"One of my favourite voices of all time, guy or girl. I have a lot of respect for Siouxsie and she’s given me a lot of inspiration over the years. My sister and I used to listen to her a lot and just dance around. It’s all about the tone, there’s something about that band that’s pretty rare – something dark but also slightly poppy and accessible about their records. This is a song that my husband and I bonded over – we’d definitely heard it individually before, but one day we were just playing the album and that song stopped us in our tracks… played it on repeat for the whole night. I understand why some people can hear a little Siouxsie in what we do. I mean, when we started the band, everybody had grown up differently and we were coming from completely different musical backgrounds. Everybody brings in what they like, and although we may have similar tastes we’re all still coming from somewhere different. Hopefully we’re never considered strictly derivative of any one thing."

"One of the best blue-eyed soul voices ever. Famously he didn't do drugs in the '60s and made up for it in the '70s. My girlfriend gave me a book about how he recorded each album, it's incredibly detailed. For this record, he got a studio together in New York and got a load of musicians together to make the record. At no point did he play any of the session players any vocals – they heard bits of music but they had no clear picture of what the actual song would be like. He had a total vision and he didn't want to deviate from that with anyone else's opinion. People talk about records that go from jazz to prog to psych to vaudeville in one track and that's Todd. A proper studio head who could write hooks and songs in an almost Brill Building way. My favourite story about Todd is that he lives in Hawaii and one side of his house doesn't have a wall. He said about it, "Lots of things come in. Animals, super-fans, stalkers, the weather."

"Gorky's were one of the greats. Whoever the greats of the rock canon are – and it's no use me bothering to name various people – Gorky's are as important as any of these people. Euros Childs is a phenomenal songwriter, has a pitch perfect voice and this record is their classic line-up with John Lawrence still in the band. This is also produced by Gorwel Owen and he was perfecting his vision in a way as he was getting more and more into simplicity; the song Heywood Lane was recorded with just one microphone and they bypassed the mixing desk and went straight to tape! It's a really great sounding record. It was really bizarre that the singles all charted in the low-40s without ever breaking the Top 40. You could release two versions of a single at the time to get it into the charts but they never did that even though they probably sold as much as chart-claiming people! But the records are there. It's aged incredibly well and still sounds really fresh and complete."

"Here, Vincent Price is reciting all the witches' spells from a place I can't quite remember in England. It was meant to be around a Halloween vibe, which in the Catskills is everything. That's our Christmas, that's our New Year, May Day, Wicker Man… that's our pagan holiday supreme. Holiday ornaments are already out right now - you can go into any store and buy Halloween stuff. Growing up here, it wasn't a stretch that these kinds of records would be played by my mother or at elementary school almost ad nauseam. I became so inoculated to spooky, scary stories that they just became like urban legends. Another case of a children's story narration that was entrancing. These weren't just songs, these were whole inner emotional moments for young kids like me. When you're six and hearing about witches, ghosts and goblins, it's permeating your whole being and likely to shape the rest of your life, certainly in terms of the possibility of a supernatural world. Or probable, in my case."

"My older brother used to play this a lot in the house - the piano sample in 'C.R.E.A.M.' is probably one of the earliest things I can remember. It predates the first records I fell in love with, it was just always getting blasted out of his room. I didn't actively keep up with hip-hop - all I had access to was through him while I got more interested in guitar and rock music. When we were mixing Antidotes, I started to go back and actively rediscover a lot of the stuff my brother had been listening to at the time, from around '94/'95. I love the production, the lyricism and how evocative this incredibly captivating cinematic cartoon world is. I love the whole gang mentality, their self-sufficiency, the grittiness of the production. I don't think I've taken direct musical influence from them, but I admire their ethos and the self-mythologising, the way they turned it into something much bigger than just the tracks. It's just a fucking amazing record."

"I would have encountered it at the same time as O.M.D. and The Human League, but I wouldn't have liked it as much back then because I was a kid and Roxy Music were terribly sophisticated and grown-up. I love the kind of perfection of the music: every note is thought out, it's not a splurge, it's just "now the saxophone will do this" and the drums are terribly, ever so just how they ought to be. It's wonderful music, really beautifully produced. Also, 'Same Old Scene' is one of my favourite songs - it really bolts along in a way that I don't quite understand. I've never really got to the bottom of how it works, because it doesn't really have a four-on-the-floor, it doesn't have a shuffle-y thing, it just kind of happens and it's really exciting, and I don't want to know how it happens, because that would ruin it. The longer you do this job, the more you understand about how things are done. It ruins quite a lot of records!"