"As often happens the first record you really get into by an artist, sometimes it's hard to replace that one. She's had great records since but this is the first one that I was blown away by. This record came out in the summer of '98 and my band had been dropped by Elektra. Right after that I moved into the guest room of my best friend's house. I had nowhere to go, I didn't have any money and now I certainly had nothing to do. My relationship with my girlfriend was on the rocks and this was the record I had on in this very bleak moment. Constantly on. It was a thing where it hurts to put it on. It hurts to listen to 'No Sense' and 'Metal Heart'. It's too raw almost. But again, I like being able to feel something in music. I still love it and play it and I still feel like I'm sitting in my friend's extra room in October with the window open and the rain is coming down. It still gives me that feeling."

"To me this record sounds like electricity. It's sorta arty-punk. Tom Verlaine sounds on the verge of a nervous breakdown and his singing and lyrics are so dreamy and elliptical. It's brutally stark and spare. The guitar playing is so amazing, so different - there's this tension, this raw clean air playing in the guitars - it's just so well arranged and yet unlike any record I've ever heard. The album never really had any commercial success but it's such a seminal record. I think it influenced a lot of bands along the way. It opened everyone’s ears to what you can do with an electric guitar. Both Duke and Steve (of Garbage) are huge fans of Marquee Moon and every now and then this record will pop up on our references. Sometimes we'll say, “You should do a guitar that sounds like a Television riff, that real tall angular sound."" One of the songs off our new album, Man On A Wire, has a little bit of a Television influence to it."

"I mean, Scorsese has to be in there. I always feel bad for these, because there’s always about 50 films I wish I could have put in there. Scorsese for sure, and I always get torn between Taxi Driver, Raging Bull, and Goodfellas. That’s my top three Scorsese films. I have a amazing soft spot for Mean Streets — I just think there’s something incredibly raw and energetic about that movie. But I think Raging Bull just shocked me to my core. I couldn’t believe that he could make me care about someone who was so animalistic, who was so brutal, who was so violent. And then I still felt sympathy for him. I still felt like I got to know a well-rounded human being, I got to know this character in that performance. De Niro is astounding. I don’t think I’ve ever seen anything like it in my life. And those boxing sequences, they’ve never been matched, they’ve never been bettered for me. So, I think Raging Bull is definitely up there."

"For years, this fairly obscure Russian movie has probably been my favorite movie. I first had a crummy Russian VHS with blocky Soviet-era lettering (in which the movie title was translated as Unmailed Letter). Then in the early 2000s, my friend somehow found me a bootleg DVD. (Shoutout to Bilge!) Miraculously, in 2012, I saw it listed on Criterion’s “Coming Soon” page. I remember when I saw that, I just couldn’t believe it. This story of survival in the Siberian wilderness is simply the greatest “tough terrain” adventure movie ever made (with apologies to another Criterion fave, The Wages of Fear). Both director Mikhail Kalatozov and his cinematographer, Sergei Urusevsky, seem half-crazed, and my jaw drops repeatedly while watching. Kalatozov is one of cinema’s boldest stylists, and there are a zillion shots in this movie that blow me away. Yet, despite the cinematic fireworks, the most affecting shots might actually be the many meticulous close-ups of the explorers’ faces, which foreground the raw human drama unfolding before your eyes."