"I think everyone will know our admiration as a band for this record. Unfortunately I don’t think it sold that great for them, although everyone expected it to do well, that kind of Swedish coolness. I think they described it as their “beardy album”. The track ‘Communication’, whenever it comes on all three of us well up with tears. ‘For What It’s Worth’ is one of the greatest records ever made, it’s just fucking outrageously perfect. I’m a huge fan of Nina’s lyrics, I think she’s hugely underrated. Obviously her voice is amazing. She ended up doing a duet with us, which was one of our greatest moments I think."

"I ended up with this record because it was at that point in my teenage years when I was swapping records with my mates at school. We were all a long-haired, Afghan coat-wearing gang into Black Sabbath, Deep Purple, Led Zeppelin and all those classic rock guitar bands. And Santana were almost amongst that; even when you go to albums like Abraxas and the early albums, they have a quite exotic kind of quality about them, so when Welcome came out, it was really rejected by the gang. It was like, ""Whoah! They've gone too far! What is this nonsense? We don't understand it!"" I got someone else's copy of it and I really started to sink into it. There are so many signposts in this record to the jazz world that has sustained me through the years. The first time I heard the words ""John Coltrane"" was through this record. Alice Coltrane is on the first track, which is this version of Dvořák's 'Going Home', which is adapted from his New World Symphony. It's like a classical piece played on a Mellotron. It's very dramatic and it's got nothing to do with rock music and more to do with that spiritual jazz that Alice Coltrane was knocking about. At that point, you couldn't give Alice Coltrane records away, and it's interesting that they didn't really gain currency until the late 90s. And then you've got people like Leon Thomas on the record, the guy who did the yodeling on Pharoah Sanders' records, which would lead you to his records. And John McLaughlin is on there, which would then lead you to The Mahavishnu Orchestra. Back then, you'd find these names on records and then when you were in the record shop, you'd find these names again and it all connected up like dot-to-dots. The concept of ""fusion"" throws up so many bad images because there's a load of shit there, but there's also so much good stuff as well. With this album, I opened the door expecting that rock guitar thing, but the sound of this record is fascinating: it has so much air in it and you can hear the sound of the room being pushed around. To me, this record is like audio sunshine and it transports me to some transcendental place."

"I guess it was originally two EPs, put together in one record. I don't have the original versions but the songs all feel like one record and it's kind of them at their catchiest. They were always a little bit creepy. Some of the other things that came out on Ralph Records like Renaldo and The Loaf were wackier but there was a creepiness to The Residents that I found very, very appealing. Do you know Long Gone John, the label boss from Sympathy For The Record Industry? I went down to visit him at his house in Long Beach. This band I was in, Bloodloss, was on tour and we all went over there because he released a couple of our records. We went to his house and he was just a massive collector of crazy rock stuff and also that kind of juxtaposed art, like Robert Williams paintings. The Residents came up and his eyes lit up. He was like, ""Come here, follow me"" and he took us to this back room, opened up a safe and pulled out a copy of Santa Dog their first record. He prized that so much he kept it in a safe!"

"This is off the back of Faust IV being my all-time favourite record. Fille Qui Mousse translates to 'Girl Foam' which is the best name for a project. I found this, again, about a year-and-a-half ago when we were trying to buy records for the apartment. I was in a record shop called Permanent Records in Eagle Rock [in Los Angeles]. I sometimes struggle going to record shops as they are often overwhelming, but in Permanent Records everything was in its right place and the staff would write little notes on the records. There was a sticker that said, ""Do you like Faust IV? Then you will love this record!"" That was enough for me, so I bought it. It's one of those records I put on when I have started cooking or something and I will forget that the record is on. Something will happen on the record and I will think, ""Oh my god, this is amazing!"" It is just the spilling out of someone's brains – it's playful and has hints of the United States Of America at points but then it is totally steeped in this weird jazz-Krautrock. There is a track on it called 'Magic-Bag' which is just the guy singing along to the drums and playing the same rhythm as what he is singing and there is water running in the background. The first time I took notice of the song I thought it was so shit. I don't know exactly what he is singing, but it sounds like ""I like my chunky rocky lane"" and then there is a huge gap and there is water running and he comes back singing ""I like my chunky rocky lane"". The fact that he liked his 'chunky rocky lane' made me realise it was one of the best songs on the album. It's a record that can suddenly surprise you. It's when you are trying to get your teeth into something and at the beginning it is difficult but it keeps reappearing and ends up being something absolutely incredible that you end up loving. It's hugely playful, weird and beautiful at points and abrasive at others. It's huge fun to listen to."