"This was a record that Chris Taylor or Chris Bear introduced me to in college. We were eighteen or nineteen in New York, they were studying music and I didn’t know what the hell I was doing! I was trying to be serious about linguistics but I was kind of bullshitting myself. “I’d started writing songs but I was very secretive about it and didn’t take it seriously. I played them to Chris Taylor, he was probably the first person who heard anything I’d done, but I refused to admit to myself that I took it seriously in any real way. When I went to college I decided I wasn’t going to do music, because there was no reason for another white kid to play jazz guitar. I ended up finding songwriting instead and it became a different thing. “This is a reference point we’ve talked about over the years, when one of us mentions this record, everybody knows what we’re talking about, we talked about it on Painted Ruins in certain places. The whole basis of the groove is built on an organ drum machine and the sound of it is very ahead of its time. It’s very groovy but it’s not beating you over the head, it’s an emotional tune that has this subtly danceable beating heart. There’s a soulfulness and dreaminess to it, it accesses the emotional part of you with this really pointed and tight rhythmic quality. “We never wanted to approach music from a folky songwriter’s standpoint. Certain parts of our music have come out that way because of what we play, but it’s remembering what it was like as a teenager, being really into music from a players’ perspective and finding the emotional quality in that, trying to build something that’s soulful and hits you without beating you over the head. I love it when people can pull off that subtlety, where they’re barely touching the instrument but there’s this rhythmic quality to it. “’Aht Uh Mi Hed’ is a touchstone that’s stuck with us, it’s an aspect of music that we really appreciate. We don’t actively strive towards it, but it never quite leaves our minds."

"I’m as influenced by contemporary filmmakers as I am by past filmmakers, so for me it was important to put two of them on here. The two films that my crew, my cinematographer, and I talk about when we’re going out to shoot are The Secret of the Grain and Fish Tank. They’re reference points for us. The lived-in intimacy of The Secret of the Grain and those two dinner sequences! The story is great, it’s fun, it’s engaging, but those dinner scenes are moments that have touched me very much. I felt, for the first time, that I was truly living with people I didn’t know. The film has these ongoing dialogue scenes that just feel so natural, even though they’re constructed, and those kinds of scenes set the bar for what cinema can do. Fish Tank I love because I love Andrea Arnold, and I can relate to this young protagonist who isn’t so goal-oriented. It’s not like she’s got a mission. She’s just trying to grow up, and she’s as confused about her life situation as anyone else. And it leads her to make some bad decisions, but ultimately we really like her because we know what she’s going through. She’s never presented as someone who we need to decide whether or not she’s likable. There’s an ambiguity to her presentation—you’re just letting her be herself. To me, it’s one of the great examples in modern cinema where a director casts someone and lets the person take over the role, as opposed to tailoring the person to the role as written. I think the movie benefits from that, and everyone around her just falls into her world. Michael Fassbender—you’ve never seen him like that, not because he’s better than he’s ever been, but because he’s forced to deal with the energy of this girl who’s just being herself. So this is just one of those movies I have to keep showing to people who haven’t seen it and have to keep watching to remember that representation of that girl, which is as good as anything I’ve seen in modern cinema."