"When I set foot in Piccadilly Records in Oldham Street [Manchester], I know I’m coming out 40 quid lighter. I dropped in to see those guys the other day. Thee Oh Sees are new to me. It’s edgy, full-on guitar; garage punk. But it’s got a psychedelic edge, which makes it a bit proggy."

"Juliet of the Spirits was something I also saw at a young age. It spooked me, but also kind of turned me on, and I found it thrilling and psychedelic and colorful, and it had an enormous impact on my childhood because I would have bad dreams about it. That’s also the case with The Wizard of Oz."

"That was the last record I bought, basically. It's taking psychedelic rock, some of it's bar room rock playing the same riff over and over again, but something about that repetition turns it into a more psychedelic experience. He kind of sings, but as far I can make out he's not actually singing any words, he's just making these growling sounds. It's got all the ingredients that would be in a Leonard Skynyrd song or something, but just as it becomes too much or is repeated too often, he boils it down to the bare bones of it, and there's something really interesting about that. Again, you can just kind of go off on one. You can tell that there's no smirking involved, you can tell it's the kind of music they like to get into a headspace. It takes you somewhere. 
"

"I think one of the things I like about this record, and most of the records I've chosen, is that it has a real self-contained universe about it. When you listen you don't imagine they've done that, or what have they done there, it just seems completely in its own world and self-existing. It's a really psychedelic and strange record, but it's also a lot of fun… a theme that won't run through most of the albums I've chosen. Hahaha."

"They're a psychedelic rock band from the early '70s. I didn't know about psychedelic rock when we began, but we were often compared to psych music. To be honest, I was completely ignorant of it. People would use quotes like: ""Mercury Rev is the new Hawkwind."" I had no idea who Hawkwind were! But now, many years later, my girlfriend is introducing me to psych rock from the mid-'60s. Not just stuff like 'In-A-Gadda-Da-Vida' by Iron Butterfly, but also from the esoteric, better defined albums that are wholly obscure. Not only that, but it also has the idea of a concept record and melodrama, flutes and guitars going on. It was strange when I heard Lemmings when we were recording The Light In You and I thought, wow, nothing new under the sun! The moment you think you're onto something original, all you have to do is listen to something from thirty years ago to see someone was onto this all the while back! So it was really stunning to hear this Bachdenkel record from 40 years prior that was attempting or aspiring to something we were in the midst of."

"I love Ghost Box. In a similar way to how British psych from the '60s looked back to a whimsical past and kids' fiction from the Victorian era, Ghost Box look back to a more modern past – specifically the '60s and '70s, which is when I grew up. It's an analogue sound that seems to evoke brutalist architecture, new towns and the like. You can imagine Ghost Box soundtracking a film about a new town built on a burial site. Jim [Jupp] and Julian [House, Ghost Box co-founder] come from Caldicot, which is a really spooky part of Wales. Lots of weird gothic architecture and a lot of weird local folklore and superstition. This record by the Belbury Poly [Jupp] presents someone's version of the past, a vision that's both real and ephemeral. It harks back to a time that wasn't obviously psychedelic but it's not obviously retro. Without being too rose-tinted specs about this record, it has a slight 'warm blanket' effect, while still being a little uncomfortable, if that makes sense. It's possibly a weird record for me to pick in a list of psychedelic records but it definitely does that thing of successfully imagining an alternate reality. I can imagine walking around this place."