The vocal arrangements are a big part of the formula for a Bad Religion song - layered harmonies and background vocals. So when I start to describe the elements of Bad Religion's sound, it starts to sound like a Christmas choir.
The Beatles, the Rolling Stones and Phil Spector. Those were my idols.
A lot of what I've done as Nine Inch Nails has been governed by fear. I was trying to keep the songs in a framework that was tough, and I learnt a lot from Jesus and Mary Chain about how to bury nice pop songs in unlistenable noise - the idea being if you can get behind that wall, you find there's a pearl inside.
We tried our best for so long to make the heaviest record we could make.
When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.
Being single is like liking a Phil Spector record.
I think, for a long time, people thought I was a figment of Phil Spector's imagination because they knew The Crystals, they knew The Ronettes, they knew Bob B. Sox and the Blue Jeans, but had never had met Darlene Love.
What I play now isn't surf music. It's too powerful. I used to go through paper bags; now I go through brick walls. I play hard.
I am so thankful for the genius of Phil Spector, for his recognition of my talent to be the main voice of his Wall of Sound.
I love the Ronettes, the 'do-run-run-run' pop stuff. I love the lyrics, having 'blue, blue blue' being repetitive.
I used to play on Phil Spector's records, and he liked to use three pianists.
In a long meter hymn, a singer - they call it 'lays out a line.' And then the whole church joins in in repeating that line. And they form a wall of harmony so tight, you can't wedge a pin between it.
In 'Kill Rock n' Roll,' the choruses came about at the moment I was listening to a lot of the Supremes, and if you listen to that part, you can hear a melody and a harmony there that's not too far away from what the Supremes would probably be doing, but there's heavy guitars in the back.
For more than 15 years, Mogwai has built a reputation on its monstrous ambitions for rock music.
No one has their own identity like the Ronettes did back in the day.
