"That was a big album for us. Just the title alone amused us. From a sonic perspective, this one sounded fantastic. We were drawn to it because of the simplicity and the way it’s put together. It transcended punk, because it was such an important album for a lot of musicians in the 70s that were still hippies. Them boys had our attitude, and we liked that attitude. We liked the Clash, too, but we didn’t really like any of the other punk bands. But this album, even if it didn’t have the surface, the title and all the hype, you’d still think it was a fucking great album. It could have been a Metallica album. We could have played that album. We had a little bit of the anti-establishment attitude in songs like ‘Strong Arm of the Law’, which didn’t get played on radio despite being a single, because it was anti-police. We looked like hippies but we had the attitude of punks. That period was a melting point of different musical styles, and as punk faded we were there to take its place, as was the new romantic movement, which was the other side of the coin – we’d be doing Top of the Pops with Motörhead and Spandau Ballet and Duran Duran."

"This was the great danger of me picking these records - that they'd all come from 1974, but that was when I was most enthusiastic about buying records. And Marquee Moon… I just played it over and over and over again. I just love it. US punk was very different [to UK punk]; over here, the concept of it was absolutely fantastic, and that was the whole thing that got me into it, but it was a bit one dimensional. The Ramones were great, but they were kind of a caricature - a cartoon band. And a lot of punk over here seemed to go for that, as a backlash against over sophistication. I just felt that Marquee Moon and the stuff from New York was odd, and it was different, and it was weird - and I always liked weird thing. It still had a lot of energy; I liked Marquee Moon in preference to, say, Patti Smith's Horses… it was just contrived enough. Any further and it would be too pretentious. It's still great today; as soon as I put it on and hear those first few bars of 'See No Evil', it reminds me of when it first came out and I played it non-stop. Although imagine my disappointment when I bought Adventure on the red vinyl and tried desperately to like 'Foxhole', and it didn't happen."

"I first heard The Human League at a party, 'Being Boiled'. It was miles apart from punk music, punk is rehashed rock & roll really, but Travelogue wasn't repeating anything, it was just out there on its own. The first two Human League albums were so different from anything I'd ever heard in my life. That's when I really realised how interesting and powerful synthesisers could be. I really liked Phil Oakey's voice and I think on tracks like 'Dreams Of Leaving' it's really an emotional song, and the way that they used the keyboards to bring that emotion out is amazing. I really like the lyrics on that song, and the out-of-this-world sounds. I got the opportunity to work with Martin Ware years ago, and most of the time that we were recording was me asking questions, "How did you get that sound?""

"I first saw this in 1995, when I was seventeen. My boyfriend actually left the room because it was too intense; he apparently couldn’t stomach the potent cocktail of Chloe Webb’s screeching and Gary Oldman’s rheumy-eyed menace. Even though the movie was set in a time we couldn’t remember, it mirrored our teen zeitgeist in a lot of ways. We’d just made it through the second wave of punk."

"I got into them when I was maybe like 14 or 15 or something like that. Which was also the time that that movie Pump Up The Volume came out and they did that really slow version of 'Wave Of Mutilation', which I really liked. It was around the time that I was getting into punk, and indie and alternative… things. Why do I like it? Well it's a good record."