"This would be from when I did 'Sisters Of Mercy' for the film Leonard Cohen: I'm Your Man. I was so happy to be given that song. I love Leonard Cohen; I've always loved him, grew up around that music. He is the most extraordinary lyricist, but he, as well, creates such a mood with his music. It's like nothing else. He belongs in my life as a writer and as a singer. I suppose this record, again, it's actually quite similar to Joni Mitchell; not brilliantly imaginative on my part to begin with, but just every single song is a classic. I've read bits and pieces of his poetry and he's an extraordinary poet. It's poignant, and there's humour, coupled with the pathos. He's a poet, he's an extraordinary writer and singer and beautiful man, and, what can I say? Is that enough?"

"Roberta Flack speaks to me in that same way that Melanie speaks to me. She's such a beautiful songwriter and composer and pianist and I don't think she gets enough credit either. She's such a beautiful songwriter and she's, to me, up there with Joni Mitchell. She covers 'Hey, That's No Way To Say Goodbye' by Leonard Cohen so beautifully. And that piano part, I think it's a minor key, it's a small part that's been sampled by Lil' Kim and I think Notorious BIG. It's so subtle and I don't think you would notice it unless you loved that record. It's so good. It's also so curated perfectly from start to end. I am no spring chicken and making the new album, it was my first record where the Spotify playlist was what mattered the most, and it's really difficult because that beauty in curating the song-list and what comes where, really thinking about it, and the titles of the tracks, that mood, is gone. It's all gone. No one cares about albums anymore. The labels want you to put the songs that they've chosen to be singles first and before you would never put the single first. Ever. First Take is very visual. I can see it in my head."

"She’s a later discovery, a totally obscure person. I was reading about her just to prepare for this, because I’ve been listening to this record for ages, and on Wikipedia it said that somebody gave a copy to J Mascis and he gave it to someone to release it. I didn’t realise that at all, that he brought it to some record label’s attention, but that’s a record that I’ve been listening to a long time, it’s a really beautiful record I think. I have chosen Songs of Love & Hate by Leonard Cohen and Ladies of the Canyon by Joni Mitchell but this record is right in that same period of beautiful singer/songwriter records. They’re not band records, they’re personal records, they’re kind of like somebody’s journal or notebook. Those records always felt like a window opening into somebody’s life where you kind of spent an hour or forty five minutes of someone telling you about their life and the different things they see and the different ways they look at the world and if it resonated with you it became this… I just thought that Sibylle Baier was in the same canon as all those albums from that period that made an impression on me. Like early Dylan or a Nick Drake record or something. Colour Green is just as powerful for me."

"I'm a fan of the album as a concept, but I'm in an album band that never discussed doing anything else and I never sit down and listen to one side on an LP, you know? I'll listen to both sides and that was with me from the beginning. She locked herself away in a cabin with no electricity to make that record. Just her own company and you hear the heartbreak start and end on that record. Genuinely, you know. She really had her heart ripped out and stomped on, and it's so full of love and yearning and adoration and then bitterness and recrimination. And again, it's just a resonant, beautiful thing and it captures a moment in time. And you know, everything from what I consider to be Joni's only swear in a song, she says in the song: 'Woman Of Heart And Mind': ""Drive your bargains/ Push your papers/ Win your medals/ Fuck your strangers/ Don't it leave you on the empty side?"" Can you imagine having that levelled at you? Like a machine gun of character assassination, but she says in the same song, ""You know the times you impress me most/ Are the times when you don't try/ When you don't even try"". It's great – songs, quite often, especially if it's lyric-heavy music, if it relies on the narrative, as Joni's stuff does, the stuff that deals earnestly and honestly with the grey areas, is what knocks me into next week. Bob Dylan and Leonard Cohen and Joni Mitchell, but of the three she is the best."