"This is a record I discovered long after the fact, but it’s become one of my favorite albums of all time. I love it even more because it comes from that magical late ‘80s period when there was so much amazing music being made. It’s like other records I’ve chosen because it has its own sound that permeates every track on the record. A while back, I treated myself to an original pressing of this. It was one of the few times in my life I have actually bought one of the albums that hang on the wall of a record store rather than in the racks! It was expensive at the time, I think around £30, but when I think about how many rounds of drinks I bought that cost more than that, it feels like money well spent. This is Larry Heard, the bedroom genius; it’s such a distilled version of his talents. And as such, I found it really inspirational when I started to want to make my own electronic music. I record under the name GLOK and Mr. Fingers is one of my main influences. My favorites are ‘Can You Feel It’ and ‘Washing Machine,’ but it’s all excellent."

"Ingmar Bergman’s masterpiece was an international critical and financial success, winning four Oscars. And that was in its truncated, just-over-three-hour version. Included in this set is Bergman’s full version, made for Swedish television. Presented in four parts, it comes in at over five hours, nearly twice as long as the theatrical cut. It’s truly a marvel to behold, intricately detailing every aspect of the lives of the Ekdahl family in turn-of-the-twentieth-century Sweden. As it brilliantly charts a span of several years through the eyes of children, the film is equally detailed with its adult characters’ points of view. Equal parts joyous and tragic. A marvelous and loving tribute to Bergman’s life in the theater. Full of magical realism and stark, painful reality. A meditation on death and a celebration of life. Dickensian in nature (Dickens is said to have been a major influence on Bergman for this film). Truly unlike anything else he ever did. It recalls the great epics of David Lean, which were massive in scope while also being concerned with intimate details of the human condition and its fragility. A masterwork in either version. Watch them both and never be bored for a moment."

"ARE YOU KIDDING?! Magical Cloudz?! Majical Cloudz is two guys from Montreal and this record is only two years old. I bought it on a whim because I was intrigued by the strange spelling and a friend had seen them live and said that it was one of the most startling experiences of his life. I didn't listen to it immediately, but a couple of days after New Year's, I was feeling crushed, it was raining, I had it on my headphones and there was something so private and discreet about it. It's all to do with the lyrics and the singer; the music is very understated, there's no real progression in the songs. Unobtrusive, discreet backdrops for what it might feel like stumbling across an AA meeting or a domestic argument or reading someone's diary. There's a confessional, disarming honesty about his lyrics, they're poetic - there's some imagery that adds to the strangeness in a way, but when I listen to it, I feel like I have a companion in my head, the same as when you fall in love with a book. Of all the records that have recently come out, it's the only one I feel like I'll be in love with for a long time, it's very special to me."

"Close Up by Abbas Kiarostami. The way that that film blends fiction and reality, it is a north star for me. He made a movie about a contemporary Iranian filmmaker named Mohsen Makhmalbaf, and he read an article in the paper about a person who went around pretending to be this filmmaker in order to scam a family out of money and resources. And he went and cast the guy who was going around pretending to be Makhmalbaf, and he cast the real family that he scammed. And he recreated each scenario as if it was a script. He used real life as a script, and you’re watching the real players re-enact something that happened recently in their life, and the result is magical. The result is something that only film can give you. It makes you question your own self. It makes you question, what is a personality? It makes you question empathy. Because you start to actually see that this guy is actually a great actor, the main guy. And then you have one of the most complicated moments in all movies, when Makhmalbaf himself picks up the guy from the prison and rides on a motorcycle through Tehran. Masterpiece"

"That is the album. It’s got all the songs on there that I love. You know, like ‘High Plains Drifter.’ That was an era of Beastie Boys that was between where they were like frat-partying animals and were like, ‘Whoa, hold up. We can really be artists with this rap thing.’ I think they were on the first album, obviously it was a breakthrough. I think this was their statement album—their first statement album of many. I am a huge fan. “To be honest, I could have gone with Check Your Head or Ill Communication since those were more my era of when I was deep in music. I think I stole my brother’s Licensed To Ill tape. The first one I bought on my own was Check Your Head. After I got that I was like, 'Oh, this is the shit.' I went back to go buy Paul's Boutique. And Paul’s Boutique, along with the other few albums I chose, just sounded like it was from another planet. It existed always. There was nothing wrong with it. The voicemail, outgoing message about Paul’s Boutique: 'We are here in Brooklyn.' It was like, this is for real, I could go there. I could call that number. It just seemed, like, magical."

"To say anything is my favourite album is a bit of a lie because I change my mind from hour to hour, but if I had to choose a desert island album it would be this. I have such a personal sentimental attachment to it because I used to watch that film with my dad, and when he died there was a video cassette left and I watched it a lot. It got me into drawing, and the music is the first musical experience I ever had when I wanted to figure out a song. I was only 6 or 7 but I wanted to figure that music out. I think it made me always prefer minor chords and gloomier sounds. Watching that film, I remember feeling like it was almost magical and also terrifying. It's quite a violent film, and sexual, it was quite overwhelming. I was terrified and excited at the same time. It was the start of a burst of creativity for me, it started me drawing and the first drawings I did were always these alien landscapes – like most young boys. I started drawing and playing music all because of that album. It wasn't until years later that I realised that this amazing score was by this guy Alain Goraguer."