that I love. We toured with them in the UK with Bikini Kill so I met them and was like, "Jesus Christ, bands here are just so much better than in the US" and, "Oh my god, they're so fucking good!" They made me feel like they were a band that was happening in the now. They reminded me that even when you're not in your twenties or whatever, it still has to be about now and not about yesterday. You can write a song about yesterday but the reason you're doing it is so that you can get to now. Your work has to be about now and not about yesterday: "This is something I'm thinking about today." All the beautiful, humble moments on their album, the musicality of it is just amazing. I've seen them live like a thousand times and they've never disappointed me – Rachel [Evans] and Ben [Phillipson] singing together is just an absolute dream."

"This next one, there’s an actress tie-in. The next one is Alien. So, I clearly have a bit of a Sigourney Weaver fetish. I love the movie Alien. I wouldn’t say… I mean, I like sci-fi movies – I’m open to them – but I’m not a huge sci-fi buff, I guess. I really love watching the older sci-fi films that had the man-made special effects, the pre-CGI practical effects, and I think that Alien is one of the greatest examples of that. I think that movie is so cool. For the time when it was made, the effects, I think, hold up completely. You know, the scene with the alien popping out of the guy’s chest. It’s gripping. And also, it’s very dramatic as a film. It’s not as action-heavy as you might think it should be in your mind; because you’re setting up the whole thing, there’s a lot of silence. There’s a lot of people alone – you see them on their own. And obviously Sigourney Weaver is so incredible in it. I don’t think it was the first time I saw it, but the first movie that I saw in the Cinerama Dome at the Arclight was Alien, so I think it just cinematically took my breath away. You know, by that time, The Matrix is getting made, and you’re having these cooler effects and other things going on, and I still found it so admirable that something like that holds up and cinematically is so beautiful."

"Robert Ashley is famous for having made these so-called operas, a lot of them were for TV. He works with the voice in these really great ways. I love this record because you don't know exactly what's going on: there's a lot of mystery. You have to piece together what's going on within the minutiae of the musical environment. Or you don't and you just listen and enjoy it. The sounds are very beautiful. Ther's a distant organ in the background just playing this one chord and you can also hear a bass. You can hear this woman whispering in French but you can barely hear her. Then this male singer appears but there's some crazy modulation on his voice. So all these crazy elements combine to create this crazy environment that you want to listen to for maybe ten minutes, because it's not like a song but it's got the elements of a song: you've got a bassline, you've got these instruments playing harmonies and you have voices. But you can't tell what's going on. It has an atmosphere. The album is called Automatic Writing but the track I'm talking about here, specifically, is called 'Automatic Writing'. It's important for me because it reinforced this idea that you could put beauty into music without necessarily using sweet melodies or whatever. I do have that in my music, but I also like the drama that can come from just… voices."