"This was probably the first Scott Walker song that I heard, other than Walker Brothers’ songs. “I was in a friend’s car in London around eight years ago and ‘It’s Raining Today’ came on. At the beginning I thought it was unnerving, this weird cluster of notes. At the end of it I turned to my friend and asked, “What was that? Is it modern?” When he explained it was a record from the ‘60s I was like “Are you kidding me?” The production and vocal sound is so clear and hi-fidelity. “I fell in love with the sound of it from a production point of view first of all. I’ve always been interested in the crooner vocal and all that sort of stuff, but once I got into the songwriting it blew my mind, because this is stuff that you can’t sit down and play on an acoustic guitar. “There’s this theory that you should be able to sit and play any good song on an acoustic guitar and ‘It’s Raining Today’ throws that theory out the window. You couldn’t do that song, and songs like it, justice on a guitar, because the orchestration and the chord changes are more psychedelic than any psychedelic record I know. I literally can’t work out any of the chord progressions, and I’m usually decent at sussing them out. I still don’t know what these extended chords are. Maybe if I was a piano player, I would. So, I find that very, very inspiring. “I absolutely love the string arrangement to the song too, it’s so harmonious, even though it’s totally inharmonic. I don’t know how to do that. It’s so brave to have that ominous thing going on underneath these beautiful cadences. There are moments where it’s just on the cusp, but because it’s an orchestra playing it they’re all moving together. If you did the same thing with electronic music or all of it separately, it would be very hard to get that movement and that swell and modulation."

"This record was 1958 and it was already a 25-year retrospective so that means it spans from 1932/3 to 1958! It came to me at the same time as all this new wave stuff and I was really interested in all the stuff Cage was doing with prepared piano, and there’s a bunch of prepared piano on my new record. Between those pieces and orchestral works for multiple players where Cage was using people banging on metal break drums and stuff, it was really sounding like the gamelan music I was listening to at the same time and I just found it to be super inventive. John Cage was defining a new way of thinking about music in the 20th century and in a way his definition included all of noise and all of ambient sound and all of these things that became movements for us in the 20th century, like Eno’s whole discreet music and ambient thing; or noise music from extreme harsh Japanese noise to whatever we called Neubaten or what Sonic Youth were doing, if you called that noise music; or the Boredoms or Merzbow which is more extreme, there’s no singing, there’s no guitars, it’s just harsh noise – this music opened the door for all that stuff. It’s amazing music in it’s own right, and yet some of it also explores really low volume like super quiet aspects of music where background sounds and people coughing – well that’s part of what you’re hearing in the experience too. So I felt like that record is so important that it defined a gargantuan giant of the 20th Century, which is John Cage, but it defined all these different bits of music that even if people later didn’t realise their music stemmed from that, in some way it did. Everything from 60s onwards, no matter what you were doing outside of rock & roll there was some kind of influence from Cage there."