"More so than any of her records, again, I just find it one after another songs that just particularly move me... I'm very moved by the song 'The Man with the Child in his Eyes' - I love that song. So, it's funny, it's a lot about having children and at the time I first heard it, I had no idea that I'd ever have children. I always loved her - she seemed like a kind of punk rock folk singer to me, with that punk rock attitude, and that extraordinary voice and such beautiful songwriting and very diverse musicianship. This record for me is something that, in my teenage years, I was just engrossed in. I can't really take myself back there and say why, what started that. It was very much part of my teenage years, but it's also very much part of my life now - fuck, this is so hard! 'The Man with the Child in his Eyes', 'L'Amour Looks Something Like You', 'Them Heavy People' - all of them, 'Moving'... often it's the way the songs start, as much as anything. It's a bit like Blue; as soon as they start, you know something amazing's coming, and then her voice kicks in and it's just like heaven. Ah, it's just heavenly!"

"Someone made me a mixtape once of a lot of amazing folk and soul and jazz, kind of legendary songs, quite rare, and it had a lot of Pentangle and Fairport Convention and it had 'Compared To What' on it. And I went seeking 'Compared To What' because I thought ""what is that song?"", and that's what inspired the song 'Central Reservation'. It's just an amazing record. Come the last six years, I was just like, ""you know what, the sound of the next record is this record"". One of the reasons is that I love the fact that the drums and bass are ever-present and yet, at the same time, they're almost not there. I can't explain it; it's like all of the elements of the record are perfectly heard but each sound has so much space around it. It's got the most extraordinary rhythm, emotion and beautiful songs. When I started speaking to Tucker Martine [Sugaring Season producer], who produced the album, I said ""okay, here's a blueprint for a sound I love and a record that I love"", and that was it. We weren't being analytical; it gave us a starting place, and from there it grew out. It's just filtered through in different ways."

"People who know my albums from ten years ago will have heard me trying to rip off Silver Apples. I think it was Kieran Hebden [Four Tet] who introduced me to their music. It's so remarkable - it doesn't sound like anything else that was happening at the time. This record was made before Can started recording - it was actually a toss-up between this or something from Can or NEU!, or something along these lines. If this record came out today people would still be flipping out over it. It still sounds like the sound of tomorrow to me, but it has those amazing folk melodies over the top of it. I guess most of my favourite music is both strange and familiar at the same time, and has some kind of melodic content you can hum along to and gets stuck in your head. The production and the musical ideas around it are totally otherworldly on this record. We booked Simeon for the ATP shows we curated a few years back, but I've never really read any interviews with him to try and find out how this happened - how they made a record that sounded like this in 1968. It didn't sound like anything else."