"It may seem like a change of tack, but it’s not actually. This is his most processed album. This is what I’m a fan of John Martyn for and something I don’t think anyone else has ever done before. It’s that sort of processed acoustic guitar that features a lot on my solo record, where the guitars are so heavily processed. John did this brilliantly. I saw him tour this album – it was one of the first gigs I ever saw as a youngster. It was astonishing hearing him making these beautiful soundscapes on a battered old Martin guitar through a delay line and a fuzz box. Not only was he a master of the guitar, he was also a master of processed sound. He used the voice in the way, again, that was like a tone generator. The words were barely audible but they made tones, in the way that Miles Davis might play his horn. Sometimes he’d sing in a completely different key. It was all about where he positioned the sound and the timbre. I don’t think he ever released another record that explored the acoustic process in the way that he did here. I know people that worked with him and had his effects pedals – I tried to get hold of them for this project (Edgeland) but they were long gone. It was a reference point for me for this album. I wanted to take that concept on, and Inside Out was my jumping off point."