"I loved Primal Fear. It was my first introduction, I think, to Edward Norton. I don’t know what he was in prior to that. I love these complex storylines of scandals of the church and the greed of Richard Gere and then, of course, obviously that they fooled us for so long. I really fell down the rabbit hole and it turned on a dime and blew my mind. Frickin’ Edward Norton is such a genius. I hate to say this but I get jealous very easily [laughing]. If it’s a fantastic movie, or fantastic director or fantastic actor. Like, doing this play [Spring Awakening on Broadway] I remember [when seeing the original Los Angeles production] saying, “I’m jealous I’m not in it,” and that’s the biggest praise I can give. Honestly, I think Edward Norton is one of the best of our generation. I’d like to call myself in his generation."

"This is very similar to the Sly record in terms of concrete, abstract funk. When you hear it, it sounds really dense and dark. It doesn't sound organic, it sounds like it's from a concrete jungle. It never goes anywhere; it's in perpetual stasis, almost meditative. A few years ago, they released the sessions and takes, which is a bad thing to do because Miles would jam with his band and then carry on, sit and cut them up, mix them and turn it into Miles albums. It was very well arranged, and that was part of the fucking part of the aesthetic. Then to release the jam sessions for me was a bad idea because it's like releasing the out-takes of somebody's film. Whereas what Miles achieved with On The Corner was incredible. It's a big favourite of Primal Scream, we always used to play it on the tour bus. Miles was never about high energy, he's always cool and there's always a distance with him. All funk records are visceral and in-your-fucking-face, but On The Corner is quite cold too. It's an art funk record. He knew jazz music was old and didn't want to be stuck in the past. Miles was interested in young people and wanted to evolve with what young people were listening to. He was an open and receptive artist – that's the only way you can move forward with new energies and new ideas. We've learned from Miles Davis as a band, too: when you make music, you've got to make it for the future, even if you're not aware that you are."

"I love Power, Corruption & Lies. I also love Movement and I play it all the time, as it was the first album after Joy Division. It still has a bit of that Joy Division darkness, almost with a sense of defeat about it, which is kind of how I felt when I was a teenager in the late fucking '70s. But I think Power, Corruption, the record after it, there's more light in it. It's more joyous, it's more lyrically lighter. And I think Bernard Sumner found his own voice, loosened up and just became Bernard when he came out of Ian Curtis's shadow. This album is a huge inspiration and I was fascinated at the time by the way that New Order would take electronics and the sequencer sound, which I loved from Donna Summer's 'I Feel Love', and they took it and applied it to rock & roll. They first did this with 'Temptation', which was released before 'Blue Monday'. I was previously in a band on Factory called The Wake and we'd opened for New Order. I'd had a tape recorder and I'd recorded some of their shows. They were playing 'Temptation' live, long before it was released as a single. I was obsessed by the way they took that tut-tut-tutut-tut-tut-tut sequence inspired by Donna Summer and Giorgio Moroder's arpeggio sound. To this day, that's still a big influence on Primal Scream. I'm just saying thank you to Bernard, Hooky, Stephen and Gill because I remember buying that record when it came out with a beautiful Peter Saville sleeve. The reason there's no writing on the album cover of Screamedelica is in total homage to Saville and Factory Records. A lot of our albums have no writing on the cover either. I mean, 'Age Of Consent': What. The. Fuck. Is. That? Playing with New Order back in the early '80s was like a fucking dream at the height of their fucking power!"