"I was playing Scott 3 quite a lot at Christmas and there’s something about this song that’s more Christmassy than Christmas songs. It’s just kind of magical, that’s how I’d describe ‘Copenhagen’, it’s magical. “I think this song is my highlight from Scott 3, there’s something about ‘Copenhagen’ for me. I think it’s the instrumentation and the orchestration on it, it’s utterly gorgeous, the sound of it is really, really beautiful and then there’s his voice over the top, the lyrics and his delivery. I guess it’s rooted in that crooner area but there’s a tenderness to it. ‘Copenhagen’ has a delicacy to it and I’ve always loved the vulnerability of it as well, like there’s crack in his voice. I’m just in love with this song. “I think a lot of people like Scott Walker songs because they touch on stylistic elements that could be seen as more commercial or just normal or standard in some way, but they’re not. When you hear how he delivers this there’s an off-kilter feel to it, an oddness to it. It’s got a beauty but it’s not really an obvious beauty and he manages to walk that line really well, between darkness and beauty. “That’s another thing that I love about the whole album Scott 3, it is quite dark, but it’s dark and beautiful and those two things are something that I’m really in tune with, a sort of dark beauty and that’s what Scott Walker does really well."

"It's one of the earlier records for me, I started listening to it when I was 19 or 20. I think it made me realise that I wanted to get better at music, it pushed me to want to learn more than three chords. Pet Sounds is so pristine, while Smiley Smile sounds unfinished. I guess it is unfinished, and I know Brian Wilson was never happy with the way it turned out, but whatever grievances there are, I love it. It's a huge influence on me, it was definitely like my music school. Figuring out those harmonies and those chords really pushed my ears and helped me understand music theory in a deeper way. I mean I like it it has that unfinished edge and a more playful sound to it than Pet Sounds. I love Pet Sounds but it's so polished that it doesn't have the charm to it that Smiley Smile has. You can hear that charm lyrically, songs about vegetables and Woody Woodpecker. That song 'She's Going Bald' is amazing! It's funny and also sublime, all at once. 'Windchimes' is one of the most beautiful moments in music, and lyrically he's just writing about some windchimes hanging on his porch; somehow he makes it sound like the most sentimental and beautiful thing. I remember being bowled over."

"Even just thinking about this song, I can feel the beginning of tears in the backs of my eyes. It's such an astonishing piece of lyric writing. It's like that Linton Kwesi Johnson track - the narrator of the song, and their emotions, are so believable. Both songs are about letters, funnily enough. “The imagery is so gentle but it's still significant and it's recognisable of a different world; just the idea of a typing pool now is absurd - it's something that belongs to a different decade. And then the imagery of the paper and the ink drying and there's a confession, but we don't know what the truth is. She's talking about telling the truth in this letter she's written, but we don't know whether she's confessing to something she's done or to the way she truly feels. “Either way, it's definitely a story about the end. 99.999% of people who've loved in their lives will know how that feels, what it's like when love ends and this is one of those songs that just gently captures the hugeness of that kind of situation. It's sung and worded very softly, but what it's describing is incomprehensibly massive. It's communicated with that image of the page being wiped clean, while the landscape remains unchanged. Absolutely astonishing. “Trish Keenan’s death is a story of tragedy in itself, because she was so unique. I know you shouldn't try to relate the personal story of the performer to the piece of music, or the writing, or the play, but you can't help but do it in this case because so many Broadcast songs are in that vein. When you communicate emotion in a song the reason it works is because, as a listener, you recognise something you've experienced before, and so Trish's writing doesn't just remind you of loss - it reminds you of the loss of her.”"

"""What else do I like? A Godard film called Prenom Carmen, which sounds like I’m just saying that to be cool, but it’s actually one of my favorite films. I think it’s the best Godard film. It’s like his version of Carmen the opera, one of his films from the eighties. In terms of just pure filmmaking and manipulating an audience, it kind of starts out as a farce, as a complete, stupid farce, with this bank robbery; but it’s really, really…Godardian, with kind of a stupid humor that’s so random. Only he could make it, mixed up with these kinds of philosophical elements. It starts out with one of these bank robbers, these students, and she starts to sleep with one of the guards; she’s having sex with him in the bank, and he pretends to arrest her and they run away together. And he wants to be part of her gang. It’s all so completely ridiculous. And then suddenly, halfway through, it turns into the most heartbreaking, serious thing that you’ve ever seen — out of nowhere! — and you’re suddenly so attached to these characters, which you weren’t before, because it seemed like a stupid student film. They have this secondary story where they have a string quartet playing the soundtrack which runs in the other story, but they film them during rehearsal, just doing really close up things with them playing cello and stuff, and it’s about the relationship with the conductor and this girl, the cellist — and it’s completely random to the film, but it’s incredible."""