"This record is incredibly passionate, and it's got incredible lyrics. I've since become friends with Wes [Eisold, frontman] and he's a great guy, a great writer and musician, but this record just holds so much weight in my youth, at a time when I was quite lost and hardcore really picked me up. They were emerging at that time and they're from Boston, which just seemed violent to me, and I needed that violence in my life. I stage dove to American Nightmare in Camden Underworld in 2003 and dislocated my arm, and when I saw them play it was something hard to ignore. They looked like mods, like they should have lived in Brighton in the 70s. It was so weird to see a dude in skinny jeans, DMs, and a Fred Perry shirt but screaming his guts out in North London, surrounded by kids in black hoodies, it was bizarre. I still have it in my workout playlist now and that's a good 15 years on. When I hear the song 'AM/PM' it makes me want to stage dive again, and I love that it can make me feel like that so late in the day."

"The last film I’m going to list is a documentary about Red Hot Chili Peppers recording Blood Sugar Sex Magik that was called Funky Monks. It’s about an hour long, it’s shot in black and white, and it’s about them recording Blood Sugar Sex Magik in this house in Beverly Hills. Blood Sugar Sex Magik was arguably the most important album of my young adult life. It sort of put me on my musical path. I guess now, looking back on it, it’s not at all ironic that Funky Monks was the first documentary that I ever watched. It sort of set me on a documentary path, where it wasn’t just narrative movies that interested me, but also real-life stories told in documentary form were now available to me. It greatly influenced me, not only in the Tower Records documentary, but also in all the documentary work that I’ve done. It is, I find, an incredibly engaging film about a subject that I am very passionate about, which is that particular record, and that particular time, not only for that band, but for music in general."

"As someone who’s really passionate about what he does, I have a lot of opinions about documentary films. A lot of documentary filmmakers don’t really think about their films cinematically, and some documentaries almost seem like they were just copy-and-pasted like Microsoft Word documents. I’ve always loved how Errol Morris takes a wrecking ball to those conventions. His films are constantly exploring the idea of what a documentary is. His films tweak and twist reality, and they don’t just try to serve the audience digested ideas on a platter. If I had to pick a favorite, it’s his transcendent 1988 classic The Thin Blue Line, which recounts a murder case and then riffs and re-riffs on it like a Bach fugue. It was the first film to really use re-creation and reeneactment scenes in a new and highly cinematic way, both to explore a case and to challenge a viewer’s own bias and subjectivity. Nowadays, its approach and editing style loom over every one of these multipart true crime series and podcasts. The Thin Blue Line is almost like the influential band that’s been ripped off so often that new converts may not realize just how significant it is."

"I found Devin when he was around seventeen years old and I needed a singer for my band. So when I heard tapes of him singing I thought there was really something there but the music he was playing was bizarre; it was really heavy and industrial and I thought, “It’s really good but I’m not supposed to like this because I like this…” But when he was working with me the poor guy was stuck under my thumb because my music is not a democracy, it’s a dictatorship. I want things a certain way. Devin wasn’t writing at that time but when he went off and did his own thing and when he did… I’m going to use the ‘G’ word here… I think he’s a genius, I really do. He’s so passionate, so intense and – at times – so tormented, but there’s this redeeming quality of deep, deep beauty about everything he does. I think that in the future when people evolve, if they go back and actually listen to musicians of the past, when it comes to metal, he should be number one. There’s stuff in his catalogue that nobody else would have the balls to venture into."