"I had Substance on cassette when I was seven or eight years old and it was all I really listened to. New Order remain my favourite band of all time, and as a template for what a band can be they're still inspiring.

"I saw them play a few weeks ago and it was incredible, especially how much new stuff they played and how good it all sounded. With "Confusion", even when I was a kid, I remember clocking what was going on, that there was that blend of guitar and electronics. There's that one little bit in particular in this song where it breaks down into all these riffy power chords.

"When I was a teenager there were all these silly cultural wars - where you weren't allowed to like Oasis and The Prodigy, that kind of thing. There was no leakage between the camps. I think that changed when around 2001 you could suddenly start making music on consumer laptops. You didn't have to spend £4000 on a sampler - you could do it yourself. That changed everything, because suddenly you had people who were starting out on laptops, rather than graduating from synths and samplers. Guys like Kid606, and the stuff that was coming out on the Tigerbeat6 label. that's probably the road I would've gone down, but fortunately I started the band with Joe.

"When 65 were getting started, we all listened to as much guitar music as we did glitchy electronica. It just felt like we should put them together. A lot of the early press attention we had seemed to think that was noteworthy, but really, New Order had been doing it for years - it's just that it wasn't considered avant garde or experimental, because they were making pop music. It's definitely a defining jumping-off point for the sounds we were trying to make when we started out."

"I admire their ideology so much - their dedication to the cause of being Godspeed. Certainly, in the first few years, there was a palpable lack of compromise and the collection of albums from that period is astonishing.

"Like Rocket from the Crypt, their output refined the same idea over and over again in a very deliberate way, but that doesn’t have to be a bad thing. You’re never going to get a three-minute pop song from Godspeed; it’s always going to be a slow behemoth and that’s fine by me.

"I chose "Moya" because my introduction to the band was being handed a cassette version of F♯ A♯ ∞ when I was in college and the next thing they released after that was the Slow Riot EP. That was the first thing they put out after I’d discovered them, so it was the first release of theirs that I was excited for, with that feeling of them being my band.

"Moya’" is the opening track and I don’t know how much more to say about it, because of all these songs, this is the one that really speaks for itself. It’s just gloriously sad and masterful in its use of dynamics, and when it really gets going, it’s kind of unhinged, too. It still fascinates me to listen to and I don’t know how they do it. There’s not many bands here that are universally admired by everybody in 65, but Godspeed are definitely one of them."

"I remember the first time I ever heard this, and it was absolutely magical. I’d been reading about Trail of Dead and getting excited; they had such a cool name, the album had gotten really good reviews and I was just waiting for it to appear in the shop.

"Somehow, I’d gotten the idea into my head they were going to be a band who sounded like Godspeed - all slow, masterful, soundscapey stuff. I got the CD, took it home and after that first thirty seconds of chanting and field recordings - which gives nothing away about what kind of album it's going to be - it cuts into "Mistakes and Regrets" and obviously, it’s just nothing like Godspeed. It’s just instantly on fire with punky guitar noise, this incredible energy and vibrancy.

"That whole record Madonna is absolutely stunning. It wasn't like the sound itself was new, but putting it on and expecting a compltely different band to come out of the speakers, it was a fantastic moment. Up to that point, it felt like the guitar had been and gone and that this was kind of a renaissance for it, with Trail of Dead, At the Drive-In and The Icarus Line at the forefront of it. It reminded me of the power the instrument could have; these were guys that absolutely did not play it the way a guitar teacher would tell you to. I think every generation had a band like that."

"I deliberately chose this one because it occurred to me that I don’t really have much to say about either of these bands, I don’t really know who they are. I think I probably first heard it on a Warp Records compilation, maybe one for their 10th anniversary or something like that.

"I went to university in Sheffield, and it’s where 65 are from, but we were there too late for the whole Warp thing happening - they'd already gone off to London by then. We still knew it was this huge deal, it was the label that Aphex Twin, Autechre and Squarepusher were on, it was just this mystical thing.

"When I discovered it, I’d mostly been listening to well-known electronic stuff like The Prodigy, The Chemical Brothers, Orbital and Underworld, and to find a song like that - which is slow and scruffy and kind of delicate and emotive - it taught me that I didn’t need to try to compete with the level of those big acts, that there was this weirder world of electronic music. where things didn’t have to be poppy or energetic.

"In retrospect, what I really like about it now is that I never bought a Seafeel record and I don’t know who Isan are, or is. That’s very important to me, because as I was saying with that Rocket from the Crypt track, there’s so much tied up in the concept of a band outside of the music these days. More than ever, the records come and go in a second - there’s so many new ones every week. You’re forced to keep reminding people that you exist every day on social media.

"The band as an idea is a more important thing than ever, so it’s very reassuring to me that despite all of that exhausting stuff that you have to do these days to maintain some sort of profile, sometimes a piece of music can stay with you your entire life, completely without any context relating to the people who made it. The only context I have for "When Face Was Face" was my own as a listener - where I was when I picked it up. That’s really rare these days."

"The thing about Deftones is that they’re only ever really a few shades away from being a corporate American mega-band. They’re not that far removed from Stone Sour or Nickelback and they could so easily have gone that way and been churning out riffs year after year and playing the same big headline slots, but instead, they’re this huge, absolutely mainstream band who can write pop music that remains experimental and compelling. Plus, they're right in the middle of the Venn diagram of where all four of us meet in terms of our tastes in 65.

"In the early days, we’d play White Pony constantly in the van. Most of that record is fantastic, apart from that one with the guy from Tool singing on it. We’ve always wanted our guitars to sound like Deftones and never really succeeded; we’ve always been closer to the Trail of Dead or At the Drive-In thing. It’s never stopped us trying, though. ‘

"Change" has got all of that; it's got that amazing fuzz, that quiet-loud dynamic and those two really incredible guitar tones. I love that it’s basically a pop song and we’re big fans of pop music, It’s always been a driving force for us and never something we’ve shied away from.

"We’ve never strived for obscurity. although we don’t have a singer, so everything ends up a little bit weird anyway. Deftones have always harnessed that balance between pop and something much heavier really elegantly. That’s hugely inspiring."

replicr, 2019 is available now via Superball Music