"I got it and I burned it and listened to it on the plane a lot. That one, for her, it goes back to trying to play more old-style jazz and she's playing incredible piano on it and the drummer's incredible. It's just a sick record. When you listen to an incredible jazz record, it's just undeniable, nobody else can touch it, no white dude - and if they can, it's too schooled. That's why I like that one - I can reference the later, freer ones, but I listen to a lot of older records. There's obviously Love Supreme, but that's obviously a transitional record from [John Coltrane's] earlier ones, Soul Train and Giant Steps. This is more advanced than that: they're definitely alluding to older jazz and taking it to another place, but they never go too apeshit, they never start squealing, but that's a special record."

"I think this song is an early example of me hearing something and realising that a song doesn't just have to be guitar and bass and drums - a song can just be whatever you want to make it. I actually first discovered Suicide through Bruce Springsteen; he spoke about how much they had been a big influence on his record Nebraska. The song ‘State Trooper ’is very similar to it and he said in an interview that he was trying to do what Suicide does. This was a reference because of its sonic palette. In the back half of my song ‘Savannah’ there's this spoken word moment that happens in this underlying low bass tone that I'm talking over and it was definitely influenced by this song. It has a tremolo on it and the song’s shaking in this way that ‘Ghost Rider’ does."