"My wife and I had moved back to Britain in 1992 and we were interested in every kind of electronic music. Before we left, we knew people that worked for R&S Records, and they brought around the first white label of Aphex Twin’s Digeridoo. We were just blown away by it. At the time, the space opened up for a lot of small labels like ours [Swim ~]. What was great about that world was that anybody could do it. You didn’t have to be British or American. That’s the great thing about the Boredom Is Deep and Mysterious compilation, which I was introduced to by a journalist. It was all Danish artists and it has the splendidly named Dub Tractor and Double Muffled Dolphin."

"Repo Man was one of the most important formative films of my teenage years. Later, when I moved to LA for a summer, I couldn’t stop thinking that I was actually living it out, because the city is such an extraordinarily strange place full of people who seem like their brains are being microwaved by the sun. Repo Man is a great movie about blue-collar weirdos in a wasteland of people living off defaulted loans, forming their identities through various “codes,” and searching for a sense of community in male fraternity, punk rock, religion, work, government, conspiracy theories, and/or outer space. And as time passes, the more jetting off the planet in a radioactive Chevy Malibu seems like a good idea."

"Apart from increasing the level of actual synchronicity in my real life, reading Carl Jung's Synchronicity has been a pleasant stroll down subjectivity lane. In it, Jung subtly introduces the concept of a woven fabric of time and space that brings us together — past the laws of causality and the physical world — a mutual resonance between individuals beyond our understanding. As we each reflect the grandiose forces of the universe on a micro level, repelling and attracting events and other individuals, the solar system simultaneously plays the backdrop to our personal dramas on this planet, sweeping us up in greater cycles. All I gotta say is I'm a fan of attributing meaning to this process; I'll take Jung's ‘meaningful synchronicity’ over ‘pointless coincidence’ any day."

"This was when Madness were out of action, and ecstasy was in the air, I was checking out this and checking out that, and I remember hearing ‘Loaded’ in a supermarket in Kilburn High Road and I said “Fuck, what’s this coming through the speakers?” But I was reminded of it because I saw Primal Scream at Glastonbury this year, doing the whole album, and it just reminded me what a fucking great album it was. ‘Higher Than The Sun’, I think, was their masterpiece. I don’t think anyone got it better, that ethereal space between rock and dance music, than them with Andy Weatherall. I thought Happy Mondays were great, and The Stone Roses, but I thought Screamadelica was really sensational."

"I stole that from my brother. I was like, ‘What is this?’ I was in seventh grade or eighth grade and it was another album where it kind of takes you somewhere. You are like, This isn’t human. This was just dropped by a spaceship and it’s not a person singing this song or creating these beats. This is just a space alien.’ Portishead’s production is just insane beats you would expect to be on a KRS-One album. But then there's this little white girl with an angel voice singing over it. It was a cool juxtaposition. I like ‘It’s A Fire.’ That’s a chill song with kind of a military drum thing going on, like a drummer boy."