"This record is a hallmark of contemporary metal that fuses second-wave black metal with compositional techniques borrowed from modern classical music, including atonality and post-minimalist repetition. There’s also a unique sense of atmosphere and space in the production that harkens to post-rock and post-metal bands."

"It’s just timeless space-age music. Music that was recorded with so little technology, and yet it sounds so technological. It’s spontaneously recorded and spontaneously mixed, and yet it sounds like it’s been arranged, by four thousand producers, four million Trevor Horns. But it was just two blokes pushing faders up and down with a couple of space echoes. It’s an amazing sound, and it’s amazing what they did in Jamaica, especially people like Lee Perry and King Tubby. Sonically, they transformed music. It was quite difficult to get hold of at the time: there was one shop in Finsbury Park, which was quite a threatening place to go if you were a young spotty skinheaded kid. I remember Johnny Rotten used to go there, but he was a bit more fearless I think! But there would be house parties where you’d hear a bit of it, and it would filter into places like Rough Trade, and spread to Rock On in Camden Town, and you’d end up, er, borrowing lots of records that you never gave back…"

"Magazine were also one of my favourite bands and that they came from the same city as me was a marvel. It didn't make any difference to what I thought of their music, but it was definitely a bonus. As a teenager I was very critical at the state of guitar playing and the usual cliché-ridden approach that was either blues rock or prog rock. It didn't mean anything to my generation. In John McGeoch, Magazine had a guitar player who was modern and relevant and interesting, while Howard Devoto was, and still is, one of my favourite ever lyricists. There is a thought that the first couple of records for many bands are the ones that are considered seminal. As is the case with Wire, I think that when bands break away from their first seminal albums - in Magazine's case that was Real Life and Secondhand Daylight - and they take somewhat of a left turn, it is really interesting. On The Correct Use Of Soap, Magazine did something original and almost ahead of themselves. There is a lot of space on The Correct Use Of Soap and I think it is better than the first two records. The space means that John McGeoch can really stretch out. Songs like 'Philadelphia' and 'Because You're Frightened' are based on guitar-playing that is utterly unique. It is one of those records that you can say that if it came out now, it would still not only be fresh but ahead of the race."

"Repo Man was one of the most important formative films of my teenage years. Later, when I moved to LA for a summer, I couldn’t stop thinking that I was actually living it out, because the city is such an extraordinarily strange place full of people who seem like their brains are being microwaved by the sun. Repo Man is a great movie about blue-collar weirdos in a wasteland of people living off defaulted loans, forming their identities through various “codes,” and searching for a sense of community in male fraternity, punk rock, religion, work, government, conspiracy theories, and/or outer space. And as time passes, the more jetting off the planet in a radioactive Chevy Malibu seems like a good idea."

"This was when Madness were out of action, and ecstasy was in the air, I was checking out this and checking out that, and I remember hearing ‘Loaded’ in a supermarket in Kilburn High Road and I said “Fuck, what’s this coming through the speakers?” But I was reminded of it because I saw Primal Scream at Glastonbury this year, doing the whole album, and it just reminded me what a fucking great album it was. ‘Higher Than The Sun’, I think, was their masterpiece. I don’t think anyone got it better, that ethereal space between rock and dance music, than them with Andy Weatherall. I thought Happy Mondays were great, and The Stone Roses, but I thought Screamadelica was really sensational."

"This album is a huge record for me. African Dub Chapter 3 is a record that's beautiful and a work of art that's ahead of its time. It still sounds so modern today in terms of production techniques and imagination. It has so much space, with the songs being really deconstructed. But they're reconstructions and deconstructions of commercial singles that had been made avant-garde by just adding certain parts and dub effects. When I first heard this at 16 or 17, what with there being no West Indian population in Glasgow and just hearing this record, I immediately loved it. African Dub Chapter 3 is a record that has stayed with me forever, y'know? So when it came to working with Andy Weatherall, who remixed 'I'm Losing More Than I'll Ever Have' and then did 'Loaded' after that, to me, that's like a rock version of dub. So I completely understood it. Meanwhile, there were those who never quite took to it as much as me because they didn't have that art rock/dub background."

"The whole New York thing was kind of like the Bowie outer space thing – you’d see it on films. And when I first went out to New York I thought how right the music was for the place. It was the antithesis of the California thing. I bought a Velvets compilation with ‘I'm Waiting For The Man’ on, and every title fascinated me. When I got Banana everything about it was cool, a different kind of cool to Bowie, just this disrespective, narky cunt, with the greatest rock & roll band in the history of time. Technically it doesn’t matter, the chemistry between them was incredible. Every rhythm guitar part I’ve ever played I’ve just nicked from Lou Reed, even some of the punkier stuff. There were all these punky little rhythms. Not as important as Bowie in what he decided to do, but up there because it was a band with a definite front man. When I met the right people later in life I would use the Velvets model."