"Sometimes I nose around on the internet, seeing what people are talking about. I'll download a track from iTunes just to check things out. 'Wanderlust' is one of the things I listened to. I think it's just fantastic. I love the way it's just got that one drumbeat, I think it's a drum machine, I'm not sure, and that's all it does. [Hayden Thorpe] has got a fantastic voice. It's got these sort of crappy-sounding keyboards, organs. Some of that album [Present Tense], I've been listening to it over the last few months, sometimes it's so overly pretty it puts you off a bit. They're obviously in love with 80s synth sounds, a lot of people are these days, and sometimes the arrangements on some of the songs just feel very 80s and slightly too ornate and slightly too pretty. But on 'Wanderlust' I think they completely nailed it and it's really just one part. It doesn't go through lots of different sections, the way the vocals and the music develop. It's a great song, very poppy, very pretty, driving and it makes its point."

"If you listen to the first Saxon album, you can hear where the band was at that time, and what we were talking about earlier, with Free and Yes. That album is split three ways: the songs we wrote together that were fast and aggressive; then the more proggy tracks, longer and more musical; then blues riffs. So if you listen that album you can see there were three things that could have happened - we could have been like Free or like Yes, or we could play a new, aggressive kind of music, singing about motorcycles, and those were the songs we wrote together. If you listen to that album you could see where our influences came from, and how it all came together to create ‘Wheels Of Steel’. If you listen to ‘Backs To The Wall’, that is where I was coming from – try to get away from where you're supposed to be and drag yourself out of that to become a musician. ‘Stallions of the Highway’ is maybe the forerunner of ‘Motorcycle Man’ and the songs that Metallica and Megadeth took from and then invented a new kind of music"

"This would be the opposite to a lot of the records we've been talking about - it's complicated, there's a lot of instrumentation going on. That's one of the things I really like about Tortoise, they can play all that stuff live and pull it off. I think they have nine members sometimes, maybe even more, but it's one of those records where it's a really cool electronic record but it's actually really organic because these guys are really playing. Those two things are so different and so hard to blend well, I've tried it myself and failed often, it's hard to do. The musicianship needs to be there, and the programming needs to be right - I may be wrong but I think a lot of those type of songs are created electronically and then people try to interpret them, but with Tortoise I don't know how it starts - do they start organically and then interpret them electronically? Especially with Standards, it's a perfect blend of the two. I definitely feel an affinity with post rock groups like Tortoise, maybe people like Shellac as well."

"In the same way as I chose Al Green I chose this because they are the first real electric blues band, they are just magnificent: the songs are great, the singing's great, the arrangement's are great, the sound is great - they invented it, pretty much. I got really familiar with this round about '83, '84. I was breaking up with someone and breaking up with myself really. For about a year that was all I listened to, I put it on and it never disappointed me. It was after all the Wire work and all the Dome records and all the various things. I put that on and was absolutely sold. Things were up for grabs, I wasn't really sure about anything else really, but this seemed really pretty solid for me. Incredible. Talking of John Peel, the last time I saw him before he died, he came up to me and said: 'What was the most disappointing gig you ever went to of someone you really liked? For me it was Howlin' Wolf with a pick-up band and I wish I'd never gone.'"

"Jesus Christ, that album is just stupidly good! I didn't know this, but a lot - Ginger Baker, Tony Williams, who played drums for Miles Davis, Steve Vai - it was a supergroup! It's a perfect record, it's like the perfect, cool record. The guitars on it, it just sounds like it's flying! It's like, ""Wooo, there goes Steve!"" There'd be divebombs - he had a Floyd Rose whammy bar - it just tanks - it goes down and then it goes up, up into the stratosphere, and then he'd go really down on it. Jesus Christ - talking about sonics! And it's surprising how many of the drum riffs that I like are by Tony Williams: the first song ['F.F.F.'] on it is just awesome; I would've thought that was Ginger Baker. I guess the producer employed two jazzy drummers! I was listening to this pre-Pixies. I listened to it a lot with my brother, my little brother who's excellent with the guitar. I still lived at home at the time and we would just flip out in my bedroom. He would actually show me [how to play something], because I would be so frustrated: "Goddamn it! What is this?!""