"An incredible record that sounds as modern today as it did when it first emerged. I was really struck just by this minimalist production and the atmosphere they captured on this record. It's just been one of these records that I go back to over and over again and it's been a real touchstone in my career. I just think it's so beautiful and so tastefully constructed. Again, it's also so unique. There's nobody else who has ever touched them. 

 They've made this insanely perfect record – and I rarely say that, that it is a perfect record – and I associate it with the emergence of myself as an adult where it just felt like a whole different universe than what I had experienced before. It sounded like a whole different planet. 

 I don't even know how to articulate why I love it so much, other than it is a perfect recording. I guess the aesthetic of Colossal Youth is that it is so disciplined. You don't really hear that very often, that real confidence just to let things be really simple and unembellished: it takes a lot of balls to do that [laughs]. I feel too that any new generation that was exposed to that record would find it as thrilling as I did back in the 1980s; you can't really say that about too many records."

"The last film is Animal House. Where I [veer] away from intense dramas. This thing is a perfect comedy, and I saw it right when it came out, as many people of my age did. It’s one of those films — I saw it one weekend; I went back to see it the next weekend and the next weekend. It’s a perfect piece of work and I watch it almost once a year. I’m no expert on it — can’t tell you the cast except for the big names — but it’s one of those things where I don’t even know if it’s any good. All I know is, I laughed in the same places, like Pavlov’s dog. “Hey, I’m a zit!” and the food comes out of [John] Belushi’s mouth — to me that is about the funniest thing I’ve ever seen. Until he does this or until he does that. And you know: “A pledge pin on your uniform,” stuff like that. It’s funny down to my DNA. You know how it is with films. You love them so much, you almost adopt them. Like if there’s a song you really like — you almost kinda wrote it yourself. Because now it’s in your bone marrow. Animal House to me is from a much happier time of my life. As an adult I’m over-serious and worried. But as a younger person, that comedy was just so effortlessly immature and funny. The humor is not the highest brow, but it’s done so well. It works on every human cliche, like the drunk wife of the dean and the dean is over-serious… That was a film I watched usually around Christmas time. Somehow, I always find it in December and I watch it and I laugh sometimes, and I find myself crying because I miss Belushi. I think he was a great talent. I’ll watch him eating the food and I laugh so hard, literally, tears will go down my face. I don’t know the guy but I spoke to him once on the phone, briefly, but I just miss the guy. ‘Cause he’s one of my guys, like Bill Murray and Chevy Chase. All those SNL people — that’s my kind of humor. It’s just a perfect low budget comedy. It’s what you do with great acting and great writing. You don’t need a budget. You just need great acting and great writing."

"I feel like this could be an old song but it sounds very modern as well. I love how sleazy and 70s’ it sounds. I picked it because I went to see Fat White Family a few years ago and before I went to see them I'd stopped playing guitar for a long time, given up on the idea of starting a band and had lost interest in music a little bit, I'd been in bands for years but nothing had ever happened. Then I started going out with a guy who was really into music and he took me to see Fat White Family and loads of bands actually around that time, but I saw Fat White Family play in The Macbeth in Hoxton. “It was so exciting! I hadn't really expected anything, I‘d just heard the name and I thought it sounded stupid. I felt like I walked in completely by accident and then I saw them and it felt how it felt and I just knew immediately that I wanted to start playing guitar again and make loud noises with people and have that feeling more. I knew that I wanted to start a band, basically. “I love the distortion on the vocals, on a lot of our earlier recordings I was putting distortion on the vocal, it's a little bit less now but it's still always there. I think it smooths everything over, or sands it down. I really love the tension and release in ‘Auto Neutron’, there's that moment halfway through where he screams and all the music gets loud and I've listened to it over and over again, trying to work out how that sounds so good. That exact moment is so perfectly timed and mixed. “Fat White Family are so guttural and thrusty on stage. It's passionate. It's hard to explain, but it's just really cool. As The Big Moon we really try to feed off the crowd and what they’re doing, you have the odd show where everyone's just standing staring at you and in those situations it feels really strange to be onstage at all and to be making noise, you realise how weird it is that you stand on a box and make loud music and people just watch. “It’s the shows where people let their hair down and have a crazy time that are the best. That's why we go to gigs, to have a physical experience and be there in a place with a load of people you'll probably never see again, but you'll have bonded by the fact that you love this music. You throw yourself into each other. It's so important that we have a reaction like that."