"This song was a sonic influence on the record. The vocal sitting on top of things that aren't a conventional band, with some electronic instruments, some keyboards and some beats. The voice is still the main focus, but there's stuff happening around it that isn’t conventional. It was definitely an inspiration to some of the songs on this record; it was like a sonic headspace. “I’ve been a fan of Arthur Russell for a long time. I don't remember who showed me him but maybe it was on a highschool mixtape. Sometimes you just hear somebody; you can tell that it's unique, it's interesting and you want to know more about it. “With 'Nothing Sacred / All Things Wild' for example, which is the third song on Oh My God, I first tried it with an acoustic guitar and it wasn't really working, but then when we used just an organ and my vocal and that seemed to really work. Something like that would be really influenced by something like Arthur Russell."

"This series of pieces by Florian Hecker is great. The 30 minute modular synth piece in the book ended by the vocal pieces is a really amazing. I could listen to this piece as one whole composition – I don't actually know his mode of operation, but it works great as a collection. As a modular synth and electronic music guy, the middle movement is just masterful. And he's such an interesting guy, so again, very personalised as far as the way that he works. I don't know at all about what he thinks. In a lot of ways theoretically he's quite impenetrable, I don't know where he's coming from in some instances. He definitely excites me. A lot of his stuff is heavily theoretical. Like the Joan le Barbara movement in the beginning with the voice – it's like the reciting of these philosophical truths or something. And in a way, I would ask him, “Am I supposed to be digesting all of this information or am I supposed to be just letting it wash over me?” That's how I appreciate it."

"One of my favourite contemporary new music pieces to come out in the past couple of years. She's been composing music for 20 years. This album came out last year so I've been sitting with it, going back to it this year as well. But what strikes me is how patient the music is; it develops very slowly. The ideas are really exciting. So when she marinates on a single idea for a while, it doesn't feel boring. The idea is so strong, you just want to hear it fold over on itself over and over again. And the marriage between the acoustic and the electronic in that piece is really seamless – the recording is so good too. She studied with Kaija Saariaho – another huge Finnish composer. I hear her maybe taking some elements of her way of working, although simplifying it, maybe drawing it out more. That might oversimplify what is going on here, because Ratkje does a vast amount of different kinds of music. But it was yet another element – you can hear that lineage within her work."