"One of my favourite contemporary new music pieces to come out in the past couple of years. She's been composing music for 20 years. This album came out last year so I've been sitting with it, going back to it this year as well. But what strikes me is how patient the music is; it develops very slowly. The ideas are really exciting. So when she marinates on a single idea for a while, it doesn't feel boring. The idea is so strong, you just want to hear it fold over on itself over and over again. And the marriage between the acoustic and the electronic in that piece is really seamless – the recording is so good too. She studied with Kaija Saariaho – another huge Finnish composer. I hear her maybe taking some elements of her way of working, although simplifying it, maybe drawing it out more. That might oversimplify what is going on here, because Ratkje does a vast amount of different kinds of music. But it was yet another element – you can hear that lineage within her work."

"I found out in my thirties that Barbara Kopple’s effort is considered one of the greatest documentaries ever made. At the time of its release, I only knew that she had all but recorded my own life as a union organizer—the cold breaking dawn of the picket line each morning, sniper shots fired by company thugs, all completely unseen by the mainstream media. I was in Detroit, Compton, Louisville—she was in Harlan. We both lived on scraps. I slept with a shotgun at my side, sang our strike songs until my voice was raw. The ’70s were the last great militant era of American labor, but back then, we were just amazed to be able to fight one more day. Kopple’s characters were my comrades across the hollow, so to speak—and these Brookside women weren’t beauty pageant winners, either. They were the toughest leaders I’ve ever known. The most charismatic feminist icon of those years for me wasn’t Gloria Steinem—it was Lois Scott, a Brookside strike leader, drawing out a .38 from under her blouse, concealed in her bra."