I’m a massive fan of ‘Nevermind’, it’s an amazing album. I can’t pretend I was listening to it when it came out, when I was in school or anything, because I was a bit young for all that – I got on it a little bit later, but I think it’s brilliant. It’s a fucking amazing album from an amazing band. I just think that the drums on that album sound so fucking top. When we went to Sound City [studio where Nirvana recorded ‘Nevermind’] to record ‘Suck It And See’, that’s what we wanted, to get something like that. ’Nevermind’ was the big draw when we were choosing the studio, but also it had been recommended by Josh [Homme] because he’s recorded loads in there too with Kyuss and the first couple of Queens albums. There’s this engineer who is still there [since the ‘Nevermind’ days], a serious guy, who we respected. We had such a good time in LA doing the last one, we wanted to go back there – the ‘Nevermind’ studio! We had to really try and not break out into messing around with any Nirvana covers. ‘Polly’ or ‘Drain You’. I remember when we recorded in Electric Lady, I started playing ‘Purple Haze’, and everybody was, ‘Ah, come on, fucking leave it out.’ So this time, I thought maybe not. But if we were going to do a cover of a Nirvana tune, it wouldn’t be a ‘Nevermind’ song, it’d be ‘Very Ape’ from ‘In Utero’. That would be the best Nirvana song for us to cover.
—  Alex Turner, ‘What Nevermind Means to Me’, NME’s 1000 Greatest Albums & Tracks of All Time