"The next one is The Thing, the remake with Keith David. That was the first Rated-R movie my mother ever let me see, and oh, dude, I was scarred. I was scarred in a good way. [laughs] John Carpenter’s The Thing took me to a whole other place, man. I was like, “Oh my god!” It was almost like losing your virginity. [laughs] Remember what I said about coming out of the theater a different way? The Thing was so violent and so creatively crazy, no one had ever seen anything like that on screen. You know, heads growing legs and walking away? I think Rob Bottin was the special effects guy on that. But, you know, heads ripping themselves off, dogs having three heads, it was just “Oh my god, there’s no stopping this!” One of my favorite movies; if it’s ever on, I can’t turn it off. I just can’t. It’s impossible. And the thing is, you see how most of the movies that I’m mentioning have always had copies, you know what I mean? It’s like, any movie that’s out there, you can see they’re trying to be like The Thing, or they’re trying to be like Aliens. It’s so wild how you see this kind of dynamic, because it changed for those filmmakers when they saw it too. So those are my top five for today. I tell you, that’s so hard to say. [laughs] Again, I love movies man. I just love it."

"I usually have Reservoir Dogs and Rocky Horror Picture Show on my list, because I just love them so much. I did Kids, and the first film I really can remember watching specifically to look at acting after that was Reservoir Dogs. My dad had given me the VHS tape of it to watch over and over and over again. Well, he didn’t intend for me, I think, to watch it over and over and over again, but I watched it over and over again; I think I watched it like five or six times that week. I would come home from school and I would just watch it again, and memorize the whole thing, and I was just so blown away by the acting in it. It seemed like it must have had all this money, because you remember it being bloody, you remember the shock, all that kinda stuff. And then you watch it and you’re like, “Actually, [Quentin Tarantino] cut around all of that.” The dude with red stuff on his chest, you know what I mean? It’s all acting. And it’s such an interesting way of telling the story, going back and inside of itself. My dad, I’ll never forget, he was like, “Watch this for the acting,” and I was just blown away. So I feel like that’s a piece of work that I love looking at as sort of a modern way of getting into those huge monologues, telling stories in an epic way, and the sort of more modern kind of small stories."

"It’s virtually impossible to find their early records. This particular record – their first album – I’ve tried to play on radio shows before, but it’s difficult because the language that they use is banned on radio. They use words that were then commonplace to describe their brothers and sisters, but are now not seen in the same way. Words that were in common usage in the sixties and now are not and for very good reason. But then they carried a very different potency. The thing I love about The Last Poets is that they are very direct, they pull no punches, they’re speaking to their community in way that Gil Scott-Heron did a lot. He also wasn’t afraid to say exactly how he felt about how his community was living. And The Last Poets did that too, with rhythmical words set to a very simple beat, in this case played on congas. One of their later albums even had Jimi Hendrix on it, and Buddy Miles. But this is the rawest, just a group of voices. They were the forerunners of rap. Using voices in unison to underline phrases and to make certain phrases more forceful, and all of this to an infectious groove. That’s all of what I love about rap music and urban poetry. It became part of what Underworld assimilated in our eclectic nature. The Last Poets throw the gauntlet down. If you want to write about the urban condition, there’s your benchmark. I can’t come close."

"I probably first encountered this when Neil Tennant sang [sings]: "I feel like taking all my clothes off / Dancing to The Rite Of Spring / When I wouldn't normally do this kind of thing" and I thought "ah, well if Neil Tennant wants to take all his clothes off and dance to The Rite Of Spring, I ought to as well". He's one of my idols also - I couldn't put any of the albums in, because they're not as good as the hit singles, but I do love the Pet Shop Boys. I do love Stravinsky as well, and The Rite Of Spring, if you were going to sum up the history of humans and music, this might be the thing that you end up showing off as the absolute zenith of achievement. I remember on the Walt Disney film Fantasia, they had a bit of this and they animated it with dinosaurs and volcanos, and although it was a bit silly, I kind of knew what they were driving at: this music sounded like it existed before humans and after humans! It's like the earth itself is kind of grumbling! He wrote it for a ballet about tribal rites, pre-history, people being human sacrifices, but it says even more than that to me - it's almost nightmarish, although it's got so much virility and astonishing, complex rhythms going on and some great, great tunes. And you can never beat the opening - it's actually a bassoon played up really, really high, going [hums melody] - it's like the eeriest thing I've ever heard!"