"More so than any of her records, again, I just find it one after another songs that just particularly move me... I'm very moved by the song 'The Man with the Child in his Eyes' - I love that song. So, it's funny, it's a lot about having children and at the time I first heard it, I had no idea that I'd ever have children. I always loved her - she seemed like a kind of punk rock folk singer to me, with that punk rock attitude, and that extraordinary voice and such beautiful songwriting and very diverse musicianship. This record for me is something that, in my teenage years, I was just engrossed in. I can't really take myself back there and say why, what started that. It was very much part of my teenage years, but it's also very much part of my life now - fuck, this is so hard! 'The Man with the Child in his Eyes', 'L'Amour Looks Something Like You', 'Them Heavy People' - all of them, 'Moving'... often it's the way the songs start, as much as anything. It's a bit like Blue; as soon as they start, you know something amazing's coming, and then her voice kicks in and it's just like heaven. Ah, it's just heavenly!"

"Someone made me a mixtape once of a lot of amazing folk and soul and jazz, kind of legendary songs, quite rare, and it had a lot of Pentangle and Fairport Convention and it had 'Compared To What' on it. And I went seeking 'Compared To What' because I thought ""what is that song?"", and that's what inspired the song 'Central Reservation'. It's just an amazing record. Come the last six years, I was just like, ""you know what, the sound of the next record is this record"". One of the reasons is that I love the fact that the drums and bass are ever-present and yet, at the same time, they're almost not there. I can't explain it; it's like all of the elements of the record are perfectly heard but each sound has so much space around it. It's got the most extraordinary rhythm, emotion and beautiful songs. When I started speaking to Tucker Martine [Sugaring Season producer], who produced the album, I said ""okay, here's a blueprint for a sound I love and a record that I love"", and that was it. We weren't being analytical; it gave us a starting place, and from there it grew out. It's just filtered through in different ways."

"People who know my albums from ten years ago will have heard me trying to rip off Silver Apples. I think it was Kieran Hebden [Four Tet] who introduced me to their music. It's so remarkable - it doesn't sound like anything else that was happening at the time. This record was made before Can started recording - it was actually a toss-up between this or something from Can or NEU!, or something along these lines. If this record came out today people would still be flipping out over it. It still sounds like the sound of tomorrow to me, but it has those amazing folk melodies over the top of it. I guess most of my favourite music is both strange and familiar at the same time, and has some kind of melodic content you can hum along to and gets stuck in your head. The production and the musical ideas around it are totally otherworldly on this record. We booked Simeon for the ATP shows we curated a few years back, but I've never really read any interviews with him to try and find out how this happened - how they made a record that sounded like this in 1968. It didn't sound like anything else."

"A great, great movie that was unjustly robbed of a lot of the recognition it would have gotten, but it came out in the year of amazing other movies, you know, like Apocalypse Now and a lot of other great stuff. To this date it is the most accurate portrayal of theater folk and what it’s like to produce and be part of theater. As a theater geek all my life, I was hoping that Smash would be like that, and boy it’s not. All That Jazz nailed it, just in terms of the reality of it. But again, it would go off into those fantasies that still totally worked, and worked as incredible dance numbers, but you know, were clearly fantasy numbers inside one of the most realistic portrayals of that subculture that had never been put on screen. It’s f—ing perfect. It’s just f—ing perfect. It’s great because it’s funny, it’s cynical about the theater but also clearly loves the subject matter. You know, I grew up backstage — my parents were actors — and it just captures that world absolutely incredibly accurately. Plus, it’s just a really ballsy, artistic movie from Bob Fosse in that it incorporates a lot of strange stuff, but all of it works."

"Whenever I listen to this I find myself quite overwhelmed by it. There was an interest in the '70s in that Bulgarian folk singing, the kind of singing where they sing in 2nds. One of the harmonies they use a lot is a 2nd, which is a very unusual interval, and I remember that being around and there being a great album called Le Mystère Des Voix Bulgares, which is an amazing record, so I think I was aware that that part of the world had interesting music. I don't really remember how I got this one other than I bought it in France. The softness of the male voices is like softly blown flutes. If you grow up in England with the disgusting operatic tradition we have, where the men's voices have to be so manly, it makes you violently ill [laughs]. Hearing the softness of this was so touching to me. There's one section in one of these tracks that is too amazing, where the voices that are all woven together gradually separate out so that all the voices above a certain register keep on going higher and higher and the ones below keep going lower. It ends with this incredible chasm between the voices that is just startling."