"This had a profound effect on me when I was really young. I was maybe eleven or twelve years old when I saw The Who play ‘My Generation’ on a TV show called The Smothers Brothers Show. I was sitting with my brother, sister and parents and I just freaked out at how powerful they were. Watching Keith Moon, I just couldn’t understand what he was doing. I’d never seen anyone play like that before, he blew up his bass drum at the end of the performance, it was unbelievable and that’s when I told my parents I wanted to get a drum set. My mum said “Well, if you want to get a drum set you’ll have to take lessons and keep up your piano lessons too.” I promised I’d do both and kept up my piano lessons for about a year, but then I dropped them and focussed on the drums and started trying to figure out how to play Rock and Roll. The Who are in my top five bands of all time, in my home studio in Los Angeles I’ve got photos of them spread throughout the studios and the hallways. They had everything, they looked cool, Pete Townsend was an incredible writer, the way he played the guitar with windmills and swooping arm movements, Roger Daltrey was a great singer and an iconic frontman and John Entwistle’s bass runs held the band together. They had an incredibly unique sound. I still love this song, it’s in my top ten greatest rock songs ever written. It speaks to the essence of the confusion of adolescence and even the confusion of being an adult and what kind of world we live in. It never gets old, it’s a constant recurring theme that every generation of kids grows up with."

"You have to remember that this came out when I was 10 years old, and my brothers started smoking pot and listening to that all the time. So we lived a lot of our young intense lives with all that cool Led Zeppelin shit playing. But when I hear Led Zeppelin IV, I guess that's where I discovered that idea of a rock group. So for me, Led Zeppelin never really evokes anything other than these dudes playing this bad ass music. Of course, it's impossible to really play like Led Zeppelin. I mean, they're a total fabrication of sounds and moods and little arranging techniques, little quirks. Jimmy Page is a master of that. It's a magical combination of, what, eight songs? When you listen to them altogether, which we do quite often, I don't see how anyone who loves music could listen to that and not think, 'Fuck, that's cool'. Such cool drumming, such cool effects on the guitars. Robert Plant... it's a weird way he sings. People have accepted it now, but it's a weird screech. So high, with so much velocity, he's really singing at the peak of his energy. That is driving the music. You can't take Robert Plant's screeching out of that and get the same effect. It's just what the song is. That song 'Rock N Roll' [sings] "been a long time since I rock 'n rolled"... if you don't sing it like that, it doesn't have the same effect. He screams that shit with that freaky echo on his voice, it's like some truth from beyond. It's fucking amazing. It's still amazing."

"This record was so, so important to me. My friend went to see Slipknot play an instore show at a Virgin Megastore and he came back with this tape with The Workhorse Movement on one side and Glassjaw on the other, essentially Roadrunner Records trying to pitch their next big acts. He gave me the tape saying 'This is fucking rubbish, you should just have it,' and I listened to Workhorse movement and thought it was the worst thing I'd ever heard. But then I listened to Glassjaw and it was so raw and pure, it had that same urgency that I thought Nirvana must have had in the day, no frills, no production to hide behind, it was stripped back so there was no cloak, just dagger. I listened to this album until my CD didn't work anymore. I loved the whole story behind Glassjaw too, how Ross Robinson went and saw them play 30 seconds of a song, told them to stop and then they had a fight with him. It's rock & roll perfection. At that stage I'd played in a couple of bands but I was just taking music in. You're open at that age to everything, and this just really poured in."

"Ah that's the one, unfortunately, Lou Reed hated. He couldn't stand it... but I liked it! There's such a variety of songs on it. There's one song on there - [line cuts out; we reconnect] - I told you Lou Reed hated that album! That song 'Who Loves The Sun', how good is that?! The breakdown on it, it's like a hoedown. They called it an album, but this is just an art project! A lost memo for an album... Let's come up with 16 ideas and just whittle it down. 'I Found A Reason', that song, the melody [imitates it] that was just amazing. 'Rock & Roll', I first heard that in my father's car. He had a Monte Carlo, and I thought that was cool. It came on the radio and I was like, "What is this?!" It was so simple and it was talking about a radio station in New York - and I was in New York, that was where I heard it - and I just loved the rhythm guitar and also the soaring chorus, where it's just like three notes and it kind of soars around. And that became an influence on our song called 'Ed Is Dead' - another homage!"