"This was also quite a challenging record for me. I bought the 7"" of 'Ceremony' when it came out, and I thought that's what Movement was going to sound like. A very pretty, emotional, bucolic record, and of course it has moments like that, but in a strange way it's almost darker than Closer. When I was 14 or 15-years-old I was full ensconced on the cult of Ian Curtis, so when I got Movement I listened to it and tried to decode it... how many songs were influenced by Ian Curtis, how many songs were written by Ian Curtis, were they trying to communicate with Ian from beyond the grave. It's certainly the darkest of all the New Order records, and after this they became much more melodic and happy. The first track on the record is quite uplifting, then everything else is quite dark. One of the things I've always loved about Bernard Sumner's voice is there's a naive, vulnerable quality to it. I was at an airport the other day and 'A Perfect Kiss' came on, I hadn't listened to it in about 25 years, and it's such a perfect song. His vocals are sing-songy, like a nursery rhyme, but they're so effective. Each of these records that we've talked about, one thing they have in common is that they're all primarily electronic. At the time I was completely surrounded by very traditional rock music, and it felt interesting and subversive to be listening to these records primarily made with electronic instruments. I think that affected me a lot. I was a guitar player at the time, and I was so bored and frustrated with playing the guitar because it didn't do that much. I couldn't figure out how to make a guitar not sound like a guitar, and then you hear all these electronic records with all these textures and atmospheres and sounds that I'd never heard before, and I found that quite exciting."

"I listened to that record non-stop, it was a record that was in my house when I was really small and I knew the whole thing back and forward by the time I was six years old, as that's one of the many times we moved. I remember listening to the song 'So Far Away' in our station wagon as it pulled away from my neighbourhood and waving goodbye to my best friend. Throughout my life I've had a different favourite song on that record for a different reason and it sort of stayed with me. When I was a karaoke host, one of the first songs I did was 'I Feel The Earth Move'. I think her story is so interesting, too, of starting out as a songwriter and not feeling confident and then deciding to put out her own songs with her own voice. That was a really empowering story when I finally learnt it. I just thought she was this cool, powerful '70s woman with her curly hair and swirly skirts. I found her fascinating as a person as well, like a role model. She played piano, sang and wrote the songs, and everyone knew that, it was really implicit at the time, that it was her album. A lot of singers, male and female, were singing songs written by other people and Carole King had been writing songs for those people, then this album was like, "I'm writing it for myself." I didn't know she wrote 'Will You Love Me Tomorrow?' until I heard her sing it and her version was so different than the popular version that I'd heard and I was like, "Wow!" It was a great album in the vein of Thriller – every song on that record could be a hit. And it was like she made it; I knew a woman made it from start to finish and I knew I could write songs. It was something that everybody had that was very popular that actually still holds water and it's really good."

"This record was 1958 and it was already a 25-year retrospective so that means it spans from 1932/3 to 1958! It came to me at the same time as all this new wave stuff and I was really interested in all the stuff Cage was doing with prepared piano, and there’s a bunch of prepared piano on my new record. Between those pieces and orchestral works for multiple players where Cage was using people banging on metal break drums and stuff, it was really sounding like the gamelan music I was listening to at the same time and I just found it to be super inventive. John Cage was defining a new way of thinking about music in the 20th century and in a way his definition included all of noise and all of ambient sound and all of these things that became movements for us in the 20th century, like Eno’s whole discreet music and ambient thing; or noise music from extreme harsh Japanese noise to whatever we called Neubaten or what Sonic Youth were doing, if you called that noise music; or the Boredoms or Merzbow which is more extreme, there’s no singing, there’s no guitars, it’s just harsh noise – this music opened the door for all that stuff. It’s amazing music in it’s own right, and yet some of it also explores really low volume like super quiet aspects of music where background sounds and people coughing – well that’s part of what you’re hearing in the experience too. So I felt like that record is so important that it defined a gargantuan giant of the 20th Century, which is John Cage, but it defined all these different bits of music that even if people later didn’t realise their music stemmed from that, in some way it did. Everything from 60s onwards, no matter what you were doing outside of rock & roll there was some kind of influence from Cage there."

"[sings] "I got a crush on us!" He's like "vampires came and vampires went, I won't forget this magic feeling", just so geeky, fucking brilliant lyrics, full of cliches, but done in the most hilarious way: "not stupid stuff like your cousin wrote". What the fuck are you talking about? I remember at the time seeing American Splendor, which is this film about Robert Crumb and Harvey Pekar who's this comic book drawer in America, and I was listening to Jad Fair, and there's the whole [adopts nasal American accent] "nerd" thing that's a big part of my teenage music taste. The awkwardness of being in love and the geekiness of American culture. Terrible B-movies with Nicolas Cage, that was a big part of my university life, the trashiness and the shitness. I just really like how he talks about falling in love, the whole album's immersed in Halloween party punch, you're just at this geeky Halloween party he's talking about, and he's like "I love you more than soda pop", "you pop on my tongue and I'm so happy", loads of amazing American cultural references, that as an English kid, it's so cool. You get it. I like the hybrid of Teenage Fanclub and Jad Fair, because I couldn't say I was really into TF, but something happened, I just discovered that album and being in love with someone, my boyfriend at the time, we just loved that album because it's just so happy as well. It's innocent and happy and unashamedly geeky and loved-up. There's so many times you listen to that record and it makes you smile, and there's a lot of darkness and heaviness in my list, so I would recommend that album to anyone. First thing in the morning, summer in your car. It's got a real identity, that record, more than any other, it's a real thing in itself, you totally know what you're going to get and you totally love every moment."