"This song that I'm going to play you is really interesting. To me it's the birth of funk guitar. This is a song called 'Go Where I Send Thee' and was recorded in 1937. The Golden Gate Quartet are an a capella group, so this is a capella, but listen to what happens with the rhythm. It's an amazing thing that four guys, no overdubs or anything like that, could make this amount of rhythm. For me they were one of the most important musical forces of the 20th century. The style of singing, which is called jubilee singing, was all originated in this one town in Virginia and there were lots and lots of groups in that town that could do this way of singing. Partly a way of harmonising but it's also a way of creating rhythm by making voices slightly hit off each other so they don't all land together. It's incredibly hard to do. You're pushing the beat by a 16th or 32nd to get that flam."

"The last one I picked was another Lugosi film, so yeah, he is in every film I picked. That’s funny. I didn’t even realize it. It’s White Zombie from ’32, which is shortly after Dracula. It’s an amazing movie. I’m pretty sure it’s the first movie to ever use the word “zombie” — to use that in a movie. It takes place in Haiti, and Lugosi runs this sugar mill and the zombies are his workers and stuff. Again, he’s amazing, but the film is — only really bad versions of it existed for so long, so every time you’d watch it, you go like, “Wow, the quality of this movie is horrible. It looks like a cheap movie.” Then later, when people have restored things and find them, it’s a really incredible-looking movie. Again, it seems very primitive, but it looks amazing, and he’s great as always. If you watch some of the leads and you just watch their scenes, you go, “What is this, like a cute little musical comedy?” Then he comes in. Again, not f—ing around."

"One of my favourite voices of all time, guy or girl. I have a lot of respect for Siouxsie and she’s given me a lot of inspiration over the years. My sister and I used to listen to her a lot and just dance around. It’s all about the tone, there’s something about that band that’s pretty rare – something dark but also slightly poppy and accessible about their records. This is a song that my husband and I bonded over – we’d definitely heard it individually before, but one day we were just playing the album and that song stopped us in our tracks… played it on repeat for the whole night. I understand why some people can hear a little Siouxsie in what we do. I mean, when we started the band, everybody had grown up differently and we were coming from completely different musical backgrounds. Everybody brings in what they like, and although we may have similar tastes we’re all still coming from somewhere different. Hopefully we’re never considered strictly derivative of any one thing."

"My older brother used to play this a lot in the house - the piano sample in 'C.R.E.A.M.' is probably one of the earliest things I can remember. It predates the first records I fell in love with, it was just always getting blasted out of his room. I didn't actively keep up with hip-hop - all I had access to was through him while I got more interested in guitar and rock music. When we were mixing Antidotes, I started to go back and actively rediscover a lot of the stuff my brother had been listening to at the time, from around '94/'95. I love the production, the lyricism and how evocative this incredibly captivating cinematic cartoon world is. I love the whole gang mentality, their self-sufficiency, the grittiness of the production. I don't think I've taken direct musical influence from them, but I admire their ethos and the self-mythologising, the way they turned it into something much bigger than just the tracks. It's just a fucking amazing record."