"I saw him on the Jay Leno show, and I thought 'wow, this is a good band'. It was like the Kings of Leon, southern rock, and he came on with that thing and I thought 'I wonder where this kid's from, he must be from the South somewhere'. And then when Jay Leno says 'that was great', Paolo says [adopts Scottish accent] 'thank you very much', and I thought 'he's fucking Scottish!' So it's great, but the album he did as well, that's great. I play that - there's so many great things on there. Again, it's fresh, it's different from other things, so I hope he can come up with more, because he writes as well. And Ethan John [Jones's producer for Spirit In The Room] produced the album, which I didn't know, when I heard the album. There's a jazz band thing, a traditional jazz band thing. 'Simple Things In Life', I like that, about going round to his mother's for tea, it's great. He paints a picture, you can see him do it."

"I was always interested in classical music but not conventional classical. When I was in seventh grade I had a music theory teacher who was teaching me how to write music while playing me Mozart, Beethoven and Bach – the classic, romantic –styled composers and I got it. Actually, I didn’t get it. It was too simple, too predictable and I didn’t resonate with predictable music. What really pushed my buttons were things that were completely unpredictable, so when I went through college and finally heard Stravinsky, I thought he had dropped acid or something. This was a guy who for many years of life had composed relatively traditional music and then he wrote the ballets and they were monumental pieces of music for the Twentieth Century. They were pivotal pieces within a genre. Of course it’s impossible to mention Stravinsky without also mentioning some other composers like Varese, Ligeti and Berio who all really excited me. These guys all functioned on a different level, but Stravinsky…he had the biggest dick."