"I first started listening to The Slits when I was about 8, with my friend Antonia, and we stole all her brother's Slits records and used to dance around the room pretending we were the Slits. I just picked this because I'm sure it was a huge part of my life. If I could have been any kind of singer, I would have been a punk - I thought I was a little punk growing up! I wanted to be in The Slits, I wanted to be that kind of a woman, but I grew up to be a folk singer, and that's alright too - I like that. It's just the attitude - I hear The Slits and I'm immediately back in that time. It was a one-off period, it was an exciting time and they kind of encapsulated a sense of anarchic joy. The songs are fucking fantastic as well. There's that ska element, punk, reggae and they're British and they're fantastic. I don't know if there's ever been anyone like them since."

"I was 60 in 2014, and we had moved to Brighton. It was the first move that was about lifestyle more than anything else. London has changed quite a lot. Everything interesting that’s happening is happening in the East. Even the central part of the city is dead now. It’s a danger period. I don’t know what effect Brexit is going to have—probably not a good one, because it’s unaffordable now. It’s problematic for the culture of the city and the country. That’s part of how we ended up in Brighton and got to know the Go! Team guitarist Sam Dook, who’s also based there. Cuz is a project from Sam and Mike Watt; Mike sent a bunch of basslines to Sam and then he worked out pieces using the basslines. It’s quite far from something that Mike would develop by himself, it’s more Sam’s world. It’s a really fascinating record, especially the song “Houdini.” Sam is someone that Malka and I play with now. We haven’t done much together yet but we are friends and we are developing something."

"‘The Last Splash’ and Pod are great, but Kim Deal is so consistent. There is no problematic or lesser period of her work. Mountain Battles, All Nerve and Pacer are all detailed and precise works, as is ‘Title TK’. Kim has such an unlikely musical thought-path when laying out chord progressions. They never go where you expect, but neither do they sound like the obtuse compositions by songwriter’s songwriters or the wilfully madcap. You just spend a while and settle into Kim’s way of hearing things and then everything is as it should be. I love hearing Deal talk about how she makes and plays music. She has got such straightforward and set ideas, which could fool you into thinking she has a simplistic approach, but it's all about focus. She just knows how to make Breeders’ records. Everything is so intentional. There is one synthesiser note on this record, only one, but it’s there for a reason. Kim Deal has been in no other band of note."