"I'd gotten into The Gentle Good after hearing his previous record, which was called Tethered For The Storm, which was lent to me by one of my neighbours back in Cardiff. That's how I switched onto him. I still love the accidental way you sometimes just get into music. He made this record when he took a trip to China because he'd become obsessed with the story of a Chinese poet called Li Bai. So Y Bardd Anfarwol is the immortal poet, basically; he has that west Walian edge to his music. He is a folk musician, even if I don't know if he'd like to be described as such, and this album has lots of Chinese musicians on it and it really is dealing with the myth and reality of this poet, and when he becomes a hermit. There's songs on there which are absolutely lovely. I like it when someone buys into a record; they jump into it, and they travel to another country, and they think: "I have to do this. I have to follow the path of this record." I'm not a great lover of world music - I'm not a great authority on it - but this was sometimes I could buy into; it was a smash-up which was enchanting. I love the fact he went from The Gathering Storm to this; it was a lovely seamless step that he made, and it's that kind of thing where I'm so entranced with this album, and it is a record that relaxes me, which is rare for me. I'm intrigued to see where he goes next, and that's lovely - it's the feeling you had when you're 15, and you go out and buy a third album from an artist and as soon as you finish digesting it you think, "God, I wonder what they're gonna do next." I kind of have that feeling with this guy."

"I've been listening a lot to that record lately. My desire to be a musician started with my love with his band. My first exposure to him was probably Caribou, because my friends had it. My dad got me Elton John's Greatest Hits, then I think I discovered Goodbye Yellow Brick Road, Madman Across the Water, Captain Fantastic... And later on, I started to dig back, that's when I really got into Tumbleweed Connection. It's got a real kind of Americana into it. I think, it’s my impression, that Elton has a kind of a love affair with America. Maybe some kind of country music elements in that, as well as pop and rock & roll. And it just has a southern feel to me. ‘Country Comfort’ and ‘Amoreena’ are two of my favourite songs in that record, they're just so fucking well done. I'd met Elton a handful of times and he's always been a very knowledgeable guy, very interested in the band. He's asking you about certain tracks, and this and that like he's actually listening to our stuff, the kind of shit an assistant's not telling him before he walks in. I kind of learned this around the time he ended up recording for our song [‘Black Gives Way To Blue’]. He's a big fan of Alice In Chains. He keeps up on what comes out in all sorts of music as a fan himself, very fucking knowledgeable. You know, to ask a guy who's your number one musical inspiration to play in one of your songs... that means the world to you. We never expected him to say yes, but you don't know unless you ask. So I wrote him a little e-mail, explaining the significance of that song, especially through what we were moving out of, that we wanted to honour Layne, that we wrote that song as a making peace and saying ""goodbye my best friend"", and moving on with the band, to live a new chapter of the same book. That itself was huge, and then for Elton to listen to that song, and get that, like: ""I wanna be a part of that, I think it's a beautiful song. The emotion is very genuine, and I want to play piano on it."" Pretty mind-bungling stuff. One of the coolest things that has ever happened to me and to the band."

"This is Emmanuel Mario, who I met in Toulouse thanks to Julien Gasc. Julien also does his own great records and is part of Aquaserge. I could have put Aquaserge in the list, because they would totally fall into this category of people who've been working very hard for many years and who eventually make a masterpiece. But they're all part of a group of people in Toulouse who I finally met. I say finally, because I left France absolutely appalled that I couldn't meet anyone that could mirror my taste and my desire to make music. So I immigrated to this country, for the music, and of course I had met Tim, so it made a lot of sense. In France it was impossible. But anyway in 2003 or 4 I came across this group of people who were all incredibly talented and sexy and good-looking and had no big egos, and with no shame about what they were doing, exposing their vision. There were a lot of complexes in the French music scene which got better later on, but to me these people were like, wow, I've found my brothers and sisters, it was absolutely wonderful. So Emmanuel became a long-time collaborator and he's very good at working with other people, but there was also a desire to do his own stuff. He was kind of doing it before he started working on this project, but then I guess he found his focus and made this incredible piece of work. From one track to another you're transported to very different countries, but it's also very familiar to Emmanuel, and I find that to be a real strength: to have such a variety of different styles, but still be familiar and to have some similarity. He reaches really far out to find certain tracks and to bring them back to a whole. I think it's a brilliant album musically and also for its variety. It also tells a story, about the Kerguelen Islands, which were discovered by this French captain. He was sent to go and find new islands and new places to conquer, and I think he was trying to conquer these islands but they're not conquerable. There's too much wind and it's too hostile. But he said that they were worth conquering; he lied about those islands and was treated like a hero, but eventually the truth came out."