"She is a Turkish goddess. It is folk [music] in its essence, I suppose, but this record is fierce. She is angry and compelling and this record fires me up. It was when I was on tour with Gruff [Rhys] – maybe about eight years ago – and Andy Votel was with us and doing DJ sets and he was playing 'Ince Ince' from this record. I had become a bit lazy about discovering music and had become a bit fatigued at listening to new things. Suddenly Andy is playing music like Selda and it was so exciting. He opened a world of new music to me. I started listening to things by Iranian female musicians like Googoosh and also to Susan Christie's Paint A Lady album. It was all incredibly exciting music that I hadn't known about it. It was like opening Pandora's Box to me. I would play it to everyone I possibly could. I would constantly be saying, ""Have you heard this record by Selda? It's one of the best records I have ever heard"" and I would get it out and play it to anyone. It would always get the same reaction. I remember playing it to St Vincent when I was touring with her and she lost her shit when she heard it. I think she subsequently went on to cover one of the songs. Last year I was playing a show in Switzerland in this old cinema which was absolutely incredible. It had a huge disco ball and we were having a bit of a lock-in. We were having our own private disco in this cinema and I put a Selda track on and everybody just went absolutely apeshit. It is just a record that you cannot get fatigued by – I was listening to it this morning and got excited all over again. The synths and the electric sitars on it are so infectious – the album is like a musical virus. I recommend everyone listens to it."

"Going in a little different direction, Apocalypse Now is an unbelievable piece of cinema. Just the scale of the production and the performances. I feel like, narratively, it’s one of the… There’s a subgenre of Vietnam movies, obviously, and this one just feels so epic and operatic, in no small part because it uses Wagner’s Ring Cycle as the score for one of the great battle scenes. I don’t know, I can’t say enough about it. And then, of course, seeing Hearts of Darkness, the documentary about it. That just made me love it even more, because you can see the creative depth that Coppola went to, the depth of his soul that he dug into to not just make the movie and keep it together, but to sort of fight for coherence in a chaotic production, and I love the discovery. I mean, clearly, when Brando showed up on set, it was such a disaster, because he didn’t know his lines and he was a hundred pounds overweight or something, and he basically refused to learn his lines. But then Coppola worked with what he had, and to me that is the most… He wound up with something genius and more coherent than what may have even been on the page originally. There’s a quote by Orson Welles that the absence of limitations is the enemy of art, and I feel like Apocalypse Now is a kind of great tribute to that idea, because Coppola just faced so much adversity making the movie. Not just Coppola, the cast, the crew, everybody faced so much and dealt with so much and then created this transcendent piece of cinema that captures a dark piece of world conflict history and some very intimate stories of young people sucked into it, and then, of course, a meditation on the darkness of the human soul, which is an important thing to explore artistically from time to time."