"Sometimes my biggest reasons for connecting to a film are simple, primitive, just about a feeling. Videodrome and Repo Man are two that fit into that category. In addition to the fact that it costars Debbie Harry in my favorite roll of hers, I love Videodrome for its particular use of my hometown, Toronto. Sure, Toronto is used in films all the time, but usually disguised as New York, or Chicago or Detroit. No filmmaker has used Toronto better and more consistently over the years than our hometown hero Cronenberg, though, and Videodrome he shot and set in the downtown Toronto of my childhood, complete with a central part of the story revolving around our local cable station CityTV (as “Civic TV,” the station James Woods’s character, Max Renn, works for), which really did play soft-core porn if you stayed up late enough. To this day, my dad lives on the street Max Renn lives on, and Barry Convex’s Spectacular Optical is a bakery on the same street as the Electric Youth studio downtown, just a minute away, making the connection both past and present. Repo Man has my favorite Criterion release cover art; it’s amazing and designed by movie poster artist Jay Shaw, who also designed the artwork for singles from our album Innerworld. With Repo Man you get Harry Dean Stanton in his first big-screen lead role, Emilio Estevez as his partner, and the streets of Reagan-era Los Angeles set to a classic punk soundtrack. What more would I need to love this film? Nothing. But like with all great Criterion selections, there’s always something new to take from it with every watch."

"Sometimes my biggest reasons for connecting to a film are simple, primitive, just about a feeling. Videodrome and Repo Man are two that fit into that category. In addition to the fact that it costars Debbie Harry in my favorite roll of hers, I love Videodrome for its particular use of my hometown, Toronto. Sure, Toronto is used in films all the time, but usually disguised as New York, or Chicago or Detroit. No filmmaker has used Toronto better and more consistently over the years than our hometown hero Cronenberg, though, and Videodrome he shot and set in the downtown Toronto of my childhood, complete with a central part of the story revolving around our local cable station CityTV (as “Civic TV,” the station James Woods’s character, Max Renn, works for), which really did play soft-core porn if you stayed up late enough. To this day, my dad lives on the street Max Renn lives on, and Barry Convex’s Spectacular Optical is a bakery on the same street as the Electric Youth studio downtown, just a minute away, making the connection both past and present. Repo Man has my favorite Criterion release cover art; it’s amazing and designed by movie poster artist Jay Shaw, who also designed the artwork for singles from our album Innerworld. With Repo Man you get Harry Dean Stanton in his first big-screen lead role, Emilio Estevez as his partner, and the streets of Reagan-era Los Angeles set to a classic punk soundtrack. What more would I need to love this film? Nothing. But like with all great Criterion selections, there’s always something new to take from it with every watch."

"I grew up in London, but I spent my teens in the countryside, and I’d come to London on the weekends. It was the early stages of the band where we were meeting new people, getting drunk and stoned - all of those really formative experiences of exploring the decadent debauchery that London has to offer. Then at the end of the weekend I’d have to hop on a train and go back to the sanity of school life. “Whenever I hear this song it evokes that feeling, the sense of the early days of the band and discovering my gang. Your early twenties are about finding your tribe, which is what I did during that time by travelling to London and having those formative experiences with them. “Last Train to London” evokes that sense of finding where you belong, and it happens to contextually fit in with my experience at the time. “It’s a stark contrast to the previously mentioned songs, which are a little darker and heavier. It’s a feel-good tune to me, although it’s a song which has a kind of sad, bittersweet mood in the lyrics, like “I really want tonight to last forever / I really want to be with you.” I felt that bittersweet feeling at the time. “It’s also just a great disco banger! It’s mixed so loud and so relentlessly; and sonically it’s an incredible song. I’m uplifted whenever I hear it, it makes me feel elated. I always drop it when I DJ, it bulldozes the songs on either side of it when I play it."