"When I was about thirteen an older friend of mine made me a tape of DC hardcore. Making tapes is a lost art and I still do it, but you can get USB’s now that look like tapes. He made me a tape because I only knew Minor Threat and they were like a gateway drug for me. “This was the first song on there, it’s from the split record Void did on Dischord Records with The Faith in 1983. It’s funny, when Freddie was talking about what he liked and didn’t like, when you’re that age you’re constantly navigating through the sea of songs you actually really connect with and the ones you think you should like, because they make sense with the identity you’re trying to cultivate for yourself and I was floored by ‘Who Are You?’ “It’s everything that’s great about Punk Rock and everything that’s great about music when you’re a kid, that rage and that anger and also feeling completely misunderstood by everyone in your house, your family, your school or your hometown. I read that Kurt Cobain put this in his top 50 songs of all time and of course that makes sense, it’s a song about being misunderstood and that’s what Nirvana came to represent for another generation. “It’s Punk Rock at its best and like The Stooges song for Freddie, this really taught me that it’s not what you play it’s how you play it, as long as you’re being authentic, and Punk Rock is just authentic rock isn’t it? I was in a punk band and my first shows were in Southampton above a pub for this DIY collective called ‘STE’ - which stood for ‘Southampton, Totton and Eastleigh punk collective.’ Students got in for a quid and under 16’s got in free. It was great, there weren’t many women, but other than that it was a great way to ply your trade. “I’ll play it to you and when you hear the opening you’ll see what I mean. It’s this intro, this riff, it still excites me now, it’s just so brutal and the song’s a minute long. It’s so direct and to me it’s weirdly poppy as well, maybe I’m alone in thinking that, but it was a song that was really easy to connect with. It’s filled with rage and it’s one of those songs that you want to turn up so your parents can hear who you are and see where you are in your life."

"1977. I'm a sixteen-year-old kid and glam rock has died. Disco has come in but this saved my life. Lennon once said to Bowie that glam rock was just 'rock & roll with lipstck' and if that's the case then punk was glam without the musicianship. It certainly wasn't disco and it sure as fuck wasn't overblown proggy stuff. They blew Yes and Genesis and all that stuff out of the water. They took us back to the three minute pop song. Punk songs were short and sweet. That first Clash record was amazing. There was a huge amount of melody on that record that nobody ever takes any notice of. Mick Jones was a huge Mott the Hoople fan - he was a member of the Sea Divers [the Mott fan club] and used to follow them around the country. 'Janie Jones' is brilliant; their version of 'I Fought The Law' is just outstanding, the best ever recorded. They might have written better songs on London Calling but, as an album, this was a breath of fresh air amongst the 70s stuff. I was still playing Diamond Dogs and Ziggy but this was like a newer version. When punk started kicking off it was brilliant, because they all came to Sheffield - more so than the glam bands. I could actually go and see them. I saw the Clash, the Ramones, Slaughter and the Dogs, Eddie and the Hotrods, Dr Feelgood - that whole intersection with pub rock. It was a lifesaver."

"Generation X were impossibly good. They had the best drummer. The best bass player. The best guitar player. The best singer. And the best songs. Kiss Me Deadly was like a ballad, and when I heard them sing about a 'tube to Piccadilly' I was like, 'What is a tube?' 'What are these stations?' Back then punk rockers in my town would get beaten up for looking different. So yeah, I really identified with that song."

"Breaking the Waves was a big influence on me when I was studying cinema. It gave me the feeling that it was possible to make a film with just energy, with just a chair and a window. The roughness of the style—it’s like listening to a punk song. And I really loved the way that the female character is portrayed. There is something very disturbing and strong about the tension between sexual energy and spiritual searching."