"There are very few bands that I have more than two or three records by, and with Eno in particular I think everything that Brian Eno does best is on this record. I've tried to listen to other Eno records but I still get more from this one than from any of the others. There's just something about it. It's got this wonderful ramshackle element to it, but at the same time it's really experimental, and everything he does best is there. I remember listening to The Unforgettable Fire and the bits I listened to most were the bits that were obviously Eno overdubs or reflected his attitude coming through. And on that same tip it's already on Here Come The Warm Jets. Plus it's got some brilliant musicians playing on it. There's that classic guitar solo by Robert Fripp on 'Baby's On Fire'. Everybody stops talking when those 32 bars happen, or however long it is. And it moves from mood to mood. Every song on it has an atmosphere. 'Cindy Tells Me' is kind of flippant. You can imagine him writing that on a Sunday morning with a hangover, waking up in a stranger's apartment that happens to have a piano. Maybe he was thinking that Roxy was commercially successful - I wonder if I can be as well. And at the time he wasn't, of course: it was just, oh god, here's a weirdo record from that bloke that used to be in Roxy Music. But I think there are a lot of great pop tunes on there as well as it opening the door for a lot of experimentation."

"The thing about The Beatles, whether or not you think they’re good, as an introduction into like pop music, experimental music and avant garde music, it’s literally like every album is one of those text books you had at school, Beatles 1, then Beatles 2, then you’re ready to more on to Beatles 3. There’s some of their records that with hindsight weren’t particularly interesting, but The White Album is kind of mad. Often you remember it as better than it is, but as a product of what’s possible in terms of releasing music as a hugely popular band, what you can do if you want to do it, I think it’s a really brilliant thing. Without them having done that, someone else would have had to make that idea a reality for the world of music. And it’s got some really good tracks on it! I do think it’s becoming more and more acceptable to dislike the Beatles and that’s what I’m saying – you can totally not like them, but you’ll struggle to find another band that will teach you about music in such a beautiful way. The curious thing about The Beatles, speaking as a musician, is that everything you thought was magic, isn’t magic. They had press and radio people, people to create this event when they arrived in America, it wasn’t this spontaneous thing. I remember watching the Beatles anthology when it came out and finding it incredible, then I watched it recently and it feels really horrible. And you know that they themselves weren’t necessarily nice people, I feel duped!"

"I heard them when I was touring with Bikini Kill and had started hanging out in New York. They're from the Bronx and I was learning about the sampling of their song 'Moody', one of the most sampled songs to date. With them it's again the sound that made me go, "Wow!" The production was really interesting, that you could make this very sparse dance music; it's just a bassline and drums. I can't really remember who introduced me to ESG, probably my boyfriend at the time. It might also have been Adam Horovitz from the Beastie Boys who now I'm married to. Or maybe Tobi Vail gave me a tape before that. I saw their reunion show in NY, it was one of their first reunion shows, and two of their daughters were on stage. Then we got to tour with them. We were really nervous around them. I love how the singer's voice can sound so sweet and angry at the same time, like, "I'm just a regular woman, a regular gal." I always wanted to be just a woman in band; I just didn't know I was going to have to work so hard to make it okay for me to be that. Now in my 40s I finally don't have to make every single song about, "Go women go!" For me, one of the biggest achievements of my life has been having this experimental band from 2005 telling me, "Oh we just felt we didn't have to sing about feminism because you already did that." They just got to sing about whatever they wanted and try these really interesting melodic and dissonant things."