Their own sleeves (designed by DLT who also works with the likes of Mogwai, C Duncan, and Fujiya & Miyagi) are distinct. Like their songs, they tell a story, offering a glimpse into the world of the music.

Forward asked the band to have a think about their most influential or favourite sleeves. With five members, now spread over three cities, that's only two each.

Here are their selections.

Like the music and the lyrical content, the artwork (featuring a triptych by painter Jenny Saville) for this record is shocking, important, dark and thought provoking. It’s one of my favourite albums of all time. In my opinion, an album's artwork should be challenging and have an insight into what you’re about to listen to.

James Graham

I had heard previous EPs from Man or Astro-man? – and their label, Touch & Go Records, was certainly a staple of 90s indie in the US. That said, this album’s packaging ultimately convinced me to pick it up.

With the album’s peculiar name (paying homage to the first electronic computer) and an aesthetic that blends science fiction with surf rock, the sleeve design feels both analog + digital. The original pressings also included a sleeve with die-cut hole punches – mimicking the original punched cards used by IBM and others in the early stages of modern computing.

Sebastien Schultz

Cold, dark and bleak, just like the music. This album cover concept was the first of its kind when it came out in 1992. The majority of heavy metal album covers dating back to the early eighties were mainly paintings of demonic style monsters, be they skeletons or devils or some other kind of grotesque imagery. This was a breakthrough cover at the time and truly original.

Jonathan Docherty

One of the most disturbing record sleeves I have ever seen! Mike Diana is an underground cartoonist from the USA and the first illustrator to receive a criminal conviction for artistic obscenity and is the artist behind Iron Monkey's Our Problem.

The cover doesn't really present itself until you open it out. I don't want to give away any spoilers. It's a sight to behold.

Jonathan Doherty

This sleeve (Designed by Julian House) was a reference point for our last album. The random, glitchy layout and the blocks of colour were something I thought worked well with what we were doing.

Andy McFarlane

When the designer Paul West was a student, he wrote a thesis on the marriage of album cover art and the music it accompanied. Perhaps more than anything before or since, I think the imagery really evokes the sound of this record.

Robin Guthrie said he wanted to “capture the ethereal”, so West worked with photographer friend Andy Rumball, experimenting in a makeshift kitchen studio, taking 35mm stills of Christmas lights against coloured backgrounds.

I love the thought of them messing around with different materials and lighting, waiting to see what developed, probably with little or no idea that they were about to contribute to one of Scotland’s most iconic albums.

Brendan Smith