"This album could be racked under 'sunshine pop' or 'pop psych'. My idea of what makes good psychedelic music isn't a fixed thing – it's about the feeling you get from a record. In direct relation to my work, I think psychedelia is about creating another reality. I work from pure imagination and records that create their own spaces are hugely appealing to me. The Aphrodite's Child album does that and this Sagittarius record does it too. They are records that really suck you into their own worlds. Present Tense takes you to paradise, it makes you want to jump into the speakers and fully experience the place that they've imagined for the listener. Growing up on the Beach Boys, I was familiar with the kind of sound on the record. It's very gentle, very orchestral, soft and lush; it offers a place to escape to from the real world. You can check in whenever you want to put the record on. In a way, the music we make as Seahawks tries to do the same thing – it's trying to conjure up a glorious utopia in a world that's clearly gone to shit!"

"I had been a rather reluctant punk as a teenager, finding the whole movement too aggressive for a Peterborough gay boy, so this I suppose more commercial offering from Siouxsie was much more up my street - and consequently, as with all my favourite teen angst albums, I learnt all of the songs inside out and backwards. Siouxsie has an incredible voice and was one of my first live concerts, alongside Joe Jackson. We were later to bump into her at Sire Records in NYC but I was too nervous and shy too say 'Hi'."

"This record is, in a way, similar to Dome’s 1 + 2. Yet Tod Dockstader is more classical, electronic tape music, I love him. And this is all stuff I was listening to before I was 20 years old. I ate it all up in fast forward, like rapid fire. I was in record shops all the time and reading whatever I could, discovering things like this. I was scouring record catalogues and just came across it, just like how I found most of the records I really love."

"The Nicolas Roeg aspect of Jim O'Rourke's records is interesting, each following a Roeg title. But maybe this record is also a portal to an era of American acoustic music that Domino were licensing in the late-1990s that I would have listened to. I think maybe this is an overlooked record which sounded maybe more unique at the time - the production is so good I think it has influenced a lot of other records since then. And that great Ivor Cutler cover! It's a really great record as it combines experimentation and pop music to varying degrees. Very dark lyrics. Would I like to collaborate with Jim O'Rourke? No. In a way, I've no interest in collaborating with anyone. I'm not desperate in that sense and I enjoy being a fan of people's music. Somehow by accident or through visiting a studio socially or something, I end up working with people but I don't really crave to work with people... it could be a bit creepy
."

"In the same way as I chose Al Green I chose this because they are the first real electric blues band, they are just magnificent: the songs are great, the singing's great, the arrangement's are great, the sound is great - they invented it, pretty much. I got really familiar with this round about '83, '84. I was breaking up with someone and breaking up with myself really. For about a year that was all I listened to, I put it on and it never disappointed me. It was after all the Wire work and all the Dome records and all the various things. I put that on and was absolutely sold. Things were up for grabs, I wasn't really sure about anything else really, but this seemed really pretty solid for me. Incredible. Talking of John Peel, the last time I saw him before he died, he came up to me and said: 'What was the most disappointing gig you ever went to of someone you really liked? For me it was Howlin' Wolf with a pick-up band and I wish I'd never gone.'"

"They were on Casablanca Records. They were the yin to Kiss’s yang. Kiss were dressed up in black and Angel were in white. They had this remarkable guitar player called Punky Meadows who Frank Zappa actually made fun of in songs. But he had some remarkable songs like Tower and Any Way You Want. They were almost proggish to a degree, but really great songs. I always wondered about doing a cover of the song Tower. The singer had this really weird voice. You have to be super open-minded to appreciate it because he has such a super-fast vibrato, and a lot of people won’t find that appealing. But they were one of my favourite bands growing up."

"This comes from a place that keeps coming back into my life, which is Chicago. So many records from Chicago resonate in my Mancunian hellhole! When we were picking up Sun Ra records in the bargain bins for 50p with all the corners cut off, you'd go for the cover of the sleeves because on the back they'd show them playing these car parks somewhere with all this pageantry and all these weird electronic keyboards. And you'd be like, ""Oh! That looks really interesting!"" You'd put it on and it sounded like this odd, aged, Biblical music; like the Seven Tribes crossing the Sahara or something. It's very percussive – there huge sections where it's just percussion clattering away, and then you'd be hit by this kind of big band swing thing. And you'd be, ""Oh! That's really odd!"" and then there'd be an electric piano solo in the middle of that; it was just totally confusing! This was one of those records that sat around for a while and there'd be maybe one or two track that you went for. Gradually, the album would then open up for you. And then your friends would have another Sun Ra album and these things gathered together. There was a gig in Manchester in 1981, and it was Sun Ra with what must have been a 20-piece band and they had [saxophonist] John Gilmore and [singer/violinst] June Tyson in it – the classic version of the band, really – and it was like a three-hour concert. The epiphany that came with it was they did this enormous timeline that included music from the 1930s, which then went all the way through to freeform electronic wailing and synthesizer solos that went on for 15 minutes, as well as battles between trombones and really structured compositional things. A few years ago, it was Sun Ra's centenary and there was a festival in Liverpool and we put a band together to do a Sun Ra tribute. So we learnt a lot of stuff from the Impulse label records – the 50s Chicago stuff – and you can get all the music from the Smithsonian. We put in enough time to making it sound good and it was a really rewarding experience to live in that music for a while. [Saxophonist] Marshall Allen once stayed at my house. He saw all the instruments lying around and he says, ""Oh, you play?"" And I was like, ""Sort of"" because at that point, imposter syndrome kicks in, but he was like, ""Can you play two notes?"" and I'm going, ""Yeah, yeah"" and he said, ""Well, let's do it!"" We ended up setting up a recording session and we made an album in the evening, and then went out and had kebabs! But it's interesting how popular Sun Ra's records have become over time, because back then, they were practically giving them away."