"An amazing shot-by-shot remake of City of Angels. Juuust kidding. Berlin looks as ominous and beautiful as ever. Lots of emotive long shots, perfectly composed. Any movie that stars both Columbo and Nick Cave is bound to be groundbreaking."

"I think one of the main reasons I picked Abattoir Blues and Lyre Of Orpheus was because, as a double album, you get more bang for your buck. Abattoir Blues has a more gospel feel to it, background vocals and big crescendos. Lyre Of Orpheus was generally a quieter record except for the title track, which is one of my favourites. I love the lyrics to that song. One awesome thing about Nick Cave is the darkness and the humour in his stuff. On Abattoir Blues, I love 'There She Goes, My Beautiful World', 'Hiding All Away' and 'Nature Boy'. Just good tunes man. At this point you can hear the Warren Ellis influence. I've always been a Nick Cave fan, since The Birthday Party. My roommate at the time, Charles Peterson [Sub Pop photographer], had a copy of Prayers On Fire and I've been listening to and following Nick Cave ever since then. First time I got to see him he didn't play Seattle, so me and my friends drove three hours north to Vancouver and that was on the First Born Is Dead tour. My favourite ever Nick Cave lyric was going way back to 'Deep In The Woods' [from Mutiny/The Bad Seed] - where it ends with the line, "Tonight we sleep in separate ditches"; that always cracks me up. 20,000 Days On Earth was the best music documentary I've ever seen. It didn't follow the normal " and then he did this and then he did that" of those Behind The Music narratives, it was a surreal and cool peak in to Cave's world. Something I learned about him that I didn't know already is that he likes to eat pizza in front of the TV!"

"When Nick Cave is at his most theatrical the level of interest most people have in him is just elevated. You can feel what they were drinking, you can taste it in the air, you understand what drugs they're on and it's just from sound. It takes a lot to put the other senses into music, and he does it better than anyone else I've ever heard. He's great at every aspect of being Nick Cave, but I think when he's fully involved in story telling he's quite probably the best frontman there is. He really becomes those characters, he's able to live and breathe those people in the way only an author can; he understands them on a different level. This record has some of my favourite lyrics of all time. It's got 'Where The Wild Roses Grow' with Kylie Minogue which is a beautiful ballad, this amazing moment between one of the greatest pop stars of all time and one of the greatest songwriters of all time. It's this mashup that should never have happened, but the world's definitely a better place that it did. I got into Nick Cave late, later than I'd like to admit, when I was in my late 20s. I knew about him before, I'd heard things, but I heard this record when I was living in New York. I wasn't in Gallows any more, I was just painting, and I went record shopping one day. I was buying some Daniel Johnston records but the guy in the shop had a copy of Murder Ballads and I, like a fucking idiot, casually asked 'is this good?' He just said, 'Are you joking? Of course it's good!' So I went back home, listened to my Daniel Johnston records, made some food, then later that night put it on and was like 'holy shit!' and bought every other Nick Cave record they had."

"I would say that Nick Cave is the greatest artist of my generation. I saw The Birthday Party about ten times and they only lasted a few years. I was lucky. I went to see them opening for Bauhaus, by accident. They blew Bauhaus away. I was like, ""What the fuck is this?"" There was this man in a vicar's dog collar, slapping the front row with a bible and a bass player wearing an Australian corked hat. They were fucked – they were more fucked than Iggy and I had given up looking for people more fucked than Iggy. I think The Birthday Party were the only band where Nick Cave was matched by other characters as big as he was. The Bad Seeds are a great band but Tracy Pew and Rowland Howard matched Nick Cave, which takes some doing. I was so lucky to have seen that band. I followed them around and saw them degenerate due to heroin abuse. Then, I watched Cave's transition into The Bad Seeds and I still thought he was a fascinating human being. I could have put The Birthday Party's second album, Prayers On Fire, on this list, but it is pretty unlistenable for most people. I chose The Boatman's Call because it was the first time he allowed himself to get really vulnerable through his love songs. I think it is a masterpiece and shows the breadth of his talent. There are five or six love songs on that record that are as good as Leonard Cohen's. It is a remarkable record. I have met him a number of times. Once, I pretended to be a journalist and interviewed him. He was probably still strung out on heroin and we nearly got into a fight. He threatened me and I didn't back down. A few weeks later, he found out who I was and then slagged off James in the NME. It didn't make me love him any less. It was just who he was at the time. I think he is still very damaged and hurt from his dealings with the press. He's been through the Amy Winehouse/Pete Doherty thing, where the press are sitting like vultures, waiting for him to die. I can imagine that he has coloured his view of journalism. I had a dream about Nick Cave on the night I got married, in which he told me his secret, magical voodoo name. I have never had the opportunity to tell him what his secret, magical voodoo name is, but I hope to one day. I guess that Nick Cave may hate James, but I don't care. I recognise his genius and I love him and wish him well."

"What can you say? He's Nick Cave. He belongs in this mysterious closet. I love that he's so impossible to categorise. I remember hearing his music for the first time when I was 15 or 16, and having no idea what to make of him. I almost still don't. He belongs in a genre unto himself. The one thing I love so much about Nick Cave is that he's a master craftsman. He considers himself a writer, and you can really hear it in his songs in a way that's highly unusual. The way he crafts a song is like no other. He makes no bones about the fact that he's putting a certain kind of poetry to a certain kind of music in a way that just isn't really done nowadays. And he's an incredible performer. There are artists and there are songs, but then there are albums as albums, that really stand up as an entire record. Let Love In, for me, works as an entire record from the moment it opens to the moment it closes. But it also was the time. If I loved a band and they had an album that came out in the late 80s, early 90s, it was probably just more influential, because it was hitting me at a time that was so important. I actually got to meet him last year in Australia. I'd covered 'Ship Song' on a record of Australian songs, so I got to get Nick Cave transmission. Now I just need to get Robert Smith transmission and I'll have the holy trinity."

"When you’ve got a favourite artist, you want to know everything about them, from their favourite colour to what they have for breakfast, and you get that with this Nick Cave documentary. It’s clear how every detail has been carefully and thoughtfully curated by him. I love the glimpse into the friendship between him and Warren Ellis when they’re discussing the time they met Nina Simone, and she said what she wanted to have after her gig: “I want champagne, cocaine and sausages!” They look like little boys when telling the story. It’s a beautiful insight into their world outside of music-making"

"He's the best frontman of all time. Iggy Pop and Nick Cave are up there for me in different ways, but Nick Cave didn't invent the stage dive. I could have picked any Stooges, but Raw Power has everything. I picked this mainly because of my love for Iggy Pop. When Post Pop Depression came out last year I fell in love with it, a collaboration between two of my favourite artists [Pop and Josh Homme], and to see this man play the Royal Albert Hall and stage diving is pretty fucking next level. It was a monumental moment. I was quite young when I first heard The Stooges. I had a couple of weird mixtapes my uncle had made. He was into stuff like The Specials but there were a few random tracks on there and the Stooges were one of them. Now, any time I have to DJ I mainly just play Iggy. He's got so many classic songs that you don't have to think about it, you can just turn to him first, a decent 40 minutes of Iggy Pop, then fill it out with whatever else you need to put in. Iggy's hits are a bit stretched out over his entire career, but Raw Power's got my favourite lyrics he's ever written. It's got the song 'Raw Power' which is just next fucking level and it's got 'Search and Destroy'. ""I'm a street walking cheetah with a heart full of napalm"". If you want to sum up how a man feels walking down a Hollywood street feeling like a badass, it doesn't get any better than that. The name of the album says everything you need to, it's where I took inspiration from when I was trying to come up with Modern Ruin."

"I guess anyone who's read any sort of Nick Cave book will tell you this story, but when they finished this record his girlfriend at the time, Anita Lane, did the painting for the sleeve and he thought it was really, really shit but he let it be the cover anyway. But I like it. I'm a sucker for painted roses for some reason. When I was first in The Horrors, The Birthday Party were definitely one band that we all collectively liked, other than 60s garage bands. They are a fantastic band. In terms of Birthday Party-related things though, I think one of my favourites is Rowland Howard's first solo album called Teenage Snuff Film, but that isn't an illustrated cover so I didn't include it. But Rowland Howard is one of my favourite guitarists and that's probably what I liked most about The Birthday Party."

"When I heard Elizabeth Fraser for the first time, first of all I was so excited that they were based in Scotland and hearing her sing felt like I was in touch with alien life [laughs]. I heard it and I didn't even understand what she was saying but I could feel what she's saying. It was so emotive and so extraordinary. I felt like every time I listened – and I still have the same reaction – when I listen to these records I feel like I'm literally being transported in angel wings. I find it euphoric to listen to and nobody's ever sounded like her before. She's totally unique and just this extraordinary talent. 
 Funnily enough, I once met her at a Nick Cave concert in Edinburgh. She was there and I was just so in awe of this incredible woman – I also loved that she was so shy and so unassuming. She wasn't really a front person, more of an instrument using her voice. 
 I'm not a religious person, but I always think it's like music from the Gods. It's not of this world. I want them played at my funeral. I always say that to my husband: 'Play the Cocteau Twins all the way through my funeral, that's all I want' [laughs]."