"I think The Hope Six Demolition Project and Let England Shake are this two pronged attack which is utterly perfect, entirely relevant and so important to be releasing this late into her career. I'd listened to Let England Shake a lot, and I felt PJ Harvey had changed so drastically with that record, and The Hope Six follows on from that so beautifully. I remember hearing 'The Ministry of Defence' and calling Dean [Richardson, Rattlesnakes guitarist] saying, 'Have you heard the new PJ Harvey? How are we going to release our album now? She's written a dirtier record than we could ever do.' It's amazing to see someone with that history in music release something that relevant, here's an artist who's so deep into her career and I think it's one of the greatest records she's made. She's definitely an inspiration; I think any artist writing at the minute would be foolish to not include some of the tragedies we're witnessing in the world. As artists we have a platform and a responsibility to talk about things that matter. They matter to me and they clearly matter to her as well. I find it incredibly frustrating that [more artists aren't addressing issues]. Either say something important or fuck off, essentially. Someone said a long time ago that stupidity was more of a problem than evil. Evil can be fought against, it can be revealed to be what it is, you can see it and name it and rally against it. Stupidity is much more dangerous because it allows evil to grow and breed and become the norm; you can't reason with a stupid person. I think when I see bands that aren't writing about anything important or releasing music that has no importance to them, I'm not trying to be overly political with my new record, it's a record about human relationships, but it was important for me to include [some political themes] because it's what's surrounded me for the last couple of years. We'll see who's got the courage."

"I was 12 when it came out. I remember it very well. It was a Saturday morning, and I went round to a friend's house and he'd been out shopping that morning and he'd bought the album. And we played the album, and it was something like you'd never heard before. We were in the middle of what I might describe as somewhat traditional rock music – you know, The Stones and Led Zeppelin were at their peaks. This thing came along and it didn't sound like anything else. The production values, the production's quite dry, and also you've got this visual of Bowie with the spiky hair, it just was something so different. You felt that music itself just got changed, and that rock music per se moved into some other place. The best way I can describe it is that rock music became modern. It became a new thing. I have no doubt in my mind that David Bowie is the greatest solo artist that Britain's ever produced. I can't think of a better solo artist. The other thing I would say is I thoroughly underestimated the brilliance, and the input made by Mick Ronson, in the period he was with the band. I had no idea Mick Ronson did all the orchestration, and did all the arrangements. So when you're listening to a track like 'Life On Mars' off Hunky Dory and, this album, 'Moonage Daydream', when you take into consideration that he did the string arrangements, that really puts him in a different sphere as well. And without Mick Ronson I don't think it would have sounded as original as it did. It made me so sad seeing this documentary about him [Beside Bowie: The Mick Ronson Story on Sky Arts], somehow the Bowie machine swept Mick Ronson under the carpet, which is incredibly unfair. It was heartbreaking, to be honest. I felt really sorry for the guy that he'd been so underestimated while he was alive. At least now we can celebrate his brilliance."