"Now to get as far away from punk as you can get… Wynton Marsalis is a trumpet player, and Kathleen Battle is a soprano. “There’s a really good video of them performing this song and it kind of tells you everything you need to know about them as people. The combined ego of these two people is insane, you can see it on their faces. Again, it goes back to the idea that you don’t need to feel like you like the people singing to like the song, you can get positive emotions from egotistical people. “This song was played to me by Rachel from Cat’s Eyes. I got into classical music through her and it took me ages to a find soprano that I actually liked. I find listening to sopranos difficult sometimes, sometimes it feels so intrusive with that theatrical, over the top warble. But when the tone is pure I love it and Kathleen Battle is one of those sopranos. “The song is a baroque piece, but I find it quite hard to categorise. It’s so visual and so evocative; it’s almost psychedelic, because their music affects your perception of things. And it puts so many opulent and indulgent pictures in my head while I’m listening to it. Of all the soprano pieces and classical pieces that Rachel played me, this one is my favourite. I listen to it all the time, it’s probably one of my most listened to songs. “These two performers are so completely dedicated to their craft. They’ve been doing this their whole life and they’ve reached a level of control that most people will never get near. That’s why I love watching the video of it so much, despite their monumental egos you can’t help but admire and be inspired by the performance. The level of dedication and the level of musicality is unreal"

"This was the record that sold me on that band. When I lived in Sacramento California I lived right next door to this little club called the Press Club, and they were playing there. I was sitting on my porch and their van pulled up and I started talking to them. That was when they were touring that record, and it was my favourite record at that time. It's heavy, but it has a lot of groove to it - I don't know if there were too many groups who were doing that kind of riff rock, but it had all these discord sounds to it, and then two bass players, one of them using distortion the whole time and the other guy holding down the low end, the keyboard player playing vibes. It didn't sound like anything else at the time. They were from DC, where a lot of my favourite bands are from, like Fugazi, Minor Threat, these bands who started a lot of scenes in music. I never got too into political rock and roll, obviously great lyrics are great lyrics, but what grabs me is the cadence of the singer, how they choose to deliver the words. And that dude, he had this raspy voice, this distinct voice, to me it was more sex, he has this loungy kind of vibe. Lyrically he seemed to talk about partying, drugs, and girls."

"Queen Of Denmark and the Irrepressibles album were kind of jointly on my CD player in the car and I played them both endlessly. I love John's voice and I absolutely love Jamie [McDermott, Irrepressibles founder]'s voice as well - they're completely different voices but both extremely natural. Some people I play The Irrepressibles to, they thought it sounded like Antony, but I didn't get that. Whereas John has a more masculine appeal and nowness that has been embraced by the gay community of bears and beards. His stories are of woe tinged with a sardonic sense of humour, which is one of the most important things about his songwriting, whereas Jamie has an extravagant vision - extravagance on a shoestring, I don't know how he does it - but lovely orchestral instrumentation and absolutely beautiful vocals. I went to see the Mirror Mirror show at the Barbican and it was amazing and it should've been written about and applauded by the likes of The Guardian and that, but for some reason Jamie still continues to do lovely work but it just doesn't get the press and the support from the music industry that John has had. John is great and deserving of it - this album's brilliant, as is Pale Green Ghosts, but I would especially like people to listen to that Irrepressibles album, because he's a great artist and a hidden gem amongst the whole 21st century queer landscape."

"I remember first hearing 'Xtal' - that is the sexiest ambient electronic song for me. I remember being in my first year of university in Brighton and moving away from home and being a bit lost and lonely in some ways, in this tiny little halls of residence room. This album, Ambient Works, was just constantly on my Walkman and I'd been exploring Björk, The Black Dog, Aphex Twin and Boards Of Canada, all this electronic music, this world that was opening up to me from the early to mid-nineties, which I was discovering it a bit later. I'd actually at that point bought a QY-70, which is a Yamaha sequencer - I remember reading Björk had written Debut on it and Tricky had one. Listening to Ambient Works, for the first time it seemed possible that I understood how those things were layered up - beats and beautiful little melodies and there was no singing on it, which for me at the time was great because I was very shy about singing. I remember just hearing that and then going to my QY and hearing little synth sounds that sounded similar. Although Aphex Twin's synth sounds were, in hindsight, put through loads of pedals - I can hear that he's got field recordings layered on top of stuff and probably synths he's made himself - but it made sense to me and encouraged me to go and make my own ambient songs. I remember meeting Aphex Twin around that time at a Björk Vespertine concert. I'd met him once before and I went up to him with my MiniDisc player, which I used to put things I'd produced on, and I played him a song at the bar. I kind of knew him at the time a little bit by face, I think we'd met at some nights he was doing at a warehouse in London and me and my boyfriend at the time liked dancing and going out, and I played it to him and he said: ""I think it's really good. The production's quite good for a girl"". [laughs] That's what he said to me! I didn't take it as a bad thing. I was just like, ""cool"". I mean, Aphex Twin liked my production skills, so whether I'm a girl or not, it's fine. But I just remember thinking how funny that was - but I took it like ""that's a real stamp of approval for me"". I do think he's been a really pivotal figure and an important person in my life, because he does electronic music and it's really sexy and emotional. It wasn't cold like some of the other people, like Stockhausen, but I felt like he understood the dance movement and got the loved-up aspect to ambient music. There's a darkness to it, and a light, but a real twisted, disgustingness in what he does, like 'Come To Daddy' and 'Windowlicker', this rank Englishness, [adopts croaky drawl] ""come to daddddyyyy!"", all that weird shit. He's got a sense of humour and just seems to be one of the modern day composers of our time that understood emotionalism in electronic music. Dirty, disgustingness and kind of surreal, how to fuck with your mind, and his body of work is huge. So, yeah, I think he's a dude."

"Magazine were also one of my favourite bands and that they came from the same city as me was a marvel. It didn't make any difference to what I thought of their music, but it was definitely a bonus. As a teenager I was very critical at the state of guitar playing and the usual cliché-ridden approach that was either blues rock or prog rock. It didn't mean anything to my generation. In John McGeoch, Magazine had a guitar player who was modern and relevant and interesting, while Howard Devoto was, and still is, one of my favourite ever lyricists. There is a thought that the first couple of records for many bands are the ones that are considered seminal. As is the case with Wire, I think that when bands break away from their first seminal albums - in Magazine's case that was Real Life and Secondhand Daylight - and they take somewhat of a left turn, it is really interesting. On The Correct Use Of Soap, Magazine did something original and almost ahead of themselves. There is a lot of space on The Correct Use Of Soap and I think it is better than the first two records. The space means that John McGeoch can really stretch out. Songs like 'Philadelphia' and 'Because You're Frightened' are based on guitar-playing that is utterly unique. It is one of those records that you can say that if it came out now, it would still not only be fresh but ahead of the race."

"Phil Lynott. Genius. And a bass player as well. Have you noticed that most of the music normally comes from guitarists? But he was the driving force in this band. He was a skinny black guy, who was writing great songs and dealing with the consequences of racism in the UK at that time. He was always the main attraction to me. A real rock star and you'd feel that whenever he walked into a room. You can instantly recognise Phil's voice, and he had a really cool way of creating melody on songs like 'Jailbreak'. This album is distinctly Irish, and I'm not sure why I think that to be honest but it definitely makes it special. At the time they were about as unique as they could be. And it was quite successful in the charts, which, along with seeing bands like them on Top Of The Pops, was another important factor. After Phil died and Thin Lizzy came back a few years ago we took them out on tour but that's partly because the songs have held together so well even to this day. It was a real joy to do that and to be able to hear those songs played every night, and played so well. And to be honest I think that's enough, because the songs are really what matter. They're still playing together, but I think they're called Black Star Riders now. The last record was very good, but nothing compared to this."

"This song was a really pivotal moment in my life, it was the first record I ever bought and it was by a complete fluke. ‘Jeepster’ was in a bargain box for 10p and it happened to have a photograph of Marc Bolan and Mickey Finn on the label, that was unusual, it was rare to have a photograph on the label and Marc Bolan looked androgynous, very beautiful, mysterious and quite weird. “So at the age of ten I took a punt on this thing. With that money I could have bought a few comics and an ice lolly, I’d have taken the stick and put it in the wheel of my bike, which was very important! But I bought ‘Jeepster’ instead and I did that thing of walking home and looking and looking at it. Fifteen minutes later I put in on and it snagged my attention straightaway, I had to pay attention to it, but it was pop music. “I listen to it now and it’s quite lo-fi, but even then I had an awareness it sounded like people in a room and that it was pretty rough, which was a bit of an ask for a little kid, it certainly wasn’t music for 10 year olds, 15 year olds maybe. I heard the sound of his guitar and why the hell I was hearing bongos in there as well was really intriguing to me. Before it was three quarters of the way through I was planning on playing it again and trying to find out how this thing worked. “The riff is funky without being James Brown and his limitations as a guitar player were really useful on all of his records up until ‘20th Century Boy’, which was very brutal. ‘Jeepster’ is very funky but he’s almost playing with the same limitations of John Lee Hooker, if he was any better - a Ritchie Blackmore or an Eric Clapton - it wouldn’t have been nearly as interesting because it would have sounded too bland, accomplished and slick. He’s hanging in there a bit, particularly on the outro, the riff is so dumb a more accomplished guitar player wouldn’t have been heard dead playing it. It’s so gauche, but it’s probably the best bit of music on the record. “Then there’s the way the band go in and out of time. I picked that up the third time I listened to it and that was really amazing, because on the radio at the time it was The Osmond’s ‘Love Me for a Reason’, The Carpenters, Andy Williams and all this slick, easy listening stuff, but this was a real pre-Glam record. “It identified me, I was ‘I know what it is to be a fan of this thing of my own now.’ I’d seen my parents be fans and to this day they’re fans of bands, but because I became a fan of this guy I was getting all these signals - particularly from girls’ magazines - about what it was to be a fan and having posters on my walls. The Smiths were very aware of that dynamic. “I grew up very close to my sister, who was eleven months younger than me and I’m glad that was something that happened for me, because I had a real sense of what she liked. I’d almost been like a twin, what they call an Irish twin with my sister, and it gave me a genuine appreciation of how great it was to be a girl. “It’s a fantastic function of pop culture, that shifting to take in different gender roles both ways, with people like Lady Gaga and Richey Manic. Marc Bolan was beautiful and he sounded really beautiful, the sound of a soft voice singing in a Rock and Roll way over a rock band has never really left me and that’s probably evident on my solo stuff. “Because of the photograph of Marc Bolan on the sleeve, his androgyny and the way he was singing, it was my first independent connection of seeing a different image of masculinity. I was very, very aware of that, because he was obviously wearing make-up and he was very pretty. I was hearing this guy singing in quite an effeminate voice and I owned the record, so I’d better love it. It wasn’t that I was just loving the music, I’d invested in this thing where this guy was like a woman and that was really exciting."