"When I got into that album I must have been 19 and in the same way with Andrew Hill’s Point Of Departure, it definitely changed something from the minute I put it on, more so than any of these records for me. It was around the same time as the Blue Note sale at FOPP, when I would buy loads of CDs and listen to them top to bottom a few times over. The album has the most beautiful dark quality to it and the fact it's called Nefertiti, was this all planned? Are you trying to reference this Kemetic Queen? And then even how do you even do that beyond the notes, because it's there when you listen to the mix and the atmosphere. We can't answer it, but he must have. This tune in particular, ‘Fall’, it's very cyclical, it's very repetitive. There's a riff that just keeps coming back and puts you in this really interesting, beautiful trance and it's so dark, but it's so beautiful. I guess on Dark Matter it’s that thing as well. Darkness to me isn’t bad, it’s another thing. Dark and light. My brother made me laugh the other day when he asked ‘If there's a speed of light, is there a speed of dark?’ and I was like ‘Oh My God’, but I just think our relationship with light and dark is very interesting. The minute you say something’s dark people think negatively and that's not what it's about. Dark is sick too, it’s beautiful. There’s so much intricacy, delicacy, beauty in that."

"It’s hard for me to narrow it down to my favorite directors and favorite actors, too, but I love Matt Dillon. I love Beautiful Girls and I love Flamingo Kid — he’s responsible for a lot of my favorites, but I’m gonna have to pick Drugstore Cowboy. I saw it when I was a kid and I felt like it was such a different culture than any that I’d ever been exposed to, and I felt like instantly I was a part of it — even though I had no frame of reference. I mean, I wasn’t a “kid,” I was 14 or 15. I had started getting into, you know, that sort of pretentious high school literate phase where you start reading, like, Kerouac and Ginsberg and, I don’t know — I loved that world, that romanticized, thuggy, kind of petty crime world. I really romanticized it myself and just wanted to be a part of that world; there was something exciting about that for me. And I love the way it’s shot. I love the drugged out scenes; I love the way [Gus Van Sant] shoots with cut-outs, those kind of simple, free-floating cut-outs to convey the psychedelic scenes. It was one of my very first exposures to that style of filmmaking that was a lot more patient and took its time and allowed itself to breathe. And from there I got into, like Hal Hartley and the independent movies of the ’90s. But my love of that type of film all started with Drugstore Cowboy."