"I think the production on this - who did she work with? But she used things like forks and - oh yes, it was Matthew Herbert! - and so when I first heard it I thought it was a bit mental, but it's really not mental once I had lived with it for a bit. A lot of it's really poppy and the last song is a ballad that's just heartbreaking. Talk about the radio not playing things, how could they not play this? Her style of singing really influenced mine on a track I did called 'Jealousy', and I'm basically trying to sing like her. When I listened back to the demo, I'd done a pretty good impression of Róisín Murphy! It's just her delivery, and she's really brave and I think that record was exactly the record I needed to hear. It wasn't necessarily what the record company wanted, and that's why I love it. It came out, and I don't know where it charted, but I would hear bits of it on TV over the next three years. And then five years after it came out, So You Think You Can Dance did a massive thing to it. And it warms my heart that music that is genuinely great does get to have a life beyond the chart and starts getting into the ether."

"It's a unique combination of what Zack de la Rocha is doing with his voice and what Tom Morello [guitarist] is doing. If you separate the two, you find yourself thinking: "Well, how could this possibly work?" But again they were game changers. They came along at a time in Los Angeles when there was nobody else doing that style. I don't think anyone has done anything like that successfully. They were a band that were immersed in different kinds of activism and that was something that definitely caught my attention. Who else was doing that? Who was doing that and selling millions of records? And, of course, by doing that they were able to cross over into different scenes and different generations of people that could listen to that type of music. Some of the stuff on here is still just as relevant today as it was when it was released. It's just the intensity of some of those messages for me as a singer. He performs with such conviction. You have got to believe what Zack is saying and he makes you understand what he's talking about. That's the heart of what Rage is all about. They're all behind exactly what he's saying. There's been a lot made in recent years of the idea that bands don't have anything to say anymore, or that they're ambivalent now, but I think everyone is saying something. Even Priest have made a comment in 'Crossfire', where we talk about religion and gun violence. I think a lot of the time these messages just slip under the radar for some people. Priest have never pushed back from making a comment on things that we see in the world or that affect us and think need to be commented on. So I think it's definitely out there. It's just that bands are now doing it a lot more subtly than Rage did."