"This is a record that got me through quite a difficult point with The Verve. I was expecting my daughter at the time and we were recording A Storm In Heaven at Sawmills in Cornwall. It was pretty remote. We'd polished off a bottle of wine at dinner and we were smoking quite a lot as well. I just needed to go and get my head together for an hour before I went back to making the record and this was the album I listened to. I see it as a very ecstatic and comforting record. And I've played it to people since and the reaction seems to be, "This is terrifying!" But I really don't see that at all. To me it was just disappearing into something for an hour that was heavenly and ecstatic, which was exactly what I needed. I was conflicted and worrying about my future – whether I was doing the right thing. For a long time I had this feeling that what I was doing was a complete joke and I'd be exposed as a charlatan. There was a general sense of paranoia – that working class thing. Lots of people around me were saying get a proper job. My thinking on the whole thing was that it was all going to end rather badly, which wasn't really conducive to being creative. The album was a freebie from Virgin, and it had a huge comforting effect on me."

"""Ben Vida is a composer and sound artist whose work I really love. This record he did pairing his idiosyncratic electronic voice with percussion is a favourite. I suppose everyone I have given on this list has a strong character. The thing I love about Ben too is that he's so good at synthesising sounds and he has such a strong compositional voice. But his music has such a great sense of humour too – some of the sounds are absurd. They are really high quality, well made objects, but in a lot of ways it's so funny. I'm always excited to listen to anything that Ben does. And it's great to get a chance to work with him too. He's been a long time collaborator. I also sought him out to work with me as a performer on my HIVE project. When I first started the project, it was this installation where there were these five wooden mushroom-like pods. It's a piece for three percussionists and two modular synths. Being a fan of his music and having known him for a couple of years, I asked him to do that with me. And so we ended up touring that around together. I ended up adding some vocals to some records that he did. He did a record called Slipping Control a couple of years ago, that I worked on with him. So it's been a very rich creative relationship."""

"I watched this for the first time at noon on September 28th. I remember the date very well, because it was the same day my own film opened in theaters, an event far less notable to me than finally getting to lay eyes on Luca Guadagino’s remake of one of my all-time favorite horror movies. I was beside myself with excitement. The lights went down in that little subterranean screening room and it didn’t take long for the film to confound every one of my expectations. What did I think I was getting myself into? Something lithely sensual? A blend of horror and eroticism? Any male-gaze-ish expectations I might have had were thwarted early on when Madame Blanc asks Suzie Bannion what it felt like when she performed one of her famous dances. “Like fucking,” says Suzie. “A man?” Blank asks, but Suzie shakes her head. “I was thinking an animal.” Just like that, the movie slapped some sense into me, and then it proceeded to keep slapping me, harder and harder, until it ended and I didn’t know what to think anymore other than that I wanted to watch it again right away. I had to wait until Halloween night. It wasn’t enough. A friend who saw an early cut told me that it was a whole lot of movie. It surely is, and my arms aren’t being enough to hug all of it."

"Let’s start with The Big Lebowski. I remember seeing this film. I was studying in Germany at the time, and I remember loving Fargo so much — that was my first introduction to the Coen brothers — and I was so excited that they had a new movie out. So I went to some German cinema to go see The Big Lebowski. It was in English, but with German subtitles. I remember watching the movie and just being incredibly disappointed. I really did not like the movie. Probably about four years later, I rewatched it and I instantly said, “I’ve never been so wrong in my entire life.This is one of the funniest films I’ve ever seen.” It’s incredibly well-written, the characters are hilarious, the performances are so nuanced and so deep it’s almost mind-boggling. A lot of the times you do scenes and you just sort of come up with these happy accidents and it just seems like almost everything in there could not have been a happy accident; surely it must have been thought out. I just think it is such an original, fun film and it is quite honestly one of the most quotable films of the last fifty years in my opinion. I think there are so many quotes in there that I realized how foolish I was that first time. I think maybe I was just so excited that I was drinking a beer in a movie theater; maybe that’s why."