"The other record I got into listening to at my friend's house. A lot of the records on the list were discovered around a two to three year window, at a time when I was really turned on to music. I was actively hungry, and reaching out, digesting what bands people turned me on to. I think the first Black Sabbath album I heard was actually Vol. 4. I always discover things way late, after the fact. But that's fine, I guess I like the fact of being kinda late to the party. But when it got to me, it really stuck. It's another record that I find very close to perfect. There's a heaviness and a darkness to Sabbath which I often cite as a direct influence to our sound. You can trace the bloodline, and I think you could say that of a lot of Seattle bands. Sabbath are also a very visual band, but in a different way, a lot more visceral. I've read interviews where Ozzy was saying they were trying to make horror film soundtracks, and that makes sense to me. Cause the themes were always pretty dark and pretty bleak, and they pulled their punches thematically and lyrically. Tony Iommi is also one of my favourite guitarists and very influential to me."

"Hair is a really cool musical. It's about the late 60s’ hippie movement in America - tribal love, peace 'n' love 'n' rock 'n' roll, people tripping on LSD and expanding their consciousness, all of these concepts that came about in the late 60s’. It's one of my favourite periods in music and in the arts, it was sort of our American renaissance right around then and lot of incredible music came from that time. “I'm an Aquarius; that's my zodiac sign. I think the song is talking about the Age of Aquarius, which was starting around that time, which was said to be a time of enlightenment. It's such a cool song, it has a great melody and I've always loved it. “I ended up doing a production of Hair out in Germany when I was about 22. Personally, it was such an eye opener, I was pretty green when I went out there, but not so green when I left. I was doing a lot of things for the first time and experiencing a lot of things for the first time. “It was a bit of an awakening for me - artistically and personally - with fashion and with sexuality and with all these different things. It was a big transformative moment for me and this song always reminds me of that time.”"

"I’ve always been fascinated by the film Welcome to the Dollhouse, the Todd Solondz film. It’s a really dark comedy. It might be because I grew up in Long Island and it feels like where I grew up. A lot of the strangeness of it feels familiar to me. I love the look of it. I love the tone of it. When we started working on Freaks and Geeks, I thought a lot about Welcome to the Dollhouse, in terms of how it was lit, the production design, the strange cadences of its comedy, and these kids who feel like they’re in hell, their families and how their parents treat them. She (Heather Matarazzo) and that character (Dawn Wiener) is one of the greatest outcast nerd characters ever created in film or television. So it’s for someone who always loves a great underdog story. That’s one of my favorites and not a movie that makes it a triumphant fantasy for the nerdy girl either. That is never the Todd Solondz way. I thought about it when we did Freaks and Geeks because we often thought, “This movie is about how you handle failure. It’s not about succeeding. It’s not a show about wish fulfillment.” You see that in a lot of Todd Solondz work. I don’t think we had half the balls that he has."

"The drum sound! The greatest bass sound ever! The rawness of it. ‘Isolation’ I absolutely love, and obviously we covered ‘Working Class Hero’. It’s really tight but there’s something about it that feels like they haven’t rehearsed much either - you see the film and they’re all coming in on the hoof. There’s some kind of bluesy nastiness - and I’m not a fan of the blues either - but there’s something about it, John Lennon’s guitar is really good on it, I think his guitaring was underrated actually. There’s so much savage bitterness there, ‘Mother’, just to start with the fucking bell chiming. I love that savageness. He’s having a go at McCartney, but he does it with so much wit, he can always glide over the top of it. I wish I had that ability, not to always drag it down with pure pettiness. “I don't believe in Elvis. I don't believe in Zimmerman/ I don't believe in Beatles” - I don’t think he could get “The Beatles” in, so it’s just “don’t believe in Beatles”. I love that album. There was a lot of that on [Wire’s solo album] I Killed The Zeitgeist actually, and there’s a lot on this album. I tried to learn that critical self-examination. I think John was a lot more psychoanalytical, he could use what he considered help, where as I was fucking on my own."

"I didn’t want to have a theme in the records I picked. It’s a record I’ve listened to a lot lately. One of my children is 7 years old and he’s been learning a lot about Greek history recently and picking up tidbits of information. He was saying to me that he really wanted to hear some Greek music. This is not what he wanted to hear. He wanted to hear some folk music, not some weird shit. He wanted: ‘Ops la! Da da da da!’ Some cheery Greek dance music. I stumbled onto this. I asked him if he wanted Greek or ancient Greek and he said ‘ancient’ because it sounded cool. But this is incredibly trippy. It feels like a play. You don’t know where the down beat is for most of the songs. I have never figured out what about it is actually Greek. It was recorded by Spaniards in the 70s. Whether it's real or impressionistic, I don’t care. I just really like it. There’s a lot of haunting stuff in it. I’ll have the record on late at night when everyone else has gone to bed. It’ll be playing and you’ll hear the voice speaking Greek and squeals. I’ve really grown to love it and know certain pieces. I know they have made other records and I want to get them"

"I never really listened to Blur much or many of the other Damon Albarn projects, but I was on tour and kept running into Dangermouse. He was on tour and we were playing a lot of the same festivals. He may even have given me a copy of this record. I remember being in Adelaide in this lonely hotel, drinking a bottle of red wine alone at sunset and listening to this record and being completely mesmerised by it. I love the whole thing. I love Dangermouse’s glitchy, hip-hop Beatles production ideas. It’s just a really great recipe: the whole thing. I spoke to him about making that record but I almost don’t want to know what it involved because it’s so magical to me. I’m totally into Paul Simonon’s bass playing. Even though it’s not a reggae record, courtesy of him it has some of that kind of soul. And Tony Allen’s drumming is wonderful. It almost sounds like military drums. It’s very angular. It doesn’t swing. It sounds like ‘Let’s attack, let’s attack.' At the heart of this record, you have really simple rock & roll performances, but the production brings a lot more detail to it. I’ve worked pretty briefly with Dangermouse on something in the past. I enjoy his personality a lot and I’d sure as hell like to work on a record with him one day."