"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."

"There’s a funny story here. When I was with Dave Roth he would always talk about Tom Waits in a very respectful way which was rare. I never heard Dave speak reverently about anybody and I didn’t even know who Tom Waits was. I had never come across his music. But all through the years, Dave would always say, ‘Yeah, like Tom Waits’ and I’d just say ‘Yeah, yeah!’ And then I was on tour with Whitesnake and there was this band opening up called Bad English whose singer was a guy called John Waite and I thought “Wow, this was what Dave was talking about? Hmm, it’s kind of strange because it’s not the kind of singer that Dave would be reverent about.” And then I realized I had the wrong guy… So I went to the store and bought about twenty Tom Waits albums and (one of them was Mule Variations), and I remember that I was listening to all these records, getting three tracks in and literally throwing them away. Then I put Mule Variations on and stopped dead in my tracks. It completely leveled me and I can say – out of everybody I’ve talked about – Tom Waits is my favorite artist now. I completely resonate deeply with his music, his voice and his lyrics; I buy everything he ever does. He’s one of those guys who are totally at one with the creative element with no excuses or concerns about what’s going on around him – totally uncompromising.A lot of people think they’re uncompromising, but they’re not…"

"We're keen on the White Album because of the way we're making a lot of this music now. I feel like they had a lot of music, and they weren't that worried about the very nuanced production they had delved into with George Martin. It's one of those records that's kind of sloppy, recorded in strange rooms. It has this weirder, drug-damaged vibe about it. For me, I think that The Beatles could not be any greater of a group without a song like 'Revolution 9'. I wouldn't have embraced them as much. Even though I was very young I always thought 'Revolution 9' was just as valid, just as listenable, just as perfect as 'Strawberry Fields Forever', something that has a lot of structure, melody, lyrics. I didn't realise until later how retarded that was. When we started writing songs and learning how to produce records we started to see what a strange, disturbing collage it is. Luckily, that was what I built my world of creating music on: thinking anything that you wanted to do was possible. They'll have these experimental moments, and even Paul McCartney, who's perhaps not as artistically experimental, there's that thing, [sings] "Can you take me back where I came from" [the fragment that follows 'Cry Baby Cry']. [It's] Thirty seconds of him not really having a song. Listening to that when I was young, somehow, is the cornerstone to me remembering that anything's possible - that you don't have to worry about thinking everything through before you do it."

"This was a great time for Iggy Pop. He'd been through a lot but this particular time period, things really seemed to work for him. And I like the exploration of early synths here as well. You've got a song like 'The Endless Sea' which has the over-loud synths. I'd have turned them down a little bit but it's great because it's really in-your-face and you can really hear the excitement of the guys getting hold of a Moog. There's an innocence here coupled with an early discovery of stuff. And this album is more about the songs. I don't know if it's a case of something being overplayed but I much prefer listening to this than say, 'The Passenger' or 'Lust For Life'. Maybe it's because those songs are always on and they're just overplayed - and they are brilliant and amazing songs - but there's a tightness about New Values, especially in the drum sound. They've obviously come back from Hansa and the open room, which is a sound that people have tried to emulate over the years, to do something different. Certainly when you look at albums like this, Horses and Marquee Moon, Supergrass were really trying to channel that '75-'79 period and that edgy punkiness but with elements of sophistication. I bought a Telecaster Deluxe guitar in the late 90s and I was really chuffed to get it because it was probably played by one of those musicians from that time period."

"This was on the soundtrack of Luke Cage, which me and my missus watched quite a lot, it’s a cool series and there’s great music on that show. I first heard this track years ago, but when I heard it again on Luke Cage it reminded me to go and root out the record. “It’s a beautiful snippet of a sort of souly… actually ‘souly’ is the wrong word, I don’t like the word souly, it gives me the wrong image! It’s a beautiful little instrumental moment with these wonderful female vocals doing their thing, they’re almost like Disney vocals. ‘Cristo Redentor’ is a really cool bit of music, I hear something like this and I get inspired and think ‘I want to have a female vocal that does that kind of thing’ or ‘I want that air and space to the bass guitar’, where it sounds like it’s not just DI’ed in but it’s got this roominess to it. It’s quite often sonic things that I hear; where I’ll hear something and think it’s right up my street sonically or it’s the combination of instruments. “There’s such a great tone and vibe to this. I was listening to stuff like this when I was making the record, these sort of moments, like how Hip Hop uses old moments from soul records, that kind of approach. I think production-wise a lot of that stuff is amazing, there’s instruments like glockenspiels and it’s quite orchestral but with this great undertone - it’s different, there’s a dirty rawness about it."

"I think initially I almost had a resistance to wanting to like Blonde because of how hyped it was, but when I finally heard it I could see through all the hype about Frank Ocean, it was just refreshing to hear. Me and my wife listened to it on a long drive home and we loved it, it was the first time I’d heard him and I thought it was a really cool, really experimental record. I haven’t grown up listening to Hip Hop, I’m kind of rooted in other things, but Blonde really spoke to me and I could really hook onto it stylistically. “It was similar with Beyoncé’s Lemonade, that was really hyped as well, but she did this quite odd record. From what I understand the way it was constructed was editing lots of bits together and that’s how I made my record, from a solo artists point of view it’s a lot more about piecing things together. I found both Blonde and Lemonade really inspiring even though on paper they’re not my genre. “‘Nights’ is a really good song. I really like his subtlety, the way he doesn’t overcook it and I thought that was really different. Blonde is an inspiration for how to make and approach a record. He’s not just relying on a single or four big hits to sell the album or to get the point across. It’s a complete record, it’s got weird little segue-ways and tracks that aren’t particularly commercial, they’re a bit weird and that really spoke to me.”"

"That's like a bookend thing really, because it's one of the latest records I bought, only two months ago. Side one is the best side, sometimes he gets a bit busy, but the first track starts so sparsely, it's incredible. I saw Terry Riley recently when I was playing at the Primavera Festival. Everybody ends up staying in the same hotel near the site and a lift door opened and I saw him and he went 'hello Jarvis', and that was a very proud moment because I've only met him once before. Mark Webber, who was the guitarist in Pulp, he knew Terry Riley a bit and we actually did a performance of 'In C' with him at the Barbican years and years ago, and he remembered me from that. I was really touched. I think it's a really romantic record - none of these records have to be for any purpose but I have to say if you want to get it on with someone, it's a good one to put on. When Mark first introduced me to minimalism I thought 'there's not much happening here', but it makes you listen to music in a different way, you're listening to the actual sound of it. That expands your mind. Persian Surgery Dervishes is using that weird tuning, with loads more notes, it's questioning the idea of the Western scale, saying we can find notes within the notes. It's a long way from pop music, it's exciting, it's good to know you can be enthralled by music in which not very much happens. 
"

"This goes back to when I was a child, and me and my older brother were in the house together. This is the era video games come into play too, because this is where me and my brother started fighting over the TV and what's being played loud in the house. This was me and my brother fighting over the over Nintendo and Sega Genesis, while he's practising on a drum pillow. Dave Weckl was a massive musician to us when we were young, and John Patitucci, we were into him a little bit, and Frank Gambale of course. We would listen to this album a bit religiously – this is how we wanted our instruments. We would play with this and we would learn the album. I actually wasn't excited about this album until my later years, because it being tied to such an emotional place. When I got of age and realised how important this album was, I revisited it and there's nothing like it still, sonically. For who it was and what it did, there's nothing like this album. There's actually a moment where I do get synaesthesia from this album, it's somewhere between 'No Zone' and 'India Town'. I literally remember standing up in front of TV playing The Karate Kid, and I remember listening to this and feeling so happy, I felt weightless. This is me, the musician, the one that was practicing, playing jazz band. I didn't know too much about anything, but I knew that I couldn't play Nintendo without Chick Corea in the background."