"This is almost Devendra's Exile On Main Street. There's gospel singers on the song 'Saved', there's a song called 'Shabop Shalom' which is a satirical bar mitzvah song that he performs like Elvis. It has an epic jaw-dropping song called 'Seahorse' which alternates between psychedelic parts and jazz parts, a fuzzy roving ballad called 'So Long, Old Bean'. There's so much on it and I love that. Devendra was my neighbour in Brooklyn many years ago, and it was cool watching him become a superhero version of himself. He had that kind of bravery before almost anyone I knew, to embody their personal expression in this world. Devendra is a next-level master at combining musical, visual, and poetic aesthetics. For me he is a personal hero, his work is a benchmark of how much of your brain you can get out there it. We were born a few days apart, so we are really connected as peers."

"As much as it seems like it's a go-to song if you're into someone and you want to show your affection, “Sign Your Name” is actually from my mum. She's a huge fan of Terence Trent D'Arby, to the point of sending him fan letters and stuff when he first started out. “I grew up listening to the first album, Introducing the Hardline According to Terence Trent D'Arby, and he was the first artist I saw play live, at the Guildhall in Southampton. I was at the front and I was like ‘Who is this guy? He's got this Marvin Gaye vibe, but there's Prince there, and Michael Jackson and Stevie Wonder in the vocal.’ “This was his big hit. Lyrically it said so much, it was a very poetic and eloquent way of saying ‘Let's cherish this love I have for you.’ It was a really nice way of approaching it, and it was a good way to learn how to write my own songs."

"Science, art, and philosophy are never separate. If they seem so, it’s because one has implicitly absorbed the ideology of another. I think we’re in a moment now that’s making our nature documentaries worse. With HD, HDR, and CGI, they seamlessly illustrate already decided-upon science, making the un-human world seem as knowable and digestible as a Pixar fable. This is why, as impressive as they can be, they’re disposable. We abandon the HD doc when the 4K one comes along. In Jean Painlevé and Geneviève Hamon’s aquariums, microphotography, and time lapses, you see how the scientists know, instead of a hyperreal demonstration of what they know. Rather than getting a God’s-eye view, you experience this other world as a limited human trying to figure it out. The visuals are murky and weird—they need interpretation, as much from background science as from poetic metaphor. There is a sense of discovery, humility, and mystery in these films, and for this reason, they convey something spiritual."