"I feel like this could be an old song but it sounds very modern as well. I love how sleazy and 70s’ it sounds. I picked it because I went to see Fat White Family a few years ago and before I went to see them I'd stopped playing guitar for a long time, given up on the idea of starting a band and had lost interest in music a little bit, I'd been in bands for years but nothing had ever happened. Then I started going out with a guy who was really into music and he took me to see Fat White Family and loads of bands actually around that time, but I saw Fat White Family play in The Macbeth in Hoxton. “It was so exciting! I hadn't really expected anything, I‘d just heard the name and I thought it sounded stupid. I felt like I walked in completely by accident and then I saw them and it felt how it felt and I just knew immediately that I wanted to start playing guitar again and make loud noises with people and have that feeling more. I knew that I wanted to start a band, basically. “I love the distortion on the vocals, on a lot of our earlier recordings I was putting distortion on the vocal, it's a little bit less now but it's still always there. I think it smooths everything over, or sands it down. I really love the tension and release in ‘Auto Neutron’, there's that moment halfway through where he screams and all the music gets loud and I've listened to it over and over again, trying to work out how that sounds so good. That exact moment is so perfectly timed and mixed. “Fat White Family are so guttural and thrusty on stage. It's passionate. It's hard to explain, but it's just really cool. As The Big Moon we really try to feed off the crowd and what they’re doing, you have the odd show where everyone's just standing staring at you and in those situations it feels really strange to be onstage at all and to be making noise, you realise how weird it is that you stand on a box and make loud music and people just watch. “It’s the shows where people let their hair down and have a crazy time that are the best. That's why we go to gigs, to have a physical experience and be there in a place with a load of people you'll probably never see again, but you'll have bonded by the fact that you love this music. You throw yourself into each other. It's so important that we have a reaction like that."

"I chose that because it made its biggest impact on me, because it was the first one I heard [of all of Cat Power's albums]. I remember hearing 'I Found A Reason', which was her Velvet Underground cover, on John Peel late at night when I was driving around and having a cigarette when I shouldn't have been. And I heard John Peel saying ""listen to this amazing release by Cat Power, 'I Found A Reason'"". I just remember hearing it and being like this is a woman I can love forever. I went to see her promote The Covers Record at this tiny gig at Bush Hall. She went on stage in front of maybe 100 people and then totally freaked out, then she was fine and she played some amazing songs and me and my boyfriend sat right at the front. We got to meet her and she just cuddled us: ""You sent such good vibes throughout the whole show, I was looking at you the whole time because was everybody else was so scary"", and I was just like ""I love you!"" So it was just interesting; the other reason I chose The Covers Record is because her interpretations of 'Wild Is The Wind' or 'Satisfaction', 'Sea Of Love', it's like picking out classic songs, like The Langley Schools Music Project, and turning them on their head. For me, in 'Wild Is The Wind', that song could be David Bowie's version, it's sad, it's quite mellow, but she's just distilled it down to one particular aspect, which is really heartbreaking, dark chords, really so minimal. I love doing covers myself. I love changing your whole take on them and exploring a completely different side and changing the arrangements, and the chords even, and changing the lyrics sometimes, it almost becomes a poem that you're putting to something different. I think she's a connoisseur at that and probably because she doesn't play amazing piano and guitar, she does really simple backing, but it becomes almost like this spoken word poem. When she performs, she pushes herself to the edge. The fact that she finds it so hard, you're living with her on the edge when you go to see her and sometimes it's frustrating and you get fed up with her, sometimes you're just willing her the whole way through and in love. I think it's really interesting, the emotions it brings up in the audience, how they deal with that - some people get really fucking angry and some people cry. I think it's like a really interesting psychological public experiment at some of her shows I've been to - I've been to maybe twenty of her shows, and sometimes it's a very uncomfortable, strange process, but it's like Andy Kaufman and stand-up comedians or public artists that just stage these really bizarre events and people's reactions to those. With most people, you go along, and they're there to put on a show and be competent and be amazing, and that's what people think they're paying for these days. We've said about the Langley Schools thing, she never grew out of that childlike weirdness; there's something about all of it that's unapologetic and being you, and if that presses people's buttons because they want you to be something else, they want you to carry them through, then I find that really interesting as well, what it does to the listener. What do you want from an album or a musician? What I want is to be taken to their rawest place. If that's uncomfortable sometimes, then that's cool. You just have to be with people and accept them."

"I think it's because when I was 12 I had Debut and I really liked that because I was just dancing around singing and enjoying it, quite an innocent record that had some beautiful moments. But really for me Post is an album I heard that was unlike any other at the time which was combining electronic and organic elements and I just really enjoyed delving into that sonic universe that she created, it's so experimental and forward-thinking and unique to her, but it perfectly fit into that time and landscape. I think it's really timeless. I think she has become a certain thing now but on those first four or five albums, for me, she was such a pioneer and so fiercely dedicated to her art and so unique and so closely linked to themes of nature and passion and love and the body and raw childlike feelings, and using all these really exciting instruments and sounds to put across her pop songs. 'Army Of Me' was the first single that came out - [sings intro] - POW! Clanging, massive drums and Michel Gondry was making the videos and I think the album just sonically draws in so many amazing, London early to mid nineties influences. But then having songs like 'Cover Me'. I remember hearing an alternately recorded version of 'Cover Me' which she actually did in a bat cave! You can hear the bats squealing and flitting about, so there's all these kind of sub-bass, deep 808 beat noises that I got really excited about, but she's got like bloody harpsichords and harps and stuff like really archaic chamber music sounds mixed with really heavily electronic digital sounds. So that was a real education, combining those things, because for me, if it's too much of one or the other I miss them a bit. Even on Berlin there's a lot of real instruments but there's synths and stuff going on too - I love it when people combine those things. Also, the eclecticness of the record: she's not afraid to travel from songs like 'I Miss You' which is that type of fanfare to 'Army Of Me' which is dark and techno and 'Hyperballad', which is like fucking four-to-the-floor, but just with all these strings it's super-emotive, a Technicolor dream."