"""Whole Lotta Shakin'', was the first time I heard him, in Pontypridd, being played from Freddy Fey's record shop. People used to ask me, because I loved music so much, 'What do you think of this record, what do you think of that record?' When Elvis Presley came out, I said he can't be the only one - a white man being influenced by black music in the South. So when 'Whole Lotta Shakin'' came out, my friends said, 'Is that what you're talking about?' I said, 'That's exactly what I'm talking about!' Another guy, playing piano, similar to what Elvis was doing, but even more syncopated, white and from the South. It was unbelievable to hear that record. Then 'Great Balls Of Fire' followed, and 'High School Confidential' was a great record. When you listen to his records, he always sings up, except towards when he got older and the pressures of life got on him. In the beginning, he was always up, you know the ends of everything came up. Little Richard was pushing the shit out of everything but Jerry Lee, he had his syncopation, it was like he floated. He fell out of favour, because he married his cousin - it was a shame, he was still making great records. There's one called 'Loving Up A Storm' and that's equally good. That's on The Sun Years, they're all there. I saw him live in Cardiff in 1962, and Johnny Kidd and the Pirates were there and they were slick... I thought, 'Shit, how's Jerry Lee going to get over this?', because they closed the first half. He came on, and instead of how Johnny Kidd and the Pirates were very aggressive, Jerry Lee was the opposite, he opened up with 'Move On Down The Line' and the band were like [sings] and he just walked on and was like [gestures] showing us the the chord he was going to play. He just sat down at the piano and - boom - went into it. It was like 'Jesus Christ!' You know, it was smooth, it was slick, it was rock & roll but he wasn't like, screaming - he had a different take on it and yet it was rocking."""

""I chose this one because it has 'War Pigs'. It's quintessentially Sabbath even now. They have to play those songs because they are the ones that say everything about that band. Tony [Iommi, guitarist] has said that they were in and out in a few hours when they were making those first records, and this was a pretty quick follow-up. He's a riff master. It's just riffs. It's the essence and the purity of Sabbath that I love, and on this record they really nail it. If somebody were to ask me about Sabbath, what they represent and what they've done, I'd tell them to just go and listen to this record because it encapsulates them so well. They were a Birmingham band too and I think it just shows that a lot of bands from that Midlands region were very prolific. There was a lot of activity going on in and around the Birmingham area. I've always said that the Beatles were responsible for breaking the wall around London down, because before them there was this idea that you had to be from London to be successful. But them being from Liverpool and then later bands like Sabbath from Birmingham sent a message that it wasn't the case and I think that's great. The way that the scene was in Birmingham at that time, we had a fabulous club called Mothers where everybody played. I saw everyone play there: Cream, Sabbath, Pink Floyd. It made Birmingham a real hotbed outside of London for that style of music. We were friends with Sabbath, and I've always considered them to be the inventors of the heavy metal sound. We knew each other and for them to suddenly have this massive impact with this record and be on the radio and in the NME was thrilling. It was before the internet so it took time to get the word out but that made it more exciting to watch for me. When they went to America we were in awe of them because everyone wanted to go to America. Of course we did a few years later, but that was only because of this heavy metal sound that they were responsible for."

"Then I got into film school at the age of 17. Because I was young, the day I turned 18 my mother wanted me to see [Pier Paolo] Pasolini’s Salò. She said now you are old enough to see a precise portrayal of human cruelty. Maybe because my parents escaped Argentina during the dictatorship to avoid ending up in a torture camp like their friends ended up, she had a particular concern about the portrayal of human cruelty and torture. So she said, “You want to know how bad life can turn? Come with me and see this film.” And I saw it. And I know that movie stuck to my mind for, like, 12 years in a very precise, shocking way. And I never felt, for 12 years, the need to re-watch it. I said it was great to see it, but I was not ready to admit the perception of how bad people can be. It’s those very hot and cold — how do you say the people who study insects? -– entomologists. Sometimes you feel almost like an entomologist describing the life of ants. But the vision is sharp. The lesson is sharp. And also what I like about the movie is that, although the movie is about masters and victims, Pasolini — he’s not on the side of any. He’s just — like a dark situation, sharing the pain of one, or the dark joy, or the dirty joy, I don’t know. It’s almost like they’re above the character that they’re describing and they don’t identify with any particular one. You can also have that in The Battle of Algiers. But in any case, at 18, that’s a very major movie. I think nowadays that’s one of the very major movies in the future of cinema. It’s something strong that has not been copied in any way since. And that’s why, in my movie, I wanted to put Pasolini’s Salò poster above the bed, just to remind me that whatever I will do, my movie cannot shock, because of some people before us who made these extremely daring movies that really shocked their time. When people tell me I’m provocative I know that I’m not at all, compared to these masters of cinema."

"This next one is controversial. It's Spiderland by Slint. It actually pipped out Isn't Anything by My Bloody Valentine. They did that because one of the reasons that I really love Isn't Anything is the sound of the guitars (and it's a wonderful record, don't get me wrong) but there's another record coming up that took that place. I think Spiderland was quite a transformative record when I first heard it. It was Dominic played it to me. When we started the band we made mixtapes for each other of music that we liked, which was good actually because apart from one or two, I'd never heard of any of the bands that Dominic liked. He put 'Washer' on that tape and it totally blew my mind… I actually even remember what part of the motorway I was on driving back from Dominic's house to my house when it kicked in back loud. I do have a good memory for motorways. It's got a unique atmosphere to it, it does make sense but it doesn't make sense. It's got a really eerie atmosphere, a really strange album. I love it lots. It didn't really annoy me [that Mogwai were compared to Slint] because a lot of it was through ignorance. We don't actually sound like Slint at all. A couple of songs had little sections that maybe did, ‘Christmas Steps' has a little bit in it that's Slint-ish, but I think a lot of the people that said that just didn't like us and just said that. A lot of those people probably adore Rid Of Me by PJ Harvey, which does sound like Slint! That's a great record too, but musically sounds a lot more similar to Slint than anything we did. But no, that doesn't bother me. Lance Bangs has made a film about Slint, and from what I saw of the bit they showed at ATP, I think it's going to be the best film about a rock band ever made. Unbelievable. I think people are going to be quite taken aback when they see the story of the band."

"This is a project from Ben Wallers and Alastair Mackinven from Country Teasers. We moved in similar circles in the mid-90s. I saw them do the whole of this at the Moth Club earlier this year. You could think 'oh what a funny idea to cover the whole of Pink Floyd's The Wall', but they actually did it really well. I used to be a Pink Floyd fan, and one of the first albums I bought was Dark Side Of The Moon, but The Wall is where I parted company with them, I thought it was just a self-indulgent mess. So I was amazed to go and see that they'd actually made it palatable, they'd done something interesting with it. I know it's not coming from a take the piss point of view, Ben's got an actual affection for that record, and they'd really thought it out. The Wall is one of the most indulgent, over-produced records ever done, and so the idea of two guys on a stage at the Moth Club doing it is like 'how the fuck are you going to do that? Where's the choir, where's all this?' But it worked, it was really good. I preferred their version of The Wall to the Floyd one. I remember going to see the film version of The Wall, and Bob Geldof played the main character, and it was so rubbish and painful, the worst kind of that rock star moaning about nothing in particular. There's something in that record to do with a performer's relationship with an audience that's interesting - there is something strange about getting up on a stage and performing in front of people. In Ben's live performances as The Country Teasers or The Rebel, sometimes people think he's trying to wind the audience up or whatever, but it's always important that the audience is there and you're never allowed to be a passive spectator. I don't know if that's why he finds [this album] an interesting thing to deal with, but you could tell that there's a reason for it, it wasn't just 'let's try and do something ridiculous'. "

"I just recently saw Slacker, actually, within maybe the last year and a half. It definitely marked a certain bracket of youth at that time—and more specifically, Austin. But I love the way he captured this lackadaisical, lethargic driftiness, and conversations and characters and life. I love that trick where people are just talking and walking down the street, and then suddenly someone walks out to get something from the mailbox or something and the camera just stays with them and it becomes their story for a moment. That structure totally fascinated me. Even when I was in Seattle in the ’90s, that idea of people just hanging out, and you don’t even know what you’re doing, you’re just spending time with people and talking philosophy, but it’s not really going anywhere. You’re just talking about things to talk about things, and I really identified with that. I’m surprised I didn’t see it back then. I’ve walked around Austin and done nothing and just had some random conversations with strangers and that spirit still exists there, to a certain extent. It’s not what people who are productive members of society would say is a good way to spend time, but I actually think nowadays that’s kind of a premium. I would like more of that in my life at this point, because just the overstimulation and how much information is pouring in constantly is ridiculous and also kind of false. There’s this sense of urgency and importance that we have with time. And a lot of it has to do with technology and the culture that builds around that. But I think a movie like Slacker is hard for people to watch these days. Their attention spans are much shorter, and Slacker is the antithesis. Many of the movies in the Criterion Collection are atmospheric, and sometimes people are like, “I don’t know what to do with this.” But to relax into it and use that as an example of another way of existing, I think, is important. So Slacker both reminded me of a time period and also kind of reminded me of the importance of that way of being."