"This is a record I discovered long after the fact, but it’s become one of my favorite albums of all time. I love it even more because it comes from that magical late ‘80s period when there was so much amazing music being made. It’s like other records I’ve chosen because it has its own sound that permeates every track on the record. A while back, I treated myself to an original pressing of this. It was one of the few times in my life I have actually bought one of the albums that hang on the wall of a record store rather than in the racks! It was expensive at the time, I think around £30, but when I think about how many rounds of drinks I bought that cost more than that, it feels like money well spent. This is Larry Heard, the bedroom genius; it’s such a distilled version of his talents. And as such, I found it really inspirational when I started to want to make my own electronic music. I record under the name GLOK and Mr. Fingers is one of my main influences. My favorites are ‘Can You Feel It’ and ‘Washing Machine,’ but it’s all excellent."

"I think this is Steve's masterpiece. On my first day on foundation in Winchester, the tutor played everybody 'Piano Phase' and it was the first time I'd heard music like that. It completely blew my mind. The repetition; the shifting; the way those two pianos phased in and out with each other; it's an extraordinary piece of work. And he resolved that through a number of pieces and he came up with Music For 18 Musicians, which was the first large scored piece he'd done. I went to India in the early 80s and I had a very small number of cassettes with me that I could listen to, and that was one of them. I remember sitting on a roof somewhere listening to that and looking up at the sky. It is a kind of cosmic record in a way. I don't know if you have to like Steve Reich to know what that is, in a way. If someone was coming to it and they didn't know that music I don't know what they'd make of it. If you're used to listening to tunes would you just wonder where the tune is? It's all about harmony and rhythm, but it's intensely beautiful."

"When I first saw Brazil in the late ’80s, it hit me like a truck. It was such a powerful, bold vision, so joyous in its escapism and so crushing in its ultimate nihilism, that it left my teenage mind in tatters. I wasn’t quite sure what I’d watched but knew it was unlike anything I’d seen before. The impressive (and somewhat sad) fact is that, decades later, I still haven’t seen anything quite like Brazil. It escaped from Terry Gilliam’s brain with such velocity that its power even today is undeniable. I showed it at the New Beverly Cinema in Los Angeles in January of this year, and it still confounded me. I asked Terry Gilliam if he would write a quick intro for me to read out before the screening. This was it: Brazil was made by a bunch of young people who didn’t know any better. They are older and wiser now, but it seems America isn’t. It’s a pity that George W. and Dick Cheney aren’t still running the show. I was tempted to sue them for the illegal and unauthorized remake of Brazil. Just think . . . more people are living my movie than ever went to see it."

"I think this is the first Byrds album I owned. I bought it because it had all the singles on it. When I was a kid I didn't have a lot of money so I'd probably go and buy a band's greatest hits album, just to give a taste of the band – I love singles and greatest hits albums. I love this record because every time I hear it, it's joyous, it's transcendental and it makes my spirit soar. Whenever the Beatles and Byrds released 45s, they were all in mono because they were more powerful in terms of mixes. I watched repeats of Ready Steady Go! in the mid-'80s and was entranced by performances of 'Mr Tambourine Man', and also when The Beatles covered it too. The Byrds helped us dream away the greyness and bleakness of Glasgow and the repressiveness of Thatcherist Britain. The Byrds are better than The Beatles for me. I'm more of a Stones guy myself, but The Byrds just portrayed this image of beautiful Californian transcendent sound. That run between '65 and '67 in this compilation of A-sides and B-sides is unbeatable. I almost don't want to use this word, but it's a perfect record and basically formed the foundation of Primal Scream."

"Obviously, I'd been listening to hip hop since the mid-80s and kept half an eye on all that stuff as it grew. I was involved in rave culture really early, Spiral Tribe raves and stuff like that and clubbing in Leeds in the early 90s. There was always this really hard UK Garage sound that was great. I loved it. Wiley's come from being a kind of garage MC, one of those guys we listened to on pirate radio in Leeds. He's still got that really underground sound, the way he spits and he never loses that energy either. I was listening to his first album the other day and it still sounds like the future to me. It sounds so contemporary. When you actually analyse grime rhythms, a lot of it is from Nubian rhythms and a lot of the scales are Nubian scales, Algerian scales. When you hear grime, it just sounds like someone's car in the street in London. But then you analyse it and you realise there's all these global influences - it sounds like the whole world. This is what I wanted Melt Yourself Down to be. I wanted to try and create a sound that felt like the whole world."