"This is another one of those throw-the-gauntlet-down albums. We’d just recorded Underworld mk I’s second album and we were touring Australia and coming to the end of wanting to be a rocky, poppy, funky group. We’d heard acid house on the radio and we wanted to do it and being stuck in that group felt like a life sentence. Our manager sent us a tape of Talk Talk’s Spirit Of Eden and said, "this is what you call brave." And we knew Talk Talk because our mate Tim Pope did all their videos, but this was unlike anything they’d ever done before. We were driving through the outback and listening to it on the radio and the driver – who was a geezer from up north – kept saying, "this is bloody shit", and we said, "you either shut up or you get out and walk." We thought it was genius and it made us want to give up. It’s mostly deconstructed music. Tim had told us about all these strange recordings they were making and that they’d veered off course from what everyone expected them to do. It almost sounds like they made the record and then took great chunks of music off it. It’s beautiful. It’s all about the sound of the instruments. It’s like a cleaner version of the Burial album; they could almost be the same thing. Spirit Of Eden travels with me everywhere. After we’ve had a particularly loud and banging concert I’ll get in my bunk and I’ll put this on. It’s the antithesis of Underworld."

"Sgt Pepper’s was my childhood Beatles record. Again, it’s moving, but in quite an abstract way, just describing what she’s leaving behind. You don’t ever hear where she’s gone or why, but you get these little hints: she’s leaving home after living alone and yet her Mum and Dad are there. It’s all done with McCartney’s jovial style but it’s got this sadness in it, which I think he’s really good at - he’s done it lots of times, with ‘Eleanor Rigby’ being the absolute epitome of it. “But that whole album made an impact on me as a kid. It’s a kind of dark, sickly-feeling album to me. It’s not very comfortable, it’s trippy and weird. You don’t really know where you are with it, it’s colourful, but in a ghoulish way. It’s a scary record for a child, because it’s just so weird. And ‘She’s Leaving Home’ holds you a bit closer than the other songs I think, even though it’s about someone leaving home. I also like the musical elements - the melody and the structure of it. “The Beatles have been an ongoing influence in my life and I think if you like them as a child you’re always going to like them. But the great thing about The Beatles is the breadth and the evolution of their records, if you’re not feeling ‘I Wanna Hold Your Hand’ anymore, you can dip in at different points and find different sides to them. ""There’s so many things they touched on. ‘Helter Skelter’ is basically the whole of The Who’s output in one song; the post-rock elements of ‘I Want You (She’s So Heavy)’, that’s a fucking genre now! And they just did it for a laugh and never did it again. There’s so many little flashes like that and more than anything it just makes me feel like it would have been so amazing to have been around in a time when nothing’s been done. “The other great thing about the Beatles was that they put stuff on those records specifically for children, tracks like ‘Octopus’s Garden’. I think that’s something that’s been completely lost now, because children are given adult themes in a friend way now, rather than saying, “Here’s something you might actually like, being a child. Don’t worry about the other stuff.” Although funnily enough, with Get To Heaven we got so many people telling us that their children really liked it. We were really pleased about that - maybe it’s the colourful nature of it. It’s definitely something I want to explore more."