"People who didn’t live through that period or weren’t old enough to know what was going on somehow imagine that there was this fantastic post-punk thing going on. That’s all made up in hindsight. Really, everything was pop of the most plastic kind. And a lot of it was quite terrible. Though I did like Madonna’s “Like a Virgin,” which came out in 1984. There was a real thing in the early-to-mid ’80s about modern classical music; there was a lot of that stuff around, and those were the more interesting things. If you know Tabula Rasa and know anything about the music that I’ve been involved with, you might struggle to find how I would connect with that kind of music. But it’s not really experimental music. It’s very emotional. It doesn’t have the form of a song but it’s not far from the world that Eno was exploring with his Ambient series."

"I know, I know - it's the most classic album on the list. But it is an amazing record. You can look at it in so many ways - just as a piece of music, or what it was responsible for culturally. It really was the most influential record of all time. I'd say it and Never Mind The Bollocks invented modern leftfield music. It has incredible songs, that's one thing. And another is that it has Lou Reed as songwriter. His voice is one of those that you become glued to. It's not as perfect as Scott Walker's, it's more about his phrasing. I love Nico. I mean, how influential was Nico? I think she invented goth. Obviously when she did stuff on her own she really went out there, but with the Velvet Undergound I love the juxtaposition between the songs' melodies and the fact that she couldn't really sing. She had her own style. Amazing record. 'Venus In Furs', 'All Tomorrow's Parties': I love the drones."