"I was really into them for a long time in the 70s and it coincided with early drug influences and when I jumped from the kind of psychedelia that the Beatles put forth to kind of what was happening in our own backyard on the West Coast with the Airplane and the Dead and Quicksilver.. The Beatles stopped so I never got the chance to see them, but the Dead came around a lot and so you got to see those bands. The Grateful Dead delved really deep into acoustic music, that was really important, and later their famous electric records, but Anthem of the Sun was in their early period. One of the things I keep talking about with my new record Electric Trim is that it was really created in the studio and I keep mentioning Dark Side of The Moon or Pet Sounds or Revolver or Sgt. Pepper’s Lonely Hearts Club Band when I should be referencing Anthem of the Sun Anthem of the Sun was the kind of record that they were trying to construct in a studio. It’s a studio experience of a live concert experience, so they were mixing all this stuff they recorded in all the studio with all these different live takes, slowing things down and speeding things up and thinking of all these trippy aspects of the way the sound exists in stereo space. A couple of those guys, especially Phil Lesh trained alongside Steve Reich at school and studied Luciano Berio and all this 20th century modernist stuff, so he was aware of where music was going on that level and they were just at a cross roads where they weren’t sure they wanted to be a straight ahead rock band. They had moments of being a rock dance band and then they had other aspirations. I love listening to Anthem of the Sun because it may not be perfect, or achieved what they really wanted, but it’s one of those records that set its sights really high and whether or not it got all the way there it achieved something really unique. There’s not many records that sound like that, not just the fact they were splicing together live tapes from 30 different gigs, it was kind of a ridiculous stoned or drugged task from the beginning but they threw their back against the wheel, and tried to do it. If you ever listen to that record with headphones it’s so rich. I was really into them for a long time but once New York City punk and all that stuff happened I kind of dropped it like a hot potato and went onto other stuff and it was only in the last 7 or 8 years that I’ve come back to my appreciation of it through a number of different avenues. I was involved a couple of years ago with this record that this group The National put together called Day of the Dead where they covered 60 songs or something and they asked me to cover ‘Mountains of the Moon’. There were a couple of good Dead songs I was listening to at the time because they related to a song I was doing for my record with The Dust – Last Night on Earth and when I went to record with them they played me a lot of the songs they were working on and whether you like 30 minute noodling electric guitar solos or not you can put that aside and say the thing that impressed me about what they were doing was how great their song writing was. Jerry Garcia and Robert Hunter especially, wrote a lot of amazing songs together and that’s what really struck me – that’s why I liked these guys way back when because they had really great songs. Their songs are like the 60s era American songbook. And it was also in this period where I was thinking that I wanted a lyrical collaborator and so the idea of Hunter’s role with Garcia in that band especially or like when Dylan turned to either Robert Hunter or Jacques Levy for inspiration when he was working on Desire Dylan doesn’t need a lyrical collaborator - why’s he working with outside lyricists? And yet at some point he thought “I need someone else to shift the viewpoint”. So that’s what inspired me to ask Jonathan Lethem to work on Electric Trim. We’d known each other for a long time and I just felt like this was a good time to get someone else’s input, put another voice in the mix. Every single aspect of the record, words, lyrics, tunes didn’t have to spring from me. Music can be very collaborative and I’ve kind of come up in a very collaborative situation with Sonic Youth for so many years – every song was listed as all four of us writing it, ‘cos that’s ultimately what happened. In Sonic Youth, it was only a very rare occasion where one of us came in and said, “Hey I’ve got a new song this is how it goes…”

"She is a Turkish goddess. It is folk [music] in its essence, I suppose, but this record is fierce. She is angry and compelling and this record fires me up. It was when I was on tour with Gruff [Rhys] – maybe about eight years ago – and Andy Votel was with us and doing DJ sets and he was playing 'Ince Ince' from this record. I had become a bit lazy about discovering music and had become a bit fatigued at listening to new things. Suddenly Andy is playing music like Selda and it was so exciting. He opened a world of new music to me. I started listening to things by Iranian female musicians like Googoosh and also to Susan Christie's Paint A Lady album. It was all incredibly exciting music that I hadn't known about it. It was like opening Pandora's Box to me. I would play it to everyone I possibly could. I would constantly be saying, ""Have you heard this record by Selda? It's one of the best records I have ever heard"" and I would get it out and play it to anyone. It would always get the same reaction. I remember playing it to St Vincent when I was touring with her and she lost her shit when she heard it. I think she subsequently went on to cover one of the songs. Last year I was playing a show in Switzerland in this old cinema which was absolutely incredible. It had a huge disco ball and we were having a bit of a lock-in. We were having our own private disco in this cinema and I put a Selda track on and everybody just went absolutely apeshit. It is just a record that you cannot get fatigued by – I was listening to it this morning and got excited all over again. The synths and the electric sitars on it are so infectious – the album is like a musical virus. I recommend everyone listens to it."

"I love Power, Corruption & Lies. I also love Movement and I play it all the time, as it was the first album after Joy Division. It still has a bit of that Joy Division darkness, almost with a sense of defeat about it, which is kind of how I felt when I was a teenager in the late fucking '70s. But I think Power, Corruption, the record after it, there's more light in it. It's more joyous, it's more lyrically lighter. And I think Bernard Sumner found his own voice, loosened up and just became Bernard when he came out of Ian Curtis's shadow. This album is a huge inspiration and I was fascinated at the time by the way that New Order would take electronics and the sequencer sound, which I loved from Donna Summer's 'I Feel Love', and they took it and applied it to rock & roll. They first did this with 'Temptation', which was released before 'Blue Monday'. I was previously in a band on Factory called The Wake and we'd opened for New Order. I'd had a tape recorder and I'd recorded some of their shows. They were playing 'Temptation' live, long before it was released as a single. I was obsessed by the way they took that tut-tut-tutut-tut-tut-tut sequence inspired by Donna Summer and Giorgio Moroder's arpeggio sound. To this day, that's still a big influence on Primal Scream. I'm just saying thank you to Bernard, Hooky, Stephen and Gill because I remember buying that record when it came out with a beautiful Peter Saville sleeve. The reason there's no writing on the album cover of Screamedelica is in total homage to Saville and Factory Records. A lot of our albums have no writing on the cover either. I mean, 'Age Of Consent': What. The. Fuck. Is. That? Playing with New Order back in the early '80s was like a fucking dream at the height of their fucking power!"

"Electric Ladyland actually would be a welcome album if it was a brand new band today. It still holds up. It was actually a pivotal record in the sense that you had a guitar player, perhaps the pre-eminent one of them all, who actually took chances in terms of songwriting. He also experimented with electronics, backing tapes and all that stuff. The reason that I know all of this is because the engineer and producer on that was a guy called Eddie Kramer who engineered some of the earlier Kiss records, and he would tell us stories and everything. A double album, it had lots of great guests on it like Dave Mason from Traffic and many others. 'Crosstown Traffic' is great, very unlike Jimi Hendrix. Noel Redding, the bass player actually auditioned as a guitar player and Hendrix told him, 'I'm actually looking for a bass player', so he had to switch over to bass right on the spot, which is why his bass playing, with a pick, is not the way that most bass players play. I was still in school when I heard it, I must have been 17 or so because I remember drawing the Jimi Hendrix Experience, the name and all that, on the cover of my notebook. In those days we used to buy albums sometimes just because of the album covers. There was an art to it, there were big hardcover books talking about the art and design of album covers and there were artists and companies like Hipgnosis and places like that which specialised in just creating album covers. For instance, on Love Gun we had a painter named Ken Kelly who painted the piece, and it was a lot of time and effort. It was an art, and sadly that's gone. Now the visuals are down to the size of a postage stamp, you don't get much. I didn't actually buy this one because of the cover. I'd bought Axis: Bold As Love because of the cover."

"This is weird. I only came across them because one of our neighbour's kids had a band and I used to go around and help them out by plugging things back in properly or they'd come round to mine and I would do them a demo. But they used to play me records and I used to ask 'what is that?' - one of these bands were Biffy Clyro. They didn't really register with me because they were a bit too intricate but I was driving home one night, coming up Kingston Hill and this record came on and I had to pull over to the side of the road as I was shedding tears. And the song was 'Many Of Horror'. And I thought 'this is the best thing I've heard in quite a while' but I didn't know it was Biffy Clyro! I just went 'ooh!'. I went home, bought it on iTunes and played the song about 25 to 30 times, crying my eyes out. Something in that song flipped me out completely. It's quite an anthemic, emotional song. I decided I needed to email the guy who produced the record and I just said 'I've just heard the song and it's completely and utterly blown me away'. He mailed back and said 'thanks very much for that, really appreciate it'. I've never done that before or since! But fuck me, music can still do that [to you]. When I listened to the rest of the album, I was like 'what the hell is going on?'. It takes some energy to get into it because it's fierce – there's some odd shit going on. I'm yet to see them live. They played Reading or whatever and I recorded it off the television and I've watched it on my own full tilt, having had a couple of beers or glass of wine. Just amazing!"

"I was introduced to this in 2009 by a friend of mine who is into super-heavy music and it’s one of his favourite guitar records. I’d never heard early era Fleetwood Mac and I still don’t know many people who talk about it. “It’s from Then Play On, I think it was the last one they did with Peter Green and Danny Kirwan, there was always a rotating cast of characters in that band, people coming in, freaking out and losing their minds. “I chose this because in the process of discovering Peter Green’s early music the touch he had as a guitar player was just like magic. I feel as a singer and a guitar player he’s become one of my favourite ever players, there’s certain kinds of tricks he did, especially on this song, that I’ve definitely ripped off, not the blues playing but this incredible soulfulness on guitar. “I’m not in love with guitar playing, even when I was really into jazz I never liked guitar players, I didn’t care about it that much really. I’ve always wanted to approach the guitar from a perspective outside of just playing the guitar and trying to make it do things that the guitar can’t really do or pretending it’s something else. “But Peter Green was one of these straight-up, incredible, super-expressive guitar players. He’s not the first name a lot of people talk about because it wasn’t always the most original music, but this song in particular is so specific to what they were trying to do at the time. They were starting to leave pure blues, it has this strange composition going on and the way it progresses isn’t super-standard, it wasn’t psychedelic exactly, it was edging into a world of music that was happening outside of blues at the time. “Peter Green is such a soulful player, he has a unique quality I’ve never heard anywhere else."

"Bowie was so important when we were growing up in terms of the way he chose different directions and that that was an acceptable thing to be doing. You'd just be getting into one thing and then he'd turn into the Thin White Duke or something and he'd invite you to twist your head around that. And when Low came out it was like, ""Whoah!"" because it was a complete head twister in terms of how the record sounded, and how Bowie removed himself from the music because there's hardly any upfront Bowie on it. I've always liked instrumental stuff – things like The Shadows and The Tornados' 'Telstar' and those kinds of things – and it's reflected in the music of 808 State, which draws from that kind of thing where melody is the central thing. But the instrumentals on Low almost sound like backing tracks and that's quite confusing. And it was beatless, and that took you to another place. Plus, it was also the record when I first fell in love. There's that theory of your first love record, where it soundtracks your summer and Low is that record. That kind of music and that hormonal rush creates a kind of nostalgia that's deeper than other records. The fact that Brian Eno is on it, when I first started making music, gave me a bit of elbow-room. With the musicians around now, there's a lot of technique, but technique isn't the key to everything. This idea of being a non-musician and using noise as your instrument defined me quite early on; the School of Eno was in me! Even though it was recorded in 1976 and released in 1977, in some ways this is the first post-punk record. This certainly coalesces with PiL's first album, and it they both gave rise to the notion that not everything proggy should be thrown out with the bathwater."

"The reason I’ve chosen the Donna Summer album is not truly because it is a record I’ve played a lot. There is one song on it that changed my career. It’s a song that changed a lot of people’s perceptions of music and it’s, obviously, ‘I Feel Love’. I remember when I first heard ‘I Feel Love’, it sounded alien. I hadn’t heard anything like that before. There wasn’t anything like that before. Somebody had the forethought and the invention to actually come up with something with electronic sequencing that people could dance to. It pulsated in a different way. That person was Giorgio Moroder. I am very grateful to Giorgio Moroder for inventing this way of thinking and for the other records he’s made. I think he is a terrific talent and I loved the work he did on a lot of movie soundtracks, particularly Midnight Express and Cat People. I have all his work. ‘I Feel Love’ was visionary – that’s all I can say about it. The song, along with The Sparks’ album Moroder did [No. 1 In Heaven], was the sort of sound I wanted to make. I was just learning electronic music and how to sequence things. Without a doubt, between Moroder and Kraftwerk, those were the people leading the way – that paved the streets for me. Without ‘I Feel Love’ there wouldn’t be a lot of electronic dance music. That’s the DNA we all used. Moroder, for me, had a period where he was defining the future and it was very unnoticed by a lot of people, perhaps because he was more of a producer than a writer of a lot of songs. As for I Remember Yesterday, it’s a funny album as half of it is electronic and brilliant and the other half is very traditional and is okay. It’s a strange balance but a very important album because of that track."