Miglis: “I chose this because I went to school to learn classical piano. I had to learn this for my final recital and Debussy’s music changed the way I thought about music. His music is very impressionistic, it’s a picture that he paints and it taught me that music can be more like painting than just pure emotion. It can be like painting a picture of a scene, something in nature, or something in front of you and you can paint it with sound.

“The recital was pretty scary; it was a lot of memorisation, it’s probably one of the hardest things I’ve ever had to do musically. It was really intense to learn his music, to read it and internalise it, but because I had to perform it from memory I had to internalise it in my muscles and every part of me. I had to really know the music and that was a really powerful experience, having to spend so much time with one composer and having to learn so much more about them, the place they wrote it and the time they wrote it. It was a really powerful experience and it really forces you to try and understand a person’s music and personality.

“I’m really grateful that I’ve had that experience now, with how quickly we ingest music nowadays I was forced to spend a year with that piece, which is so rare. I think that the pure amount of time I had to think about this music really changed the way I understood the depth that’s behind music and how much thought there is behind everyone’s music.”

Tetreault: “This song came for me at a time when I was experimenting a lot with friends in high school, just playing openly and playing a lot of music with Tray. We were playing some proggy, technical rock and really feeling like we were on to something, that we were tapping into something unique and meaningful. Then hearing this group, they became this beacon of a band who were realising what we were tapping into.

“I listened to it a lot and learnt all of the parts as best as I could. That was such a developmental time for us emotionally and as humans, going through high school and experimenting with LSD, that was the start of that chapter. This song in particular is tied to that feeling of freedom, of driving alone on the open road for the first time, where the world is available to you all of a sudden.”

Tryon: “I heard this in maybe 2005. I feel that’s the period of time that I became the person who I am now and beforehand I can’t really relate to that person. Sigur Rós’s stuff was totally faceless, I didn’t know anything about them, all I knew was that they were from Iceland.

“When I think of this song it immediately puts me to this one place I used to go to a lot called Shell Island. In Florida there’s a bunch of rivers, we’d canoe down river to this island and camp there. The island was made of shells, it was like a Native American trashcan, it was basically a big mound they threw their shells at like ancient, ancient shit. The last time we went there we were kicked out by the cops, because it turns out it’s a really important protected historical site, so we never went back, but before that we went there all the time.

“This music symbolises a mish-mash of all the times we were there, canoeing down the river at night in the pitch black with the music playing on a little speaker and we’d be doing a lot of mushrooms and LSD back then. This album has no English language, I don’t even think it’s Icelandic language, he says the same thing throughout the album over and over again, it sounds like something about a fire and it’s tied up to being around a campfire.

“It’s also tied up with the experience of us trying to get away from the society that we hated at that time in Orlando. It’s like a carnivalist, capitalist hellhole, there’s a lot you see there that makes you mad and this song is so removed from everything you’re given in Orlando.

"A month ago, we had Jonsi (Sigur Rós lead singer) over. I was asleep and I heard Jonsi singing, I went into the next room in the dark and I laid down in there and sang with Jonsi, Julianna Barwick, Nicole and Moses Sumney. Jonsi was on the piano and the rest of us were laying on the floor in the dark. We all played music in the dark for three hours and I never saw Jonsi, he left, because it was pitch black, then I just went back to sleep. It’s amazing. I’ve still never met him.”

Miglis: “With this one I basically chose my favourite song from Aphex Twin's album, Selected Ambient Works 85–92. I think that record really changed the way I thought about music. It was mostly the kick sounds in this song, that kind of droney, ambient sound that he has, I just think it’s so beautiful.

“It was the first record that got me interested in electronic sounds and making music on my computer. It influenced a lot of things that I wrote and the composition of those songs really influenced me, how concisely and how perfectly they are written. It was a different approach to songwriting, it was like taking all these blocks and puzzle-piecing them together and that really influenced me.

"When I was growing up I didn’t listen to any music made on computers, I grew up in a pretty small town in Florida, but when I heard this I started realising the sounds you could make outside of tangible instruments.”

Tetreault: “This is probably one of my favourite songs of all time. With all of these songs, they hit at a time when they were really needed and I remember hearing this song with my brothers at a time when things were really intense with my family. My Mum had just left the family really unexpectedly and we didn’t know what was going on, she just kind of disappeared out of our life for a couple of years.

“We were spending a lot more time together, me and my brothers, and I remember I went down to Miami to stay at my brother’s house with my other brother and we watched this Jeff Buckley live DVD and it’s the most incredible performance. I remember hearing this song in particular and we were all crying and since then that record Grace has always been one of my favourite records. It’s really powerful, it has you screaming by the end. I needed something that direct at the time.”

Communicating is out now via !K7. Hundred Waters are on tour until December.