"Every once in a while a band comes along that pushes boundaries but still makes you feel and personally connect with their music. Radiohead always does that for me. In Rainbows is a great example of a band doing exactly what it wants to do regardless of what's popular or current. They have set a precedent while still staying true to their identity as a band. I love that! Some of my favorites are '15 Step,' 'Weird Fishes/Arpeggi' and 'All I Need.'"

"It’s funny, this list, I’ve actually met a lot of the people I’ve chosen! Rufus came on tour with us in 2003, it was the first time we’d got on a tour bus and the first iPods had come out. Tim had an iPod, and I checked it out, I put it on and the album he had on there was Want One and I was completely blown away. He sounds a bit like Radiohead-does-classical, particularly on that record. I remember saying to him that he sounds a lot like Radiohead and he was a bit like, “Really?”, I don’t think he even knew their music. That album was written, I think, during the time he got clean from being really addicted to crystal meth. I mean it sent him blind and stuff, it was really serious. So the album tells that story, with just beautiful songwriting, and I don’t know if he ever got close to that album again in terms of song-writing, it’s such a phenomenal record. And I like orchestral arrangements if they’re done well, or else it can sound like Il Divo or something but he did it so well, mixing pop and classical."

"Like lots of people my age, Radiohead were a big band before Kid A. The Bends were where I really got into them, and then OK Computer really blew me away. But then Kid A came out and it was nothing like their other stuff. They took away all their guitars. They were the kings of guitars and they took them all away, and they replaced it with really out of tune, quiet synths and little drum machines and it made me and all my friends really surprised. We didn't know what this meant because we were so used to guitars being important, and then Radiohead came along and said you don't need any of that stuff, screw it. That really changed my attitude. Radiohead showed a generation that you don't need to be afraid of change. I just think it was such a brave decision, considering where they were in their career, what they had come from and what they had become well known for. They threw it all out the window and that inspired a huge amount of people I think, and it inspires us every time with think of it, or whenever we talk about turning our attention to a new album, we always have it in the back of our minds that we could ""pull a Kid A"", we could pull a U-turn, and that comes down to the fact that they were willing to do that, it was inspiring. Obviously loads of musical stuff came out of Kid A. The way Thom Yorke sings is pretty indelibly put into me, and a lot of the way the band play, and everything Jonny Greenwood does, influences us. It's what Kid A's attitude was really. It's really slapdash in the way it's recorded, it's really awkwardly mixed. It sounds like they've done it themselves out of old pieces of machinery that shouldn't work anymore. Gone are all the shiny, beautiful guitar tones and high production. Even his voice is beautiful and yet it's been corrupted and you can't really hear what he's saying, and he's singing falsetto. All the stuff that we kind of relied on them for all got chucked in the bin and that's just fucking awesome!"

"This is another case of, "Where's my Radiohead gone?" Hearing Muse for the first time was like, "Holy shit, this is like Radiohead, but heavier, and more pop, but also darker as well", and I just absolutely fell for it, hook, line and sinker. I was at the perfect age, was just getting into actually being good at playing stuff, and Matt Bellamy was all over the place in terms of his musical talents, playing the piano and guitar, and stuff that teenagers love. Stuff that sounds flashy and complex and twiddly but is actually not. And the bass player! Fuck me, the basslines on the album! Bass players don't do that kind of stuff! He's the sort of main character in an awful lot of those songs. It was an absolute revelation. I was a bass player before I was anything else, and I remember thinking, "Holy shit that sounded ace"! They ripped up the rulebook in so many ways for rock music. It was so enjoyable as well. Every song had a real sense of performance and razzmatazz. Of course it's called Showbiz and it is a type of show. So I think, more than anything, that's probably what you would say about my band, particularly live - we're not subtle, it's over the top. Whether people like it or not, that's got into us now and it's hard to take a step back."

"Argh, I'm changing my mind now. Do I pick Scott 3 or Scott 4? Err…oh God, this is hard. Sorry. OK, I'll go for 3, purely because my wife and I were listening to it in the kitchen yesterday. Scott 4's my most-played album on all of my devices at home – it's literally been played three times more than any other record. But Scott 3…there's something especially moving about it right now. The end of 'Sons Of', that final moment. We both in tears at the end of it last night. Blubbing like idiots while making supper.

Among Radiohead, Scott Walker's definitely our unifying artist. First of all, it's his voice: it's just undeniable in its power. Then there's the Wally Stott arrangements, all this extraordinary instrumentation. To think that he was doing jingles and TV adverts at the same time. There's such craft in his albums, and such constant inspiration."