"I think it's because when I was 12 I had Debut and I really liked that because I was just dancing around singing and enjoying it, quite an innocent record that had some beautiful moments. But really for me Post is an album I heard that was unlike any other at the time which was combining electronic and organic elements and I just really enjoyed delving into that sonic universe that she created, it's so experimental and forward-thinking and unique to her, but it perfectly fit into that time and landscape. I think it's really timeless. I think she has become a certain thing now but on those first four or five albums, for me, she was such a pioneer and so fiercely dedicated to her art and so unique and so closely linked to themes of nature and passion and love and the body and raw childlike feelings, and using all these really exciting instruments and sounds to put across her pop songs. 'Army Of Me' was the first single that came out - [sings intro] - POW! Clanging, massive drums and Michel Gondry was making the videos and I think the album just sonically draws in so many amazing, London early to mid nineties influences. But then having songs like 'Cover Me'. I remember hearing an alternately recorded version of 'Cover Me' which she actually did in a bat cave! You can hear the bats squealing and flitting about, so there's all these kind of sub-bass, deep 808 beat noises that I got really excited about, but she's got like bloody harpsichords and harps and stuff like really archaic chamber music sounds mixed with really heavily electronic digital sounds. So that was a real education, combining those things, because for me, if it's too much of one or the other I miss them a bit. Even on Berlin there's a lot of real instruments but there's synths and stuff going on too - I love it when people combine those things. Also, the eclecticness of the record: she's not afraid to travel from songs like 'I Miss You' which is that type of fanfare to 'Army Of Me' which is dark and techno and 'Hyperballad', which is like fucking four-to-the-floor, but just with all these strings it's super-emotive, a Technicolor dream."

"Trevor Nelson had a show on Radio 1 called Rhythm Nation, and every Thursday night he would play all this music that would literally become my musical education. Again, it helped me understand myself on a new level. I got introduced to the neo-soul era through him; a lot of the Philadelphia artists like Jill Scott, Musiq Soulchild, and D’Angelo. ""I just love D’Angelo. He’s a musical genius. His gentleness was something that really stood out to me, as did Lauryn Hill’s. It was a real subtlety to what he was doing – very considered in where the notes went, and what word was used. At the same time, it was then like a jam! He really nailed this sweet spot in between virtuoso and jamming. ""When I was in Glasgow, my first ever record deal was signed to this guy called Souljawn. He was a massive soul fan, and he said ‘Oh, I found this snippet online of D’Angelo’s new album!’ It was literally a two-minute, really scratchy clip of him singing this song, 'Real Love'. We’d all wondered where he’d gone, ‘cause it had been six years in between albums! We were up there in Glasgow obsessing over this two-minute clip, playing it over and over and over again! Like with 'My Love is Your Love' there was this want and need for music, and real appreciation of when it’s going to come. The willingness to wait for it – it had been six years and we were willing to wait another six ‘cause we just appreciated his genius so much! ""When his most recent album finally came out, the song was there, fully finished. It was so rewarding and satisfying to hear it all finished. To finally hear it now, and still love it… only D’Angelo! He’s incredible. ""I saw him at the Roundhouse recently and he really blew me away. He inspires me to learn more instruments, and to also just relax in music and allow more of an artistic spirit to come through – to not try and control things too much. It was really cool how he went offstage: each musician would slowly walk off and then he was left there, on his Rhodes piano. Playing piano is one thing, but playing a Wurlitzer or a Rhodes is a different, softer approach. He’s really inspired me to look into more of that jazz-soul realm on that instrument."