A record that me and Dylan bonded over, whilst recording the album. People would probably expect me to choose one of the first two VU albums, cause of Cale's dissonance, but i love the delicate beauty of these haunting ballads. Gorgeous.

The record that got me into EARTH, and the music of Dylan Carlson. I still find it utterly transfixing. Summons images of Cormac McCarthy, and conjures images of limitless horizons and desolate ghost towns. Bewitching.

With Techno Animal, we explored loop based imaginary soundtracks, many years ago on 'Re-Entry'. But when i first heard Basinski, many years later, he took the crown as King of the shifting loops. I lose all sense of critique, with Basinski albums. Love em all. I invited him to perform in LA on the bill with me and Dylan in 2016 during the 'Concrete Desert' recording sessions. A lovely dude too.

Ive lost count of the time ive seen The Necks play live, and i'm never bored, and always crave more...same applies to their albums. With the album Dylan and i made, i wanted to try and originate a new form of deeply fuzzed, smacked out, tripped jazz. Dylan and i have talked for hours about Miles Davis and never reached a conclusion as to what Miles best album was, as there were so many greats..The Necks got me back into Jazz, after i had grown bored of the genre, due to over saturation.(Incidentally the first instruments i attempted to play were bass and sax).

Adrian Sherwood's early dub productions were a MASSIVE inspiration for me when i first became a producer. The potent cocktail of heaviness and psychedelia, transported on huge basslines and swingin riddims electrified me. And again, Dylan Carlson and i are both Dub music addicts, so this is a no-brainer. Genius production.

This was the first BOC release i ever heard, and their use of deeply melancholic melodies, stoned beatz and fx drenched synthesis has stuck with me ever since. On the album with Dylan, i guess i aspired for a similar sense of opiated drift and wide open spaces.

Graceful and gorgeous, deeply sad and thoroughly soulful, 'once I acclimatized to Ian Curtis goosebump vocals i was hooked for life. And as i began my journey as music producer, i realized just how much of a sonic genius Martin Hannett really was, and i feel this is his finest production.

SOTL always echoes a sense of America lost, as far as i'm concerned. Gorgeous string arrangments, distant drones and minimal ingredients lead to maximum bliss for me. I discovered them late, missing the boat when they first released music, so ive been playing catch up.

Seemingly Abul retired very late in life from a lifelong factory job in Serbia before making music, and then made music as stunningly beautiful as this. His crossover between classical arrangement/melodies and electronic textures absolutely bewitched me. Ive been indelibly touched by the mood and majesty of these spellbinding compositions.

Thomas Koner(Porter Ricks) once told me he was partially inspired to begin Porter Ricks, due to me introducing him to a Jah Shaka dub sound system experience. Flattering, because Thomas became one of my favourite producers. He and Andi mastered a futuristic sci-fi dub with PR, and proved to be enviable craftsmen of texture and tone. The mix of deepest subs, grey noise and shifting frequencies has continually influenced me.