"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 is Aaron Bruno’s solo proect. I put this on the list because I’ve been listening to it recently. I tend to find an album that is eclectic enough to keep me interested and I listen to it over and over again, obsessing over it… and then I stop. And I just stopped with this! Ha ha! Well, I’ll probably give it a bit of space and then come back to it. I try and listen to new music as much as I can, but that’s probably the first genuinely eclectic new album that I’ve enjoyed in years. The story goes that somebody in Texas played one of the album tracks and it’s caught on and everybody’s playing it now on their radio stations. And it’s become a sort of mega hit. To me there is some stuff on it that sounds like the Pixies and some stuff that sounds like The Beatles, but it’s all slightly electronic and his voice is great. There’s loads of obviously ad-libbed stuff that they’ve kept in and it’s very cool. Rough round the edges in the right way. It’s not guitar heavy, but there is some really great live drumming happening in it. I think he’s a surfing man who’s influenced by hardcore and stuff like that, but some of it’s very poppy. I think it’s just a guy who is not afraid to explore songs and take them where they feel like they should go, rather than worry about what it’s supposed to sound like. It’s the best new album I’ve heard in years."

"It’s All Coming Back To Me Now’ was on the first CD that I remember buying. I had a little purple plastic CD rack and it was one of the most played on that. I loved the piano and I started playing the piano around that age, so it felt relatable for me. Again, I just loved the drama; it’s like a seven or eight minute long song, it’s so amazing, who does that? No one does that! It took me on such a story, the visuals are so clear, even now I can still feel that intense drama. Celine Dion’s amazing, it’s like watching a movie, honestly, listening to those kinds of songs. “So that was ’96, so I was nine. I was quite a melancholy child. My mum would put me to bed and I’d always get up and walk around upstairs, where there wasn’t really anywhere to walk around. I would just walk around the bathroom, sit at the top of the stairs, hold the staircase and stare out. I really was quite melancholy and I now understand mental health issues as an adult - like I had, you know, anxiety, OCD, depression; I had so much emotion. I mean that was just me as a really morose, melancholy nine year old, I really felt that intensity. “Those emotional songs can be the cloak that you wrap yourself in. I was drawn to the drama of those kinds of songs, definitely. I mean, those are pretty intense sad songs for a little kid."

"I hate saying this, but it did what it said on the sleeve! It was them two and it was a lot of drums. It was one of the first records I would listen to because a lot of jazz drumming is very difficult and complicated, if you listen to somebody like Buddy Rich you can't help but think how does he do that; what is he doing? How do you do that? It's very complex which always scared me off. Kenny Clare and Ronnie Stephenson had that same technical proficiency but they didn't use it the same way. They were much more in the mould of Gene Krupa. The parts that they'd play were very musical. I don't know if they were musical to people who weren't drummers, but to me it all made sense. Some of the stuff they did was almost melodic, like patterns on the toms and breaks, and then just trading off each other, which I thought was pretty cool because it was like hearing two people being inspired. Again that was something that really came in with The Damned, with Brian and me. It was almost like a competition sometimes: he would play something and then I would go okay, if you're going to do that then I'm going to do this. And I think that probably came to us from listening to these drum battles and taking on the mentality of that; feeding on what's going on around you, regardless of what it is."