"I didn’t really know about ABBA when I was growing up, they’re one of those bands you think you’d get into through your parents, but my parents didn’t listen to them. I think the first time I heard them properly was in Muriel’s Wedding, obviously that wasn’t a cool thing so they became a kind of guilty pleasure, but when Mamma Mia! came out in my late teens I was ‘Damn, all of these songs are so fucking good.’ “I have this list of songs in my head that I think are perfect, obviously that’s completely subjective, but they’re untouchable pop masterpieces like ‘God Only Knows’, ‘Bridge Over Troubled Water’, ‘Waterloo Sunset’ and ABBA have so many of them. There’s a humanity in their songs but they also feel like ‘how could anyone have made something so perfect?’ The writing, the production, the arrangements, even the way their voices sound, it has the same effect as when siblings sing. Their voices are unbelievable, sometimes I think ‘is that a weird harmony?’ but it’s just the way their voices sound together, it’s incredible. “This song makes me well up because it’s so perfect, but it’s also so silly, it makes me want to throw my hands in the air, I want to dance when I hear it and I want to smile. You feel silly when you hear it, you feel camp and like a character in Muriel’s Wedding or Mamma Mia! when it comes on. It’s an amazing feeling and that is the power music isn’t it? “The other thing you have to remember is that one of the things that made The Beatles so amazing and such an interesting proposition and a reason why people really like The Velvet Underground as well, is because they changed the way songs were written, they rewrote the rulebook. Before then all music essentially sounded the same, everyone was using the same three or four chords and melodies, that kind of Rockabilly and Rock and Roll, all operating in the same framework, even the blues, The Stones and The Beach Boys, until they started breaking the rules too. But ABBA were making this music only ten or twenty years after pop music as we know it began to exist and it’s so innovative. “You know when people talk about their favourite bands? They’re a band who if you’re in a car, someone could put on an hour of ABBA and I’d like every song and there’s bands who I consider to be my favourite bands who I couldn’t say that about. It’s banger after banger, I guess it depends what mood you’re in, actually I was listening to them in a car the other day and someone told me to turn it off! “It’s mind-bending how good they are when they’re at their best. I think music is more often than not written about as art, but it’s also entertainment and whilst what they do is this incredible art it’s also so entertaining. It’s funny, we’ve been speaking about music for the last half an hour but this is the first time where we’ve talked about music making us happy and that’s really important. Music should make you happy and ‘Dancing Queen’ definitely does that."

"That would have come out in 1998 when I was around 17. My record collection at that point was mainly made up of U2, Radiohead, The Beatles, The Smiths. I hadn’t really been an indie kid in that sense of going to see bands and being part of that kind of world, because where we all grew up as a band, there just wasn’t a music scene at all! So we just spent our time making music, we never went to see much. Gomez is one of those total, bonafide, university, indie bands. It’s such an inventive record for a brand new band to burst onto the scene with. I loved the fact there were two singers with such contrasting voices. They’re all great songs, 'Here Comes The Breeze', 'Tijuana Lady'… it chimed in with where I was at the time, just getting out of school, smoking dope for the first time and experimenting with drugs. The album has that sense of youthful abandon. You can tell they were just fearless; maybe that’s what stopped them in the end from going on. I always feel that Gomez should have been a much more important band. I remember being up at University in Edinburgh, I got the National Express down to London one night, it was so uncomfortable, I got off at every stop and was getting smashed on this very strong weed and then going back on, and I had a proper old school Discman, and I was just listening to this Gomez record, up all night. I got to London, full of beans and was like, “We’ve gotta be this inventive!”"