"Photek is moody, it really got me. The title track 'Modus Operandi' was fucking good, the tension, then the first four tracks are really good. It reminded me of CCTV, it caught the atmosphere of this emerging new world coming out the ashes, this refined capitalism, the greed of Britpop at the end of the 90s when things were becoming more intense. Very claustrophobic. They kind of merge, this album and Red Snapper. I used to like getting absolutely walloped after a gig and putting it on, fucking yeah. I was in a sort of Terry Callier type act at the time. He's fucking brilliant - he died about four years ago. That stuff doesn't make the list because it didn't influence the structure of Sleafords really, the kind of music I wanted for it or the vocal. At that time, I only really listened to jungle or drum and bass at home. I was never into those nights, fuck that, no way, I wasn't interested. By that time bar culture had come along and I liked to sit around doing lots of sniff, you know. Sit around, soaking it all in, looking like a tit, you know."

"I am a huge Nicolas Roeg fan and consider this and his 1973 masterpiece Don’t Look Now to feature some of the best editing of all time, with visual and audio juxtapositions that wow even now. Walkabout is cinema as poetry. Images rhyme with one another in a truly hypnotic fashion. Scenes are as vivid and intense as they are unreal and lyrical. There’s a phantasmagorical array of images, but also a rigorous, genius sense of structure. Both this film and Don’t Look Now open with sequences that encapsulate the movie like thematic overtures. Walkabout’s first five minutes tell you everything while saying nothing: images of the city overlaid with aboriginal music, breathing exercises at a girls’ school that complement the native sounds, an oasis of parkland in the urban sprawl, a lone tree in a concrete square, a patch of swimming-pool blue in an apartment block contrasted with the white-hot nothingness of the outback. It’s a completely stunning collage, one of the greatest openings in all of cinema. And what’s even better? The rest of the movie lives up to it."

"This was after a trip to Brazil when I went down there with my mum and my sister and we did some shows. It was an intense moment in my life because Kate had been diagnosed with cancer and her health was pretty precarious. We saw there was a fairly decent run for the next couple of months – the treatment was kind of working and she was feeling relatively okay – so I booked some gigs in Brazil. We proceeded to have one of the most beautiful, decadent, life-affirming trips I ever took in my life, and it was during that little working vacation that I discovered Tim Maia's music, and I've been a fan ever since. He sadly passed away in the 1990s. I love that he represents a real amalgam of so many cultures, as a lot of great Brazilian artists do: African, Spanish, Portuguese, he's just this melting pot of great culture and music and also tremendously individual at the same time. He is certainly well known in large sections of the world, but is a bit of a kept secret in the West."