"The aesthetics of it, just the way the frontier looked. The way it was shot, it made it seem like it was the land of opportunity, this new frontier, this undiscovered territory for a certain culture. We were introduced to — which I didn’t know as a kid — the people that actually lived there, or are from there. We were introduced to their lives. They weren’t just Wild Bunch, killing people. It was very heartfelt, and it wasn’t just this white man coming to save the day. It was more along the lines of he was learning the ways, and he earned, from the audience and the tribe, their trust. I believed that our lead character, Kevin Costner, became a part of the tribe, because the movie takes its time to do so, which is risky, because you can lose us if you’re going too slow, if it’s paced like a snail. But everything worked, and the flow of story wasn’t interrupted or sacrificed due to some cool moments, or movie moments that needed to keep the audience awake. They were unapologetic in that way, so I really appreciated it. There’s the whole coffee interaction, and “tatanka.” That was my s—, man. I used to love that. And the score. The score was incredible. I love the score."

"I was researching Gene Vincent online and that brought me to Ian Dury’s song 'Sweet Gene Vincent'. I was not really familiar with it at that point. I knew his hits and I’d seen him on TV and stuff, but I’d never really connected with his music, though I respect him enormously. I was reading up on him and stumbled onto the fact that he had this son, Baxter Dury, who also does music. I checked out one song on YouTube and went, ‘Oh this is right up my alley’ and I immediately downloaded the whole record. I’ve probably listened to it 75 times in the past two months. It’s become a very important record to me. There’s a variety of things I like about it. I would say, his personality comes through the music. It’s not pretentious. You just have a sense of who he is. I love the dry, minimalist production. I like records without too much ambience on the instruments. I associate dry records with The White Album. He also has this lovely rich, lower voice and that great accent. I’m a fan of that accent from when I worked with Eddie Argos and Art Brut. I find it a pleasant tone. For a British person, accents carry baggage, but not for me. It’s all connected to you people and your culture on the island there."

"""AM is one of my favourite records of the last ten years. I've always liked the fact that Arctic Monkeys sidestepped the indie scene and reinvented themselves as a rock band. I think Alex Turner gets a lot of unfair flak but he's a phenomenal songwriter, one of the best of our generation, and this record in particular has some incredible songs on it. People like rockstars until they don't like rockstars, and then if you're a rockstar you'd better fucking duck. He's always just been himself, and luckily himself is just rock & roll through and through. I'm incredibly jealous of his mind, he's a great guitarist but as a lyricist it's incredibly frustrating to be alive at the same time as him. As a rockstar he just has it, and luckily he's not put too much of a foot wrong yet. As far as I'm concerned he can do no wrong, and I'm putting that all on his lyrics. It's mental that he can squeeze a line like ""She's got a Barbarella silver swimsuit"" into a song and make it relevant, make it just feel new, yet he's referencing things from such a long time ago, probably from before he was alive. He has an understanding of pop culture and is a master of manipulating it to do whatever he wants. As a lyricist myself it's quite amazing to see."""

"It would have been very disingenuous of me not to acknowledge the enormous impact The Beatles have had on music and pop culture. They were lucky enough to be around at a time when people were pioneering with electric guitars and trying out different things and forming what pop music was. The Beatles were the best at it and the masterpiece is ‘The White Album’ because you get to hear them experimenting and going a little further out into the deeper water. Some of the McCartney songs are great, things like ‘Blackbird’, but the Lennon songs – ‘Happiness Is A Warm Gun’ and ‘I’m So Tired’ – are magnificent. ‘I’m So Tired’ is one of those songs I relate to more than any. Certain songs suit our personalities or our way of being. With ‘I’m So Tired’ I’ve been in that position so many times; sleepless nights from jet-lag or too many things going on in my head. Lennon had this unbelievably effortless ability of capturing things and writing that postcard that would become a song. That album is filled with those gems. Of all the things they did, that album is by far my favourite. It’s the most experimental. It made me think you can do what you like with an album, it’s just an experience. Other people were just writing songs; The Beatles were addressing a much broader perspective."

"Listening to this in Brazil a few years ago was a proper Eureka moment for me. We'd moved to the middle of nowhere for seven months, and I decided to properly have some time properly listening to music, so got a lot of stuff off Thom on a hard drive. I was really into Burial and that side of dubstep back then. Stuff that works perfectly underneath railway arches at 3am strangely enough didn't resonate on the edge of the rainforest, though. What did was Screamadelica. 

I'd first heard Loaded when I was studying at Manchester University in 1990. I remember it coming out after 'Fools Gold' and 'Hallelujah', and seeing Primal Scream on a double-header with Looper. I remember thinking, ah, this is good, a bit different for them, but they're jumping on the bandwagon, aren't they? Later, 'Don't Fight It Feel It' became the ultimate tune of that time for me. But away from that time, this album still stands alone. It's so colourful. It's like gospel dance music. It's got all the euphoria of house music, plus the community and love. It reminded me that that moment in culture wasn't just about the drugs – those drugs were just there to pierce the veil. Music held the ultimate power to bring people up. I want my music to have that joy, that light, that sense of possibility."

"What I love about Culture Club is how they took inspiration from reggae and made it into this beautiful pop that didn’t sound like much else at the time. Boy George was one of the first pop stars to come out and showcase that side of himself publicly, and in a time when it was more frowned upon than it is now. He’s always been so outspoken too, which is incredible. “I got the opportunity to meet him when he was a judge on The Voice Australia and to work with one of the artists that he mentored, Sheldon Riley. He auditioned with ‘Do You Really Want to Hurt Me’, but it was a really dramatic version of the song - it was so powerful. It was really encouraging to see Boy George work with an artist who chose one of his songs to cover, which would be a challenge for a lot of people. “Boy George is such a great frontman, with all his flamboyance - his outfits and his makeup. I would be jealous sometimes when I would walk in the room and be like, “Man, who made that?” and he would say, “Oh I made this outfit”’ And the fact that he’s still doing it and works so hard, I have the utmost respect for that."