"I love Brian Eno, but I picked this album specifically because it's one of those albums that if you're up at six in the morning, stressed out wondering why you were up all night, I can just put this on and everything feels OK. It's almost superficial because it's so sweet and ambient, but I respect it a lot because it always piques my interest. I know he wrote some of the songs with Robert Wyatt from Soft Machine, and Robert Wyatt has this delicate, fragile sort of energy, I feel like that's there. An old friend of mine, Yuka Honda from Cibo Matto, the first band I was in, first played this to me on vinyl in the mid-90s. I was smoking a lot of pot in those days. I've read that Eno made it with the intention of actually playing it in airports. For fun I have put it on [in an airport] and there is something quite airporty about it… something machine-like about the melody. It reminds me of the architecture of an airport, it's not bustling or busy, it's like an airport when no one's there. I think it's the number one album I'd recommend for taking a bath to."

"I love the sound of ‘I Can’t Explain’. It’s my favourite and I love all those earlier ones. I used do them onstage with a group called The Nightriders and The Idle Race as well. ‘Pictures Of Lily’ and that kind of stuff. I used to love playing all those Who songs. They had something about them, The Who. It was like magic, the sound. And just watching Pete Townshend, he was always amazing. Did I ever catch them back in the day? Yeah! Not half! The loudest bloody thing I’ve ever heard in my life! I went to this place called Midnight City in Birmingham and it was quite a big room and everyone was waiting for them: ""wow! We’re gonna see The Who!"" and they struck up and went BLAAANG! and your earholes would go WOOOOM! and you couldn’t hear a fucking thing! Your hearing was gone! You know when your ears go inside out? And it’s like silence and you can’t hear fuck all for the next 10 minutes until your hearing starts coming back! And gradually you could start hearing them again. It was like a compressor, almost. It was really exciting to hear that when you’re a kid. And the tunes they played were so great. It was beautiful. Fantastic!"

"It was probably one of the first times I picked up some listening headphones in Spillers Records in Cardiff, and I was looking for a gift for my best friend. I knew [Hans-Joachim Roedelius' band] Cluster existed but I was never really a fan – I hadn't found the time to get into them. So, I didn't know anything about who Roedelius was, but I was really intrigued by this record. I listened to it and it was absolutely incredible. I bought it for my friend and then realised that I had to have it for myself, so I went back the next day to get myself a copy. It's been an important record for me because it was the first time I heard a record that included synth and pianos and percussion and that was mechanical in parts but also very beautiful in others. It was the first time I started to visualise arrangements on different instruments and started to exit the view that everything had its place. The album has beautiful recurring themes that sweep in and out of the record. So for me, I could hear things mathematically but it also made me think about how you can piece music together as well. It's beautiful and some of the songs are playful - one of them sounds like the theme to an awful TV cop drama - but it then evolves into these beautiful soundscapes. A song like 'Le Jardin' just transports you to this different place. I always want a song that can remove you from your current situation."

"This was a difficult choice. I did want something that was a disco album and could have gone for The Bee Gees’ Saturday Night Fever - you don’t get much better than the songs on that particular album. But then I thought about Michael Jackson and what he did and how he changed things. Off The Wall is Quincy [Jones] at the height of his powers producing Michael Jackson as he is coming of age. Michael had the most amazing voice and a sense of rhythm that no-one had ever heard before. It’s really something. I listened to it about two or three months ago for the first time in quite a while and it is flawless. Off The Wall was the sound of [New York super-club] Studio 54. I was too young to go to Studio 54 when it first opened but I did go later when they reopened it briefly at the beginning of the eighties. I stood in the same room just imagining what it would have been like - it would have been a lot more fun in 1977. So, that album, which to me is a more interesting album than Thriller (although again another really great album), captured the spirit of a generation and moved dance music somewhere. This discussion could go on for hours if we had time, about what happened with disco and funk, bands like Chic and Sister Sledge who I’m obviously a huge fan of, but, for me, Off The Wall was the album that defined that period."