"I was listening to this a lot when Supergrass were making Diamond Hoo Ha over in Berlin. This was the record of that album for me and I was listening to it over and over again. I love the rawness and the vocal performances. When I first heard it, it was unlike anything I'd ever heard before. It was different and I love Tom Verlaine's vocal quality; it's really androgynous and like the male Patti Smith. It had that delivery and I love it. I've never been drawn into the alternate tunings that they used and so I've never delved into that. I'm probably not enough of a nerd about other people's music to do that. But their playing is never pompous or self-indulgent. It wasn't guitar duelling but Television are very sensitive to their instruments. Everything had its place but I think I was drawn to it because of the band I was in. This was what we aspired to in terms of Mick [Quinn] being a brilliant bass player so we let him speak with what he was doing. And you couldn't tread over Danny because he had these amazing bass fills and we had that internal dialogue where everybody got to speak. The best bands are the ones that connect that way and are really on fire when there's that understanding between each other."

"This one I discovered more recently. I'm a big Hermeto Pascoal fan; I was turned onto Hermeto by Kamasi Washington when we were teenagers. But, again, it's Brazilian and stuff like that you have to seek out, you have to want to find it yourself because it doesn't always get translated. I didn't know about Egberto Gismonti at first, but I spent a lot of time listening to Hermeto, and I remember I went on tour with Miguel Atwood Ferguson in the band with me at one point. And Miguel is also an astute follower of music, to say the least. We were listening to Hermeto Pascoal backstage and Miguel turns and he goes 'Is this Hermeto? Do you know about his friend Egberto Gismonti?' and I was like, 'no'. Miguel proceeds to tell me this is the person that plays bass with Hermeto Pasqual, and he's a beast of a composer. He played me the album, and I was floored. I was completely overtaken by this album and the composition. It tells such a story – Egberto Gismonti's albums in general tell a story – but this specific album, there's some moments on it that are so intense that it's hard to listen to them. It's hard to play one song for somebody, but if I've ever played the record for somebody, it has to be listened to very loud."

"She’s a later discovery, a totally obscure person. I was reading about her just to prepare for this, because I’ve been listening to this record for ages, and on Wikipedia it said that somebody gave a copy to J Mascis and he gave it to someone to release it. I didn’t realise that at all, that he brought it to some record label’s attention, but that’s a record that I’ve been listening to a long time, it’s a really beautiful record I think. I have chosen Songs of Love & Hate by Leonard Cohen and Ladies of the Canyon by Joni Mitchell but this record is right in that same period of beautiful singer/songwriter records. They’re not band records, they’re personal records, they’re kind of like somebody’s journal or notebook. Those records always felt like a window opening into somebody’s life where you kind of spent an hour or forty five minutes of someone telling you about their life and the different things they see and the different ways they look at the world and if it resonated with you it became this… I just thought that Sibylle Baier was in the same canon as all those albums from that period that made an impression on me. Like early Dylan or a Nick Drake record or something. Colour Green is just as powerful for me."