"I love soulful noirs, and this slow-burn Austrian crime thriller is one of my faves of the new millennium. It’s as if Bergman made a movie about cops and robbers. Austrian director Götz Spielmann gets incredible naturalistic performances, and the storytelling has some real breathing space, which is rare in crime thrillers. (For another soulful Criterion crime pic, give The Hit a look-see.) What I love most about Revanche is this narrative magic trick it pulls. You think it’s going to be a relatively conventional story about a robbery that goes off the rails and criminal-code revenge. But instead it turns into this deep exploration about the intersection of people and the happenstances that lead us down surprising paths in our lives (a theme that I explored in my documentary Magical Universe. Find it!). Like the best noirs, the crime plot is just the Trojan horse that takes you into a profound story about choice and consequence. Before you even know it, Revanche has morphed into something like a Kieślowski film, and it suddenly knocks you on the floor and leaves you in a heap."

"I was obsessed with this record from the first time I heard it. Everything about Joe Meek's story is fascinating. The way he worked, the way he lived. As a producer, he turned down the Beatles, saying "The Merseybeat sound is going nowhere." This record was made in 1960 and it's berserk. It captures a time when space exploration was an international agenda. 'Telstar' had captured the mood when the first satellites went up; this record went a lot further, imagining an entire planet beyond our solar system. It's an artist you know doing a record that's so far from what you thought they were capable of: "Really, this is the same person?" I just got obsessed with it. I only had a taped version of it which, to me, isn't like actually having the record. I was in Japan a few years later, before it was reissued, and I found a bootleg copy there at great expense. It's almost like an early hauntological recording; it's very crude but incredibly evocative. It's interesting to wonder what would have happened to Joe Meek had his story turned out differently…"

"This well known 1968 album is a pun on the fantastic expedition of Lewis and Clark, the famous leaders of the USA's 'Corps of Discovery' who were the first east coast Americans to successfully negotiate the north west passage to the Pacific Ocean in the early 19th century. Of course this ties in beautifully to the John Evans story featured in American Interior - Lewis and Clark used the maps he created between 1795-7 (whilst searching for a mythical tribe of Welsh speaking First Nation Americans) for the first year of their expedition. There's a keen sense of the rhythm of exploration on this fantastic record. Dillard's peerless banjo picking could easily power a steam boat up the Missouri River and Clark's melancholic musings on songs like 'Train Leaves Here This Morning' give a clear sense of long distance travel and loss. Meanwhile a team of proto Country Rock greats including Bernie Leadon, Sneaky Pete and Chris Hillman play away busily in the background, setting the benchmark for the mellow mountain sound that would dominate the airwaves the world over in the following years."