"I usually have Reservoir Dogs and Rocky Horror Picture Show on my list, because I just love them so much. I did Kids, and the first film I really can remember watching specifically to look at acting after that was Reservoir Dogs. My dad had given me the VHS tape of it to watch over and over and over again. Well, he didn’t intend for me, I think, to watch it over and over and over again, but I watched it over and over again; I think I watched it like five or six times that week. I would come home from school and I would just watch it again, and memorize the whole thing, and I was just so blown away by the acting in it. It seemed like it must have had all this money, because you remember it being bloody, you remember the shock, all that kinda stuff. And then you watch it and you’re like, “Actually, [Quentin Tarantino] cut around all of that.” The dude with red stuff on his chest, you know what I mean? It’s all acting. And it’s such an interesting way of telling the story, going back and inside of itself. My dad, I’ll never forget, he was like, “Watch this for the acting,” and I was just blown away. So I feel like that’s a piece of work that I love looking at as sort of a modern way of getting into those huge monologues, telling stories in an epic way, and the sort of more modern kind of small stories."

"This was a great time for Iggy Pop. He'd been through a lot but this particular time period, things really seemed to work for him. And I like the exploration of early synths here as well. You've got a song like 'The Endless Sea' which has the over-loud synths. I'd have turned them down a little bit but it's great because it's really in-your-face and you can really hear the excitement of the guys getting hold of a Moog. There's an innocence here coupled with an early discovery of stuff. And this album is more about the songs. I don't know if it's a case of something being overplayed but I much prefer listening to this than say, 'The Passenger' or 'Lust For Life'. Maybe it's because those songs are always on and they're just overplayed - and they are brilliant and amazing songs - but there's a tightness about New Values, especially in the drum sound. They've obviously come back from Hansa and the open room, which is a sound that people have tried to emulate over the years, to do something different. Certainly when you look at albums like this, Horses and Marquee Moon, Supergrass were really trying to channel that '75-'79 period and that edgy punkiness but with elements of sophistication. I bought a Telecaster Deluxe guitar in the late 90s and I was really chuffed to get it because it was probably played by one of those musicians from that time period."

"I was an obsessive Echo & The Bunnymen fan, Crocodiles and Heaven Up Here especially, so when Themes For Grind came out... this might be a little creepy, but I was in a record store at the time, I was flat broke, and my girlfriend came from a really wealthy family, so I sort of talked her into buying it, knowing she pretty well wouldn't like it. I think she was a freshman at college at the time, and I remember being in her dorm room and listening to it over and over. I still maintain it's one of the most beautiful records. I don't know anyone else who has ever heard this record. I bumped into Will Sergeant at an art opening and introduced myself and told him how much I love Themes For Grind and he looked at me kind of confused, and said 'how have you even heard this, no-one has heard this record!' I have the vinyl of it somewhere but I couldn't find it online to buy so he very kindly sent me a Dropbox version of the album. My girlfriend eventually got into it. Even though it's very experimental, it's really beautiful. All the sounds on it are very odd and idosyncratic, but it's also got a really wonderful sense of atmosphere and melody. Boy, if I could be an evangelist for one record that people hadn't heard it'd be this one... but I don't even know how you'd get to hear it. Unless you email Will Sergeant."