"As a drummer, Klaus Dinger was important to me: [he taught me] how to make one riff last a lifetime! It's a great riff though, don't get me wrong. Neu! was absolutely brilliant; it's another record where the first time you buy it and put it on, you think 'I've never heard anything like this before'. I was into Krautrock and that's why I bought it - I bought anything that came out of Germany - but Neu! were just completely out there. I had no idea who was in the band, there was just a big 'Neu!' image on the front… it was striking, kind of punk. The way that they used cut up music, and bits of ambient sound… as soon as I heard it, I thought 'If I ever start a band, I'd like them to sound a bit like this - as adventurous as this'. A lot of Krautrock was trying to plough its own furrow, but there were other bits that were trying to Germanize Western things. And the odd thing about it is, I never knew that Michael Rother lived in Wilmslow for a time - which is just around the corner from me - in the 70's. I was watching a Krautrock documentary and he was saying: “I've always been surrounded by flowing water, there's always been a river - the Rhine, the Elbe, the Bollin.” And I said: “Hang on, did he just say the Bollin!? That's just down the road!”"

"Burning Airlines Give You So Much More’ is from Eno’s solo album Taking Tiger Mountain (By Strategy). I love the sound of his early solo records, Here Come the Warm Jets was a massive album for Supergrass, I remember the tour manager, the crew and all of us listening to it and loving it, it was quite a defining record for us on those early tours. “There’s something about that early solo Eno sound that I really love, he was such a sponge in terms of how he picked up on things around him and a lot of the stuff happening in Germany around that time. It was the way he could put things together and the way that he would double-track his vocal, the dirt and the raggedness of the way it was performed. There’s so much about it that I really love and then there’s the odd, skewed, surreal lyrics, it’s a good recipe. He was a big inspiration for me definitely, another one that can do that throwawayness, which is really cool. “There’s some tracks on Here Come The Warm Jets that do a similar thing, where he could be quite tidy at times in the song structure and do something that’s almost quite friendly to listen to. It wasn’t always angular and weird and I think ‘Burning Airlines Give You So Much More’ could have sat on the Here Come The Warm Jets album really well, it’s Eno at his best."

"Let’s start with The Big Lebowski. I remember seeing this film. I was studying in Germany at the time, and I remember loving Fargo so much — that was my first introduction to the Coen brothers — and I was so excited that they had a new movie out. So I went to some German cinema to go see The Big Lebowski. It was in English, but with German subtitles. I remember watching the movie and just being incredibly disappointed. I really did not like the movie. Probably about four years later, I rewatched it and I instantly said, “I’ve never been so wrong in my entire life.This is one of the funniest films I’ve ever seen.” It’s incredibly well-written, the characters are hilarious, the performances are so nuanced and so deep it’s almost mind-boggling. A lot of the times you do scenes and you just sort of come up with these happy accidents and it just seems like almost everything in there could not have been a happy accident; surely it must have been thought out. I just think it is such an original, fun film and it is quite honestly one of the most quotable films of the last fifty years in my opinion. I think there are so many quotes in there that I realized how foolish I was that first time. I think maybe I was just so excited that I was drinking a beer in a movie theater; maybe that’s why."

"In the recent documentary Gerhard Richter Painting, the painter speaks at length about being a young artist emerging in post–World War II Germany. He says that he always considered painting to be nothing more than a trade that one dedicates oneself to day after day. Working is, above all, very respectable. Perhaps this attitude can be attributed to the fact that postwar Germans were faced with the arduous (but perhaps liberating) task of writing a new history for themselves—trying to come to terms with the past while simultaneously looking toward the future and the endless possibilities therein. With such daunting business at hand, a workhorse spirit would be a must for all German artists. Fassbinder most definitely had that spirit, leaving behind forty feature-length films and playing countless other roles over the course of his short career. Lola alludes to some of these particular pressures and concerns. Lola herself is a woman with a troubled past pressing forward with her life. It is a great, classic story, and a lot can be read into it. But on a purely aesthetic level, Lola is a sumptuous visual journey. So many textures and colors . . . if Zéro de conduite is a Dadaist masterpiece and The Scarlet Empress is expressionism on film, Lola is pure Technicolor pop art, and one of the best late Fassbinder films. Coincidentally, Rainer Werner Fassbinder died the day before I was born."