"She’s a classically avant garde, experimental composer who was part of the 70s New York scene that people like Julius Eastman and Arthur Russell were also a part of. Her album Pipe Dreams, which was given to me recently when I was living on my own in the Lake District, became a soundtrack to the moments where I embraced the solitude of living somewhere quite secluded by myself. It has these beautiful drone sounds that interact with bass, and it adapts to your mood in a way. It’s completely transportive – an album to lose yourself in."

"The album cover was worth the price of the purchase on its own. It was a highly influential record for me. I can remember being at a still life class in art school [Hornsey College of Art] listening to this. I learned every lyric on it. ‘In Every Dream Home A Heartache' is Ferry at his best. They were really hitting their stride here. Their attention to detail on the artwork was amazing. As I said, the album covers were as exciting as the records. To this day, there's a bar set when it comes to presentation, and Ferry set it."

"Already their second studio album, they had scored hit singles with 'Denis Denis' (I first heard that on my Grandad's window cleaning round) and the sublime 'I'm Always Touched By Your (Presence Dear)', still one of my favourites to this very day. As a whole album, it sounds like a spy movie soundtrack with 'Contact In Red Square' and 'Kidnapper'. Highlights for me include 'I'm On E' and 'Love At The Pier'. The very definition of late 70s New York pop art and punk glamour; Deborah Harry, for me, will remain forever the Queen of New Wave."

"The first Bowie album I got into and still my favourite just because it’s got so many good songs. It’s quite a long album, and he went so many different places afterwards, but that kind of version of him is the one I can most identify with. It’s almost like a greatest hits in itself with an unbelievable number of proper classics on it! One of my favourite ones is 'Kooks', which is about having a kid and being a couple of kooky and alternative parents and wondering how the fuck you’re going to bring it up."

"We did an album of Antony and Robert Wyatt covers in 2011, and this was another record that we all fell in love with in the band early on. It's a very spiritual album in way. I'm not religious and I don't think Antony was then either, but there's so much feeling in it, in how his voice moves, and how the strings really cradle the lyrics. It's rolling, roaming and sensuous, and I became fascinated with Antony's voice. It has so much fragility in it, but also this soaring strength. It's such an incredible mix."

"It’s one of the most influential records ever, on me. I’ve talked about it many times. I always feel duty bound to ram it home, what an amazing achievement to get so much Marxist anger into an album, which is actually really delicately played. People always accuse them of being Smiths copyists but it’s much faster, stuff like ‘Antinature’ and ‘The Well Of Loneliness,’ ‘An MP Speaks’, it’s a seamless album that can grind you into submission, like all good communists should. Brilliant cover as well. Of all my records this is definitely my most played piece of vinyl."

"Another recent album that I love, and will probably always love. Again, this dude just has a sound that I’m like, ‘This guy knows exactly who he is.’ For 12 or 13 tracks or however many it is, he has a consistency where you recognize that it’s definitely a Twin Shadow song. A lot of albums could have 10 songs where they all kind of sound the same. But these all sound different. They all sound to me like fucking radio hits but he hasn’t really popped yet. But I recommend his album Forget to anybody."

"You know, it’s amazing how quiet this album sound when you play it now. That’s down to old fashioned mastering. It was mixed by Bob Clearmountain – what a great name, because Reckless sounds like his surname! I always think the name ‘Clearmountain’ is so Dickensian as well. “But every song here was either a single, or sounds like it should have been released as a single. It’s just amazing. And Tina Turner’s here as well on one song, It’s Only Love. “Whenever I play this album, it sounds familiar, beautiful and like bathing in warm water. A bath of ‘Clearmountain’ water!"