"I think that this is one of the best albums of all time. It's hard to talk about. I feel like that album is the Sgt Pepper's of my generation. It's a record that knits together a whole generation of music-lovers. The fact that it's separate and isolated is sort of poetic. My generation wasn't connected by a band; we didn't have a Beatles. We had our own bizarre little pockets of music, our own separate ways of listening and connecting. That record functions in the world unlike any other record. I've never seen anything like it. It is a religious record. People feel so fondly about it, in such a profound way. Beyond time and space, on different continents, at different parties, the name of that band will come up and you and stranger will grab each other's hands. There's not a whole lot of music that can do that. Something about that album and those songs created a deep thread of human connection through a lot of people. I think it's incredibly rare. I think all musicians inherently want to connect, because that's what music is. Music connects you, through this magical medium, to another human being. Listening to Neutral Milk Hotel and looking at the artwork for that record and listening to how it was made, and thinking about the mythology of the Elephant 6 collective, it's like Sgt Pepper's – you imagine that there's this magical world somewhere, with all these crazy musicians, living down the road from each other, banging on pots and pans and playing brass instruments, and you want to be there. You get to soak that magic up just by listening to the record. Brian [Viglione], the drummer in the Dresden Dolls, got to see Neutral Milk Hotel when they were touring that record. He was the one that turned me onto it. In the middle of the night, after our very first band rehearsal, he took me over to his house and said 'I can't believe you've never heard this record. We're not doing anything until we sit in the dark and listen to it from beginning to end.' That record was always really important to us."

"I sometimes worry that I don't like current music. I remember when I was thinking about today's interview that I was so glad this is a current album. Well, actually it's four or five years old. When I first heard this album it blew my mind – it has hit after hit. There is a conviction he has when he does things that could possibly be deemed as being cheesy or not cool and this conviction overshadows all of that and it is wholly satisfying. I knew of him before, but it was a wonderful surprise to hear this music. You hear a song like 'Round And Round' and it is epic – it's like a mini-musical with all the different parts – and everything is so intricate, be it the percussion or the different vocal parts. I think it is a masterpiece. It was really wonderful discovering him and finding that he had a trail of all these really bizarre records that he had been doing for years. You could buy all these weird albums - he was beatboxing on some of them - and I loved generally finding out all of his history. He would tour and not turn up at gigs, or just lie on the ground and shout ""I'm too ill to do this!"" and leave, or he would just turn up with a bag of mixtapes and put them in a tape machine and sing karaoke. I think there are a lot of faux eccentrics knocking around, so it is nice to find someone who is genuinely eccentric. It's satisfying to know it comes from a real place. I was lucky enough to see him play in a church in Koreatown [in Los Angeles] about eight months ago. There is always a worry when you really love a record that a gig might not be as good. He came on stage wearing leopard-print trousers and a floral shirt and carrying a basket of flowers and told us he was Little Miss Riding Hood – it was just wholly entertaining. He is a real treasure."

"I had been keeping my eye on Sufjan Stevens for a while. He's always been surprising me and blowing me away. His song 'John Wayne Gacy, Jr.' has one of the best lyrics I have ever heard. On Carrie & Lowell he made an album that has no standout tracks – everything is just remarkable. Sufjan is a maverick and this album is a delicate, fragile piece about the death of his mother who had problems with schizophrenia and alcoholism. The lyrics are beautiful and he sprinkles in some almost Simon & Garfunkel-style harmonies to these folk songs, while others have an almost Sigur Rós element as well. I took my ten-year-old son to see him play. My son had pretty sophisticated tastes. We sat there, holding hands and weeping at the concert. Sufjan drew an incredible performance from that record that was so full of life and death. Sufjan didn't talk for an hour-and-a-half at that gig. It was like watching a sacred ceremony. The lighting and the visuals were the most profound I have ever seen in any concert. Then, after 90 minutes, he talked solidly for ten minutes. He was geeky, gawky and funny. I thought this must have been a pre-prepared speech. He had us belly-laughing. Then, he went back to the ceremony and it was such a bizarre contrast between this vulnerable boy during his talk, to this shaman performing in stillness. The only other rock musician I think can perform in stillness, to that level of profundity, is Leonard Cohen. I went to see that show three times and it changed every night. His talk changed every night, so it wasn't a prepared speech. He would end the show, after playing these beautiful folk songs, with about 15 minutes of noise, worthy of Sigur Rós and a lighting effect, which I can only describe as what I think the soul will look like when I die. It left me shaking and sobbing. It was one of the top five gigs I have ever seen – and I have seen the greats. Sufjan can get you on all levels. I think he will be seen as one of the greats of this generation."