"I just love this album and I love the history behind it. I don’t think it’s cheesy, I think it’s muso and I really like muso music. The origins of it, the way they found Roberta when she was young and naïve, and they realised that the only way to really capture her was to create an environment that she was used to, so they recorded it all in a church, to give her a sense of the places that she sang in when she was young. And you get that on this album, it’s fucking amazing. There’s some unbelievable songwriting. I might have first heard it when I was really young, there was always this estuary of weird and exciting people coming through this house, playing different music."

"I had an older friend who was hugely into dance music. He was a proper teenager with decks. That was all cool to us. The Prodigy were absolutely the band of the moment, we would just listen to them so much. You always feel like you're listening to a real drummer with The Prodigy, even though you're not and you're listening to highly processed drums, they always retain a sense of reality. To this day, The Prodigy have a sense of rawness and aggression and reality, and they have always felt like a real band to me, even though it's just a guy with a laptop and a couple of idiots jumping around. They made the world shift for me, and made me feel like I didn't have to choose between a PC and Nirvana, and that's liberating, knowing I could do anything I want. The music I have in this Baker's Dozen is influential, because the albums are all about breaking rules, or don't fit into camps, and that's where my band has always been. People don't really know what to call us or describe us, and that has come from having diverse influences. The best bands don't fit."

"I can remember being introduced to this album at a very specific moment. I went round to my friend's house, and I think my sister had the CD and put it on, and I heard the introduction to 'Lithium' and those drums and I just thought: ""What the hell is this?"" It was the most exciting thing I'd ever heard. It was like that for a lot of people of course, I was no different. But it was very shortly after we heard that that my friend got a drum kit and my brother got a guitar, and my brother had a bass, and I knew that all I had to do was pick up that bass and we had a band. Nirvana were a three-piece and there were three of us. You didn't have to play very well, and you could play the same thing quietly and then play it loudly and that was kind of a revelation for a little kid. That was all Nirvana ever did and created the most amazing feelings with it. It was a very powerful thing to put into the hands of a little teenager. It's really easy to get together. You just all need to play the same thing on these three instruments and it will work, and you will sound like a band and that's so empowering. In terms of my musical style, Cobain has a really good way with melody and he doesn't really sing very obvious things. He always comes down on the major or minor third of a chord, and it really colours the music both positively and negatively in a way that not a lot of melodies do. The aggression in it and the fact that it can be tender in one moment and then the opposite the next is something which happens in my music. The emotional intensity of Nirvana is something which I definitely think my band is probably guilty of, in terms of high emotional stuff happening. They are really interesting, just in terms of the fact that there's so much depth in it, despite it being very simple, and the lyrics don't actually mean anything, and yet you can get so affected by Nirvana in such a strange way - not necessarily just because of Kurt's story, but because there is something in the music and it's very difficult to describe."