"Well everything’s been said about it, hasn’t it? Again, it was around the same time as Bring It On. I went out to South Africa for a gap year to work on a school. It was just as I was starting to smoke weed, it was exciting, and there were no responsibilities in life. I remember we didn’t have a music system out there, we had no money and a mate of mine went and bought a cassette player, it was a single deck cassette player, with terrible tinny speakers, but I had copied a tape of OK Computer before leaving! I don’t think I played any other album for about a year, it was on permanent rotation. What I found so compelling about it was that you can’t hear a single thing this guy’s singing! He has this real slurred delivery with every song and it was just an assault on the brain in terms of the production and the instrumentation and it was all coming through this terrible little tape player in South Africa! I thought I’d figured out what I thought the lyrics were and, largely, a lot of them were wrong, but I didn’t have the inlay card so I didn’t know! I just remember this haze of completely falling in love with the sound of this record and what I thought were the words. They really summed up the way a lot of people felt at the time, the alienation and the fear of a quickly changing world, all the pre-millennium stuff. It summed up the world that I occupied. It’s why it’s still the greatest album that I think has been put out in my lifetime; they're a band who, at that point, reached their songwriting peak, and [Thom Yorke]’s never got there since as far as I’m concerned. They were still young enough to have that punky quality but old enough to have those ballads that leave you feeling quite cold like 'Lucky' and 'No Surprises'. At that time, we were all just desperate to be Radiohead, everyone had the same set-ups and the same guitars! I can’t listen to it anymore though - as a band, if you’re influenced too much by one thing, as we were, it can kind of stifle you."

"I’m a huge admirer of Grace Jones in many, many ways. She came out of the fashion industry, made a disco record and then went on to make three classic records that I think are some of the greatest sounding things anyone has ever put out there. Those albums were produced by Alex Sadkin and Chris Blackwell, who had worked with Bob Marley before that. We first worked with Alex Sadkin on ‘Is There Something I Should Know?’ and he went on to produce Seven And The Ragged Tiger and the Arcadia album with me. So, we worked very closely with Alex and the reason we wanted to work with him at all was because of the Grace Jones album. I was so astounded when I heard the sound on Nightclubbing – the depth, quality and clarity of instrumentation and the vibe of it. I couldn’t understand how anyone had ever captured that. I needed to work with this person somehow and fortunately Alex turned out to be one of our great collaborations. Grace combined her style with a reggae influence, with a certain pop sensibility and with grooves that people could dance to and created something that only she could have done. It was entirely original and everyone in Duran Duran loves Grace Jones. We’ve played her records more than most other artists. We got to know Grace and hung out with her quite a lot. She did the Bond movie [A View To A Kill] that we were on the soundtrack for and she is did a cameo on ‘Election Day’ for Arcadia. I also think Grace is one of the most fascinating performers out there. The stuff she used to do with Jean-Paul Goude – the photography, the videos, the album covers – was so stylish. They had great taste. I truly love the songs on Nightclubbing. The original of the title track is on Iggy Pop’s The Idiot - which I love – written by Bowie and Iggy. The song had the darkest vibe you could imagine being done in Berlin during that period and that Grace took it and made it so different and beautiful was really something. Often with a cover you either like the original or the cover – with ‘Nightclubbing’ they are both great."

"This was very, very hard to put together and I’ve left out so many great songs. I could do a list of 150 songs at least, but ‘La Femme D’argent’ really leapt out. It’s the most electronic of the songs that I’ve selected. To this day, every time I listen to Air, it makes me fall in love with electronic music but in a way that reminds me that you can marry electronic music and, let’s say, traditional instruments, especially the bass guitar. Air are absolute geniuses with basslines, they have a great tone and it’s such a good homage to Serge Gainsbourg and stuff like that. Their sense of melody and structure and building up a song is quite something. They make the best background music that you want to play louder than the conversation that you’re having. I love it for driving, if I don’t know what to listen to, I’ll probably stick on Moon Safari or Premiers Symptômes, which is an EP that’s not talked about that much. So many of their tracks - ‘La Femme D’argent’ being a strong example - are really inspiring from a production point of view. It’s all about the little world that these tracks live in, where it couldn’t be anyone but Air. Bands like Zero 7 have copied Air, but it’s just not as good. You know something has a really unique quality when if you were to try to write a song in that style, people would know straight away; it would be like, ‘Oh, that sounds like Air.’ I think there’s other bands that manage it, take The Strokes when they did Is This It - you can sound like Is This It, there’s a world that that record is in. I could literally go downstairs right now and make a song that’s like Air and people would definitely say it sounds like Air, but if I recorded a song in the style of a band that doesn’t really have a unique quality in terms of recording or production, people would say, ‘Oh, it just sounds like an indie band.’ I never go out and want to copy anything. Rather than listen to it, I basically fast on music when I’m writing and recording, because I’m afraid of subconsciously taking inspiration from somebody else. I mean, you do that any way - you can’t help it - but when I’m asked, ‘What music were you listening to when making this album?’ I tend to reply, ‘No one, really.’ Again, you can’t not listen to music as it’s everywhere, but it’s different in terms of immersing oneself. Like when I got into Scott Walker, I would just listen to his albums, Scott 1, 2, 3 and 4 all the time, but I don’t think you should do that when you’re recording your own music. A while back, I was listening to a song off the most recent Arctic Monkeys record, ‘Four Out of Five’ and it occurred to me that they obviously had been listening to Lou Reed, because there’s that one melody that sounds exactly like ‘Satellite of Love.’ The bit that goes, “Take it easy for a little while…” that’s very obviously “Satellite of Love”. It’s like, come on. They are very open about what they listen to, but that’s just lifted. I think it’s their best record, but in terms of that particular lift they were either aware of it or they were listening to Lou Reed on the tour bus or obsessed with the Bowie/Lou Reed partnership or something. Generally, I do worry about that, because people compare our songs to things. The worst is when people say ‘Shelter Song’ is just ‘Ticket to Ride’, it’s nothing like ‘Ticket To Ride', it’s got a twelve-string guitar on it, that’s like saying any guitar song sounds like Robert Johnson or the Edge or someone!"

"This is from Laughing Stock, I wanted to choose something from this, Sprit of Eden or Mark Hollis’s solo record, which I love. Chris Taylor loves those records and when we were doing Shields I got really obsessed with them. I didn’t hear Talk Talk until after we made Veckatimest, maybe it was because ‘80s reference points weren’t fashionable when I was growing up. There’s something in the silence and space in this music that feels like it’s not made by a person, it feels like the record made itself. I guess that was their process, players would come in and do whatever they wanted them to do and then they took a piece of it and arranged things around it. I’ve always wished I could have been in the room when these records were made, just to see what kind of conversations were happening, if it was actually just a brutal process that they really didn’t enjoy to go through making them. There’s certain chord progressions on Laughing Stock and Spirit of Eden where you feel you just couldn’t write them, they sound like they emerged from nature, grew out of themselves and are eating themselves at the same time. With ‘Myrrhman’ especially there’s this weird turning chord progression that starts in the middle of the song, it never releases and it doesn’t let go, it’s moving around itself and imploding, with that quality of using space and silence as an instrument. “It feels like something that no one person could play, it’s like a mystery. The more you make music you try to channel whatever that mystery is, where you don’t know where something came from or how it happened, it’s something that’s totally human but comes from nowhere and you don’t know why and these records do that so well. The more we do this the more I realise that whilst making music and listening to music isn’t the same thing, it’s not really that different. Learning to be good at making music involves wanting to hear what’s going on as if you’re a passive listener, rather than ‘I want to do this and I want you to like it.’ It’s not about trying to make someone like what you’re doing, it’s channelling whatever that Gestalt thinking is that allows these things to happen. This was a real touchstone going into Shields, not so much for Painted Ruins, but it’s still something I always want to get back to, because it’s a trance-like state that feels like it came from no one, it just came out of the ether."

"I discovered this album quite recently and it transported me very much. I've had times in my life where I've wanted to go in a more electronic direction, and I find her work very inspiring because it's mostly electronic work, which she does a lot of on her own in terms of production and such, and at the same time it sounds very organic and connected to the earth. Not everybody can do that; to do electronics and make it sound like the earth. It's an art form. I just think it's perfect. The songs are incredibly creatively arranged and written; it's all there. It all seems very effortless even though I'm sure it's taken her a lot of work to get it that perfect. But it's seamless and you're transported from one song to the next. Some of the transitions are just so inspired; it's inspired and it's inspiring. It's rooted, and that gives it a sort of spiritual value which is lacking, and which we're losing. We live in a system that will seek to cut us off from our roots and cut us off from our connection with the universe. And that's our sense of direction, like the birds: they know when to migrate. They have this connection to the universe and that tells them, they have this sense that comes from the earth up, and we are losing this. But it's present in her album, this connection, in a very vivid way. And of course it's nourishing because it's pointing in that direction: this is where we connect to the earth, to our past, to our ancestors who knew so much. In the past 50 years we've unlearned so much. Our great-grandparents probably knew a lot about the land, where things come from and the cycles, and these are very important things so you aren't disoriented in this world. You have a sense of how things work in the natural world. There was probably less disorientation then than now, in terms of people consuming fewer antidepressants and things like that. Juana has this quality of being able to connect to ancestors and a whole knowledge that's been there for thousands of years and we're now cutting ourselves off from. I wouldn't blame it on the technology itself, but more on how it's being used, and to what ends. It's technology in the service of a system that will seek to disconnect, so we consume more and think less, creating desires for objects that we don't really need, and narcissism, and developing aspects of human traits that should really be kept in check."