"I saw him [The Fall's Mark E. Smith] at Shepherd's Bush last year playing the last album, and only playing new songs. It was absolutely brilliant. I just sat and watched him, he's a genuinely strange person. He doesn't fit into the stereotype of the arts school drop-out, or the working class cliché either. It's a strange place he occupies in between. Just seeing him march around the stage turning the amps down, it sounded absolutely brilliant. You can tell he's got the ability to know how to make things sound amazing in quite a simple way. I could have chosen any Fall album from that period, Wonderful & Frightening World or Bend Sinister or I Am Kurious Oranj, but I chose ...Saving Grace because it has a really personal meaning to me. I grew up with it, and when I was at Sixth Form College I really started listening to the Smiths and The Fall. I had to find out myself about The Fall. I remember reading about them somewhere and going down to the record shop and buying a Fall record blind. Listening back, it's got some nonsense on it, like all his records. It's not some perfect artefact, there's something very instinctive about it. I love the track 'Paintwork'. As soon as I heard the track I assumed it was autobiographical, it's about the way he messes the music up. I can imagine the musicians saying, 'It's Mark, messing up the paintwork', but what they don't get is that that's the beauty of it, that he is messing up the paintwork, and the track in itself is strangely autobiographical because suddenly someone presses a tape recorder in the middle. He was always a huge, huge influence for me, growing up and then in Suede. You can't actually hear it in Suede, but we were massive fans, Justine and I especially, we were obsessed. When Matt, Justine or I were just mucking around we wrote the song 'Implement Yeah!', which was a sort of comedy song about him. Then there was the Fall song 'Glam-Racket', which the NME or someone said was about us. Who knows what anyone's songs are about, let alone Mark E. Smith songs? I think it was a timing thing: it came out in 1993, and people just assumed it was a criticism of Suede. Mark E. Smith's too smart to write a criticism of anyone, apart from people he's been in a band with. A great artist utterly defines their own genre, and that's what Mark E. Smith's done. He's got a patent on that sound."

"Aretha is another phenomenon. The thing I love, now that we have YouTube, is watching the divas talk about one another. There seems to be this real respect for one another, and a real hierarchy! Every diva knew that Aretha was the queen, and she would give her blessing to the others. I love that there was this order! ""Aretha – she’s amazing – with her roots in gospel music. That was such a big influence to me. I loved listening to her gospel album, and you can really see where the freedom that you hear in her pop songs comes from. They’re riffing and she’s letting the Spirit take over her, and she’s so good at playing piano that it translates into the keys as well, similar to how it did with Nina. There are lots of different versions of “Amazing Grace” out there, but I really felt like the lyric had this new gravitas once I’d heard her sing it. ""Recently I went to see the movie Amazing Grace, about the recording of her gospel album. To actually see footage of her giving that performance was pretty mind-blowing. She’s just in the moment; sweating from the energy she’s giving the crowd, and the choir! It was a beautiful moment to watch, and Aretha will forever be a massive influence in everything that I do. ""My Dad is Zambian, and when I go and visit, my aunties and my Grandma and cousins often sing together. The harmonies and the ensemble gives me the same feeling as when I hear gospel music. If you’re ignoring or suppressing emotions, this music and these sounds will just pull everything up and give you this incredible cleansing. ""There’s something about gospel music. When I was younger and listening to the divas, I hadn’t really heard much gospel music. My Dad played me a Kirk Franklin album, and for me initially, it was just the crunch of the chords that the choir was singing and this mass of people singing so perfectly in such unusual harmonies, and then on top of that, these are people singing with belief they’re singing to God. ""When I step inside a church, I feel different. I think it’s just the energy and the intention that people are singing with and have come together in. Whatever faith you have, I think that makes a world of difference. Gospel music is just such a special, higher form of music for me, and it can really make me so emotional. It’s such a great thing that, regardless of your beliefs, we can still come together through music and vibrations of love."

"I love her words, I love her guitar playing and the tunings, and it’s just constant inspiration for me, especially in that very, very personal ‘writing about your own life as subject matter’ stuff. She’s the queen of it in a way. I’ve been talking a lot about that first record that some people call Song To A Seagull and the songs are beautiful on it, but it’s also got this great over-riding concept, there’s a side about the country and a side about the city. You could say Joni is this folk singer but at the beginning she had this whole conceptual side and her early records are very conceptual. Ladies of the Canyon I’ve just started listening to again recently. I feel like besides Blue it’s just one of those ones that’s so classic and overheard you just stop listening to it because you’ve heard it so many times. I listened to it again and realised it’s also this concept album about this place she lived at the time and it’s got all these great, heavy songs on it including ‘Circle Game’ and ‘Woodstock’ and its an amazing record. It defines this Topanga Canyon era as much as Neil Young’s After The Gold Rush does – it was one of those places in time like Athens, Georgia when REM was starting or Seattle when Mudhoney and Nirvana were coming up, it was a really special place with a really tight knit musical community and a lot of people sharing ideas and songs and lovers, whatever it was, and I think that record really defines it in such an amazing way. I’m kind of obsessed with this song on that record called ‘Conversation’ which is about a secret love affair. The way she tells her stories are so amazing, and on that record the guitar playing is exquisite and the way she uses these women’s’ choruses behind her sounds almost like it could be off a Meredith Monk record or something like that, so I’m always bouncing around her early records. Everybody always picks Blue as the classic and I fucking love that record so much, but I really love all of those early records, up through Court & Spark she could do no wrong. You could almost pick any one of them, and I felt like I’d been neglecting Ladies of the Canyon recently so it’s been on a lot in the last week or so. Every time I hear it I feel like it tells me new things about my life as well."

"I was only about 13 when I heard it and it was another one that I played a lot in my bedroom. There was a trilogy of females, which was Joni Mitchell's Blue, Kate Bush's Hounds Of Love and Bjork's Debut that I discovered when I was 12 and obviously had a huge impact on me. But Joni Mitchell, for me, her voice is like an instrument, the same as Bjork's - I just loved hearing a woman's voice that sounded so free and was doing weird things to my brain, pulling it around. How do you even talk about something like this? You just end up saying a load of cliches! There's songs like 'River' and 'Blue' and I didn't know anything really as a 13-year-old about California and Laurel Canyon and the psychedelic 60s and what had happened to everybody, the disenchantment they maybe felt later on. I didn't really understand the background of that, yet there was this woman coming out of my speaker, her feminine energy and her freedom, her expression, her unapologetic rawness, again, and the beauty and competence, and weird tunings, it all completely made sense to me. It all sounded like this amazing place that smelt like pine trees and had golden, yellow sunshine and long hair and tapestries and curtains and cats and guitars. I thought: "What is this place that this woman is talking about?" Actually it's just this universe inside of her, she's like this amazing building full of beautiful things, so complex and so deep and intellectual. I just think she's fully competent on so many levels! I was listening to Carole King, Tapestry, at the time, and that's another beautiful record, but Joni Mitchell's is just emotionally more complex. It was meandering and had movements and parts to it and her voice would soar. There's that bit where she's saying, "hell's the hippest way to go, I don't think so but I'm going to take a look around it": there's that onset of disenchantment, where she's sick of this bullshit, and Joni Mitchell's so good at seeing through the bullshit - it's not this throwaway, idealistic, hippy kind of thing, she's always burrowing a little bit under the surface. As a young girl, hearing women talk about travelling, going on an aeroplane, missing California, being in Paris, seeing some guy playing guitar and writing a love note on a napkin to her. It's like good life experience, listening to that through someone else."