"When I discovered them, we went to Australia shortly after and I said 'can we get these guys to open for us?' I was quickly told, 'no, they're way bigger than you in Australia. Don't be silly'. We haven't played together. I got to see them once at the Cake Shop in New York. I don't know what it is but this record kind of reminds me of the sort of rawest parts of AC/DC or the most loose parts of Pink Flag. The singer is pretty unhinged. When I saw them play, it was a thing where you could see the singer looking at Mikey, the main guy and guitar player who I think writes all the music. The singer was watching him to find out when he was meant to sing because he didn't really have that straight. It was kind of a thing where Mikey would nod and the singer would start singing. Sort of a go and stop kind of thing. I don't think anyone particular obsessed over the form and lyrics of these songs. Maybe they did but it doesn't sound like they did and there's something great about that. I think they recorded this record in a day. And it's got that vibe. It's loose and it's powerful and punk rock and totally real. "

"If you're listening to prog like Gong then you're going to bump into Magma. They make their own language on their records, so we made our own words for Magma albums. A number of Magma albums would pop up in various friends' record collection, and each one was quite different. On Üdü Wüdü there's an 18-minute track called 'De Futura', which is like a suite and it moves to different tempos and it's got all these cross rhythms in it; it's an overwhelmingly transcendent record. There was a rock disco that we used to go to in Manchester in the 70s and you could take your own records and we used to take this record. You'd see these rock fans freaking out to it. It was a curious time in Manchester because you had the punk thing, but all these other oddball things like Magma and Earth, Wind And Fire were standing beside each other. It wasn't as tribal as it's been made it out to be. You'd go up to a free festival in Rochdale that was called the Deeply Vale festival and all these subcultures would be represented there, because all of the sub-cultures would be big enough to stand on their own two feet. But at this disco in Manchester, you'd hear Bowie and Roxy Music, and Magma, probably some Genesis and some Sex Pistols."

"This might be seen as quite an obvious choice but, for me, this album was a gateway drug. When I was a kid, I remember my older brother and his mates getting really into Forever Changes and thinking, "This is just incredible." From that point onwards, I just wanted to hear more and more of that kind of music. We were all skateboarders in Cardiff back then. People always think of skateboarders being into proper hardcore music. My brother and his mates were into Love and The Doors… some were even into proper sunshine psych. We weren't team sports kind of people – we were the last people picked for football or rugby; a weird sort of outsider gang. Da Capo was a big milestone for me growing up as part of that gang. I loved the fact that Arthur Lee was very West Coast – a smart guy and definitely not a hippy; a freak-flag flier. There was something punk about their attitude. I love the story about him moving into a new neighbourhood in LA, somewhere properly rough. His whole thing was like, "Right. I'm going to let people know I'm here and that I'm the fucking toughest guy in the neighbourhood." He was a hardcore dude. They knew how to make proper aggro psych."

"I discovered opera when I was about 13 with Verdi's Requiem . I started off a normal child and within two hours I became this opera queen. It was a religious conversion. Then after that, Maria Callas released La Divina 1 and La Divina 2, her greatest studio recordings from a particular period when I would say her voice wasn't quite at its zenith, but it was in this very interesting stage where it was matched with beauty and experience. So even though not all the notes were perfect you could definitely hear the angst and the pain and the passion that she had experienced in her career and life. I became enraptured by those records. They also had very iconic covers, that amazing photograph of her washed out against a black or white backdrop. It was also the kind of record that I could use to show others my point, and my passion, about opera. I could play it for a bunch of skinheads, heroin addicts, mods or punk rockers or whatever and they would physically freeze at the most dramatic points, because there's no way to deny her power at certain moments – whereas with a lot of opera it can be a hard sell. So they were my little secret weapons I could bring to my crazy underground parties and have a moment of respite from the horror of existence."

"I think Combat Rock has suffered a lot of bitching and whining because it’s when The Clash broke America. I was 17-years old when I heard 'Should I Stay Or Should I Go'. I wasn’t some hipster, punk dude. I didn’t know who The Clash were. I heard it on the radio. I heard 'Rock The Casbah' on the radio. Compared to a lot of other stuff being played it was like: “This is good!” For all the people who say it’s not London Calling, it’s not 'White Riot', well, I get that they were in the trenches and whatever. I’m not trying to disparage the early Clash but they matured into a proper rock band and they did something with it. Listen to 'Straight To Hell'. Fucking A! Listen to 'Know Your Rights'! I’ll be happy as a pig in shit if I can write a song as good as that. If they were ‘selling out’, you write 'Know Your Rights'! It’s why I picked Combat Rock. I don’t get where people are coming from who don’t like that record [sings the riff from 'Should I Stay Or Should I Go']. It doesn’t get any better than that. It’s a wonderful statement. I wish there was something out there right now as good as 'Straight To Hell'."

"I remember hearing 'Requiem' on college radio, and it really combined all of my favourite things - it had synths on it, really heavy distorted guitars, tribal drums, this crazy jazz drummer and punk rock vocals. The first album is great, but What's This For is one of those rare albums where the second is actually better. I remember when it came out I went to the record store the week of release, though I couldn't afford to buy it, and looking at the cover and how beautiful it was. It was this collage, with these psychedelic, apocalyptic colours, and the title is one of those great titles where it meant nothing but it was captivating. What are they asking, I don't understand. Standing in the record store, holding this piece of vinyl, hoping that one day I'd be able to buy it... when I finally got it home, the sound quality was even better than the first album, and it just had this sinewy darkness to it that was really amazing. Everything about them from the basslines to the drumming to the way they approach guitar and lyrics... it was the first time I'd ever heard really heavy distorted guitar that the way they were mixed they didn't dominate the music, the fit perfectly within the framework of the song."