"That came out in 1988 when Ride was starting to happen. Mark and I had gone to art school, we’d met Steve, met Loz and - as a band - we got into a lot of American stuff like Dinosaur Jr., Screaming Trees and Sonic Youth. “Sonic Youth were on a real run of great albums there with EVOL and Sister but Daydream Nation was their peak and their sort of White Album for me. It changed my life and my playing with the open tunings, theguitar abuse with screwdrivers and slides, the long jams, the headspace and just the whole sprawl of it. It was like the Pete Townshend thing but taken a few steps further.”"

"Again, the cover is incredible, her stance is so powerful. I didn’t realise when I first heard it, but a lot of the songs were actually covers, and yet, because her voice is so characterful and commanding, anything that she sings just suddenly sounds like a Grace Jones record. I love the musicianship on Nightclubbing, I love the interplay between the instruments, and it just feels like a really original-sounding record. It was actually quite an influence on me on my latest album—this idea that you know your voice should be this commanding force that just makes everything else sound like it falls into line because your voice is so dominant."

"This might not be an album that people celebrate, but to me, the combination of Phil Spector and Leonard Cohen worked really well. His lyrics are so deeply poetic that you sometimes don’t know what he’s talking about, but it doesn’t matter because they’re beautiful. “It’s a very humanistic record. The stories are very eloquent and touching, and the melodies are very rich. I love the fact that all the songs are unbelievably slow, too. It’s an unusual-sounding record. His voice has changed a lot over the years, but on this record he’s really trying to sing. It sounds like he’s straining, but that’s OK because it sort of adds to the drama."