"I got this in sixth grade. First of all, the artwork, with those two mannequins sitting at a table, was so weird. That by itself puts it into a class of its own, because most of the other records in my collection just had pictures of pop stars. The songwriting was so beautiful and so simple and so strong, but I was also really compelled by Alison Moyet's voice. Still to this day, I generally don't like chick singers – their high squeaky voices irritate me! But Alison Moyet, sort of like Laurie Anderson, had this really beautiful, growly, rough, bluesy, believable voice. When she sang, I just bought every second of it. I believed her. And the tracks are catchy as all get out. 'In My Room' is one of my favourite songs of all time – the band and I are working on a cover of it. I'm tracing back the genealogy of my new record, and it's in those early Yazoo records, along with Soft Cell and The Cars... what they were able to do with a couple of synthesisers and really simple chord changes, great melodies and believable delivery."

"I just think that it's a perfect record. The cover is exquisite; it's still one of the most iconic record covers of all time, so beautiful, mysterious and alluring. Every song on that record is great; it's a brilliant record. 

 That sort of worn-out sound of her voice felt very different to me than a lot of the female voices that you hear, even to this day. She's got this very distinct gravelly, worn-out, fucked-up voice that sounds like she's done it all and of course, she has.

 I just think she's a really interesting artist and she continues to take risks and never does the obvious which is something I've always loved about her. 'Why'd Ya Do It' is still one of my all-time favourite songs and it thrills me – this sort of vengeful, raging expression of total disappointment in somebody. I just really identify with that song for some reason. Her version of 'Working Class Hero' is gorgeous as is 'The Ballad of Lucy Jordan' – both are just amazing songs. 

 She's not been born with the greatest of voices and in this climate where everybody's a stage-schooled kid and everybody can sign multiple octaves – they've not actually got any soul in their heart – she's all soul and all desire to communicate through this fucked up voice that's full of frailty. I just think she's so exciting as a result. 

 She was born so beautiful that she could've easily cultivated a very sort of alluring, very traditionally feminine voice and yet she didn't: I'm so grateful to her for that. There's a lot of androgyny that comes out in her sound, which I really identify with."