"I found out about the Cardiacs and discovered A Little Man And A House And The Whole World Window and On Land And In The Sea simultaneously. They’re very hard to find now, the CDs are going for upwards of 60 or 70 quid on eBay. It’s progressive music, but done in a really mental way. It sounds like one guy’s mind being acted out by some willing and accomplished musicians. It’s really insane. There are loads of tempo changes. I think Tim Smith’s voice sounds a little like Robert Smith, but in a much more manic way. I think that’s what really speaks to me [laughs]. It’s almost like what progressive rock is made for. You expect progressive rock to be manic. The production sounds a little bit more like a real band on On Land And In The Sea, but on A Little Man And A House And The Whole World Window there’s a song on it called ‘R.E.S.’ which is just seven minutes of strange music. It’s like 60s easy listening music but it’s still definitely prog. I was criticised once actually. We did a trip into the rain forest in Costa Rica last year and I DJed it, and afterwards everyone was like, “yeah that was great… maybe too much Cardiacs though.” It’s a floor filler, but a floor emptier as well – and it’s hard to know where the threshold is! On those albums there are a lot of people called Smith, and I’m not sure whether they’re brothers or cousins or aunties or whatever, but there’s a saxophonist, bassist, guitarist, keys, and it’s all very symphonic. More symphonic than you’d expect."

"Fuck, I was so excited when I heard this song. I was staying up late one night - I can’t remember what radio show I was listening to, it was a radio that would play new songs - and I taped it off the radio. It was just so fucking cool, [sings “Dy-Na-Mi-Tee”]. I think that was the first song I heard where I thought ‘I could write a song.’ “After that I did my first ever performance in public. I’d done a school performance before that, but I did a performance with a garage MC who asked me to sing and I was ‘Lady K’ [laughs]. I sang in Croydon at a pub or something and I was doing the garage thing for a bit. That was the biggest music scene at that time in the UK, pirate radio was bigger than normal radio. I would go clubbing in Watford, I would grind in the clubs and I would get CDs from the DJs there who would have all new stuff. “That sort of reminds me of punk in a way, it was just kids in their bedrooms and they were running the clubs. I felt Ms. Dynamite did something really meaningful and she felt like a political artist to me. I don’t think I knew that at the time, but I think that’s why I was drawn in by her. I was looking at lyrics in a different way then too, thinking about the world a lot and wanting to help the world, maybe being political and not realising it. I wanted to write about the fucked up shit in the world."

"I think my husband was friends with or had worked with her or something and then I downloaded the record on iTunes. It might have been the first time I downloaded anything on iTunes. I was like, "Woah, she's fucking killer." I think it's cool how she wears her influences on her sleeve the way LCD Soundsystem does. Why is it that when women are open about their influences people are like, "Oh, you're copying that person", but when men do it it just shows that they have such a good record collection and how awesome they are? I thought, "She's so cool, she doesn't give a shit." Her sound is amazing and her voice is so good. She just put out a new record that's great called 99¢ but I chose Santogold for this because that record has the song 'Creator' that is really important to me. When I would get down in the dumps, I'd put it on and it made me feel like a million bucks. She was my inspiration. That song was the song that got me through really bad times of feeling very unconfident as a singer and as a performer after I'd had four or five years off, and thinking, "Will I ever be able to come back to it?" and, "Looking back at what I've done, did any of it mean anything?" I was listening to 'Creator' and she feels so confident about the fact that she's an important artist in that song. It was very inspirational and made me feel, "I'm an important artist too!" Now I have to listen to her every time I'm cracking up."

"It was one of my cassettes but I think that this is my favourite Beatles record. When I was really young my older brother were really into them. There was a very small selection of records in the house so we just listened to those records over and over again. Two of them were The Wall and Dark Side Of The Moon, one of my brothers was big Pink Floyd fan. Another was Dire Straits, Brothers In Arms, and Don McLean's American Pie, and the White Album, which led me to other Beatles stuff. But I love Abbey Road because it's so clearly an album, in that there's clearly a first song and a last song and all the songs in the middle are in an order. You couldn't listen to Abbey Road on shuffle and I like that. I think we've lost a lot of that these days. Things end up just being these singles and no one really buys albums anymore. Albums just aren't constructed that way as much anymore; the whole, the complete package, a narrative, an arc. The first copy I got had somehow been fucked up in the manufacturing process or something because side B was on side A. I remember the first time I listened to it I was listening to it out of order and it sounded weird to me, it felt weird. Then when I realised that it was backwards I listened to it again in the correct order and I was like, "oh, I get it". I also feel like the songs on that record, save for 'Octopus's Garden', also have some darkness about them, which I really like."