"This takes me back to when we were on tour in America with The Bends, and we had all our equipment stolen. We only had three days to buy more. I remember Jonny and I travelling into this guitar shop in San Francisco, where I saw this Telecaster Strat I fell in love with, then me, Colin, Jonny, our soundman and our tech hiring this van to drive six hours north. We had only one cassette to play in it, which had Swervedriver's Ejector Seat on one side and Marvin Gaye's What's Going On on the other. I'd never heard it before. I was like, what is this? Oh my God! All I knew about Marvin Gaye was that he'd been involved in Motown. After this, I got trainspotterish about the album, and its band, The Funk Brothers, and how they made music.

This was really influential on the way I made music from that point. Before that, my bands were Pixies, Nirvana, The Posies and other grunge stuff, but I'd more or less reached a saturation point with all that by 1995. Hearing What's Going On? was like suddenly hearing music in five dimensions; it really made me think about how I wanted to contribute sonically to OK Computer. I thought 'Inner City Blues' was the greatest song I'd ever heard in my life, and it's still up there for me. This music felt like truth. It elevated and transported me. It was music that made me love the music I was trying to make."

"The running themes of my top ten list are so perfectly combined in News from Home, which features the most exquisite first-person voice-over and a series of static landscapes of New York City. I had the incredible experience of watching News from Home on the night of October 6, 2015, the day after Chantal Akerman took her own life. I had awoken to this news from Paris on the morning of the sixth. Having spent the day trying to comprehend this incomprehensible fact, I found myself drawn to Hulu that night, choosing to process my grief by watching one of her films. After the first few minutes of News from Home, I realized to my amazement that I had actually never seen it despite thinking that I had (shameful confession: I realize now that it was Hotel Monterey I had seen long ago, and all this time I had somehow mixed up these two titles). Of course, I have seen many of Akerman’s other works and have always considered her a huge influence on my own—especially her formal approach to lengthy shot duration and the static camera and her affection for the mundane. But seeing News from Home, particularly at that moment in time, was such a revelation. It seemed so uncanny that my own cinematic style of mixing static, durational 16 mm urban cityscapes with voice-over would so resemble Akerman’s style in News from Home—and I make this comparison in the humblest way possible. As the final twelve-minute shot of a Manhattan skyline with seagulls unspooled before my bewildered and bleary eyes, I discovered that the conclusion of my new film, The Royal Road, which features a single seagull flying across the San Francisco skyline, pays uncanny homage to Akerman’s film."

"The avant-garde comes to the mainstream. At the time, Terry Riley was an avant-garde composer. He still is, but he's probably more so known for his work in the late '60s. Indian music at the time was coming into focus because of The Beatles and psychedelic music. So his compositions - especially this one - were really hypnotic, very mantra-esque. I think Terry Riley influenced more in a pop sense than in a rock sense, and I think A Rainbow In Curved Air has probably equal influence to Sgt. Pepper's. And you can quote me on that! It's obviously where The Who got the name 'Baba O'Riley', where the band used synthesisers - that's from Terry Riley. We cut our teeth in Buffalo, NY, in the early '80s and in that time the place was at the height of avant-garde. They opened a music school where they featured all the greats - Terry Riley, Steve Reich and Tony Conrad - just a ton of avant-garde composers, who later became more famous. It was such a central point for the electronic avant-garde movement, one that hadn't been around since San Francisco in the late '60s. It influences everything that Grasshopper and I do. We have strange polarities of the melancholy, romantic side of us. Then we also have the avant-garde side of us. The rock & roll side of us is probably the least prominent in our music. One of our albums, Snowflake Midnight, is also our homage to that bygone era of electronic music. Once you put it on, you think, ""Oh that's where all that William Orbit and Moby stuff comes from."" If you look all the way back, that's Terry Riley. It was the beginning of synthesisers, arpeggio synths also, which eventually became modern dance music. It was his motif of making it more hypnotic."