"I first song I remember loving had to be ‘Do You Really Want To Hurt Me?’ by Culture Club and so I guess I figured out I was an emo pretty early on in my life! But I really just connected with that song when I was a kid. For one, I was taken back by this man’s look, is that a girl or a boy? I was intrigued at that moment, but the song itself is a really good song. A lot of Culture Club’s music had sort of a reggae feel to it and at that point I had never heard reggae music and it sort of felt other-worldly in a way."

"I chose this because it incorporated a period of my life where it was all about ska music and reggae and going out dancing and Studio One. I got this record from my brother, it would have been just played in our house and it was the sort of music that would come on and I'd be like "oh, I like that!" There was this club that we used to go to called The Black Angel in Norwich and it was far too old for me, and I snuck in there when I was 12. They used to play all this dance, reggae, Motown, but The Specials would sneak in there. I think my favourite song out of it is 'A Message To You, Rudy', 'Nightclub' and 'Does It Make It Alright?' It hasn't really influenced my music - as you can probably tell! - but it definitely encapsulated a time of my life."

"He’s a dub reggae guy from the late ’70s. John Holt sang the original song ‘Man Next Door’. When we started the band, I had a clapped-out Mercedes Estate that I picked up for £60, and we used to drive everywhere in that car – to The Chateau where we used to play, and each others’ flats. This was on a compilation Paul had made, and we’d rewind the tape and listen to it over and over again."

"I grew up with a lot of my dad's reggae records. I used to always buy the compilations, the Reggae Hits volumes, Ragga Ragga Ragga! We always listened to music in the car and “Murder She Wrote” really captured everything that was great about ‘90s dancehall music. The melodies were right, the emceeing was just the right tone, and the beat itself was of an era of dancehall that I loved so much, from listening to sound systems like Kilimanjaro and Addis. “What I've really enjoyed, having been in this for a minute now, is to see how styles and trends and music are cyclical. I used to think all that was BS; “Oh yeah, don't worry, this is gonna come back round”, but when I start to think, I guess it was around 2015 that there was this new sound everyone was talking about called 'Afrobeats'. I was like “Let's check this out” and to me it's ‘90s dancehall with a twist. You know what I mean? And now we've got Diadora, Kappa, Fila, all these brands that kind of had a moment, and all of a sudden it's retro, it's vintage. It's like “Wow, this is happening in front of my face.” “So to have that wisdom of what those songs were about is exciting for me. I can go in the studio and I can draw samples from a ‘90s dancehall tune, that, if you didn't grow up during that time might be lost in the vaults, because you wouldn't even know about Jigsy King, Sanchez, Beres Hammond and old school dub reggae. “Now I can pull out my tracksuit and people are like 'Mate, where'd you get that?' and I'm like '1990', this is real vintage coming out my mum's cupboard."

"I saw Culture live. Dub reggae was one of the main things I would listen to, so seeing them live was great! We may have been on the bill with them or something, I can't remember. I think we might have done a big Rock Against Racism gig in Finsbury Park at the Rainbow. And Culture played at that. There was a band called… I know The Jam came and did a few numbers before Gang Of Four. It's all a vague. I think we took the rhythmic nature of the lyrics and the way they fitted around the music was very key, very influential."