"This is from Laughing Stock, I wanted to choose something from this, Sprit of Eden or Mark Hollis’s solo record, which I love. Chris Taylor loves those records and when we were doing Shields I got really obsessed with them. I didn’t hear Talk Talk until after we made Veckatimest, maybe it was because ‘80s reference points weren’t fashionable when I was growing up. There’s something in the silence and space in this music that feels like it’s not made by a person, it feels like the record made itself. I guess that was their process, players would come in and do whatever they wanted them to do and then they took a piece of it and arranged things around it. I’ve always wished I could have been in the room when these records were made, just to see what kind of conversations were happening, if it was actually just a brutal process that they really didn’t enjoy to go through making them. There’s certain chord progressions on Laughing Stock and Spirit of Eden where you feel you just couldn’t write them, they sound like they emerged from nature, grew out of themselves and are eating themselves at the same time. With ‘Myrrhman’ especially there’s this weird turning chord progression that starts in the middle of the song, it never releases and it doesn’t let go, it’s moving around itself and imploding, with that quality of using space and silence as an instrument. “It feels like something that no one person could play, it’s like a mystery. The more you make music you try to channel whatever that mystery is, where you don’t know where something came from or how it happened, it’s something that’s totally human but comes from nowhere and you don’t know why and these records do that so well. The more we do this the more I realise that whilst making music and listening to music isn’t the same thing, it’s not really that different. Learning to be good at making music involves wanting to hear what’s going on as if you’re a passive listener, rather than ‘I want to do this and I want you to like it.’ It’s not about trying to make someone like what you’re doing, it’s channelling whatever that Gestalt thinking is that allows these things to happen. This was a real touchstone going into Shields, not so much for Painted Ruins, but it’s still something I always want to get back to, because it’s a trance-like state that feels like it came from no one, it just came out of the ether."

"This was probably the most important pop album for me in that I think it's the moment where I realised that I could be a musician. It was partly that this band was semi-non-musicians, but it was also because the songs borrowed a lot from what I knew about experimental music at the time. I'd been playing experimental music with various outfits in England and with Morton Feldman and Christian Wolff and all these people that had come over from America to visit us, 32 people who were into the experimental music scene in England. La Monte Young was one of the big figures in everybody's cosmology at the time and The Velvets, both Lou [Reed] and John [Cale], had worked with La Monte. So the first album came out, I thought, ""Fantastic, amazing."" Second album I thought, ""Great, amazing."" But the third album was the one that really killed me. The first album was quite wild and dark and weird, the second album was mad and intense. But the third album was so gentle and beautiful, but because you knew their history there was that undertone of violence and rage, something trying to burst out. Even on the love songs on this – and many of them are love songs – you hear that real tension. What made me think I could do it too was that the songs were simple and the playing was so simple. There's very little artifice at all in this. But also the mood was something that I thought I could kind of connect to. The difficult thing about pop music as I was growing up, and I was 20, I think, when I first heard this, was that it dealt with young teenage emotions mostly, and that just wasn't interesting to me. I loved the music but what the songs were about was sort of childish and it was all about 'me' and 'you' and 'love', and I just wasn't interested in that really. At the same time I'd been working with Cornelius Cardew and all these kind of quite heavyweight experimental composers. But I didn't want just that. I wanted that [pop music] and that [experimental]. So I was always looking for anywhere that somebody was making some blends that started to be interesting. I didn't own this record for years and years. I just didn't buy this album because I never wanted it to become casual for me. I bought this one about five years ago. I never owned it before then. I would only hear it at other people's places because I always wanted it to be special."

"I wasn't sure if I should put this song in, I was wondering if I should make weirder choices but then I was just like "fuck it!" It's one of the best songs ever, I go back to it again and again and again, and it always feels so good. There's something so satisfying about it – the way the chords change and the meaning of the lyrics. Isn't it about the Kinks' manager hooking up with a girl who was actually a guy dressed as a girl? It's such a cool thing to write a song about, but it's really subtle. Unless you listen carefully, you don't really notice that that's what it's about. I love songs that have a secret meaning. It's so simple, but so satisfying. It's also a very beautifully written song with the way the melodies go and the way the key changes. But because it's the Kinks it has this really cool ugly, rough sound that makes it feel so much cooler. The best songs are the ones that are beautifully written, but recorded in a dirty way. I'm always looking for ways to make our songs more interesting. If you just play all the chords and everything is perfectly in tune and in time, the music is whitewashed and comes out as a straight line. It's boring. Soph and I are always faffing around with guitar parts and trying to find ways to make them less in tune, or less pretty. You can have the most basic song, but if you cover it in stuff that's a little bit discordant or a little bit weird it makes it all so much more interesting. I couldn't really say when I first heard ‘Lola’. It's one of those ones where you're just born and you know it. I didn't go and buy it in a second-hand shop or anything like that. I don't know where that came from, I don't even know when that started but I've got a few Kinks records and I really love them. I got a big record dump from one of my best friend's dads when I was a teenager. He's been really influential actually, he gave me so much music. My music collection was just there suddenly, a big stack. There was loads of Motown stuff like Smokey Robinson, The Temptations, The Supremes and Marvin Gaye. He used to be a Northern Soul DJ in Yorkshire or somewhere and he's just a cool dude – maybe I first heard the Kinks because of him."

"I picked this mainly because most people are probably familiar with the regular three studio records that came out. I would hope they are. This record, Hendrix In The West, is a compilation of live versions. I think four songs are from this San Diego show in 1969 and shortly after that tour Noel Redding was out of the band so it was the last part of the Experience. There's a version of 'Spanish Castle Magic' on the record that is just so incredible, and the bass is distorted and driving. That song alone is worth the whole record. And if you can get your hands on it, there's actually a bootleg of that whole San Diego show and I recommend that, but Hendrix In The West is a little more accessible. My friend Darren who was the drummer in Mr. Epp, we were in high school and he had one of those portable eight-track players. I think he pretty much only had three eight-tracks I can remember, and one was Jimi Hendrix's Smash Hits and another was The Who: Live At Leeds and we would play those constantly. I've always been really impressed by Mitch Mitchell's drumming. It spoke to me. I think he's maybe the best drummer in rock & roll. I just love that kind of loose, fluid feel. It's not stiff, there's sort of a jazz thing going through it. It's really propulsive. Have you ever seen 'Message To Love', the Isle of Wight set that Hendrix plays? It's weird what happened to Mitch Mitchell over the years he was playing with Hendrix. In the early days he's sitting upright and playing like he does on the records but by that almost last performance he's got a double kick drum which he's just slumped over and his back is hunched and he's really low. It's like he isn't playing the beats at all, he's just playing around it. It's like he's become a rock version of Elvin Jones - it's crazy. Rock & roll has taken its toll on a lot of people. There's a bit in the Isle of Wight thing where a couple of songs in, Hendrix just goes behind the speakers and you can hear his guitar hitting shit. And he comes back out and he's on fire. The song ends and he says "I just woke up two minutes ago!" I was like: "Gee, I wonder what he was doing back there?""