"‘Telstar’ is such a unique sounding song. On Joe Meeks’ original version of it he starts off singing in tune, but that all changes. I don’t know whether it was Geoff Goddard or someone else in the studio who translated that into “Oh, that’s the melody that you were singing”, because he’s so in between the notes, you can’t tell if it’s a G or a G sharp or an F sharp or whatever. “In terms of sound design, you can’t find a song that sounds like ‘Telstar’ - it’s completely unique. The main thing for me is there’s no lyrics in it and to create such an atmosphere in essentially what is a pop song is just brilliant. I wish I could have heard it for the first time in the ‘60s when it came out, because it sounds so ahead of its time. Even though it’s quite lo-fidelity there’s really amazing stuff in terms of production techniques that I steal all the time - like speeding up pianos to make them sound like harps or speeding up whole tracks to make them sound not like real-life or superimposed. ""During the recording of the new album it definitely inspired me as a producer, because when there’s a missing sound you can use a Joe Meek-esque mad idea, or make some conventional sound unconventional. It’s also inspiring in terms of the whole home recording thing. We still make our albums at my house. I've changed from being in my parent's house in a little box room to living in this old chapel-type building and now living in a house in the countryside. I've got a dedicated out-house to music, but it doesn't feel like a studio - it still feels like home recording and obviously Joe Meek had his own studio. Maybe he was inspired by Les Paul and Mary Ford, they always did stuff in hotel rooms, so perhaps he was inspired by that. “For the way that I work, when you feel inspired it’s incredibly important not to be limited by having to see if a studio is free. Also, you can’t underestimate the importance of having a space for the gear that you have set up, just so nothing holds you back when inspiration strikes. ""For a lot of the tracks on the new album, I’d been sitting out in the storm porch, having a cigarette and then something would come. It sounds so cheesy saying that, but it does happen. At the time you don’t really know how important it is, you sometimes think, “Should I record this?” or commit the idea or the melody to a phone recording or whatever. You don’t know whether it’s going to be any good but when we get a full song out of it, it’s like “Wow, if I hadn’t recorded that, would I have remembered it?” “With sound design and production, I do the very opposite, which is strange. When I'm getting sounds together - maybe to create a song - I’ll spend maybe three hours just recording some drums and some parts, I don’t even have a song and then at the end of it, if I’ve got nothing out of it, I just delete the project, because if there isn’t a song in there, it doesn’t matter how good the drums sound. I’d rather have the song and build the sounds around it."

"I remember first hearing 'Xtal' - that is the sexiest ambient electronic song for me. I remember being in my first year of university in Brighton and moving away from home and being a bit lost and lonely in some ways, in this tiny little halls of residence room. This album, Ambient Works, was just constantly on my Walkman and I'd been exploring Björk, The Black Dog, Aphex Twin and Boards Of Canada, all this electronic music, this world that was opening up to me from the early to mid-nineties, which I was discovering it a bit later. I'd actually at that point bought a QY-70, which is a Yamaha sequencer - I remember reading Björk had written Debut on it and Tricky had one. Listening to Ambient Works, for the first time it seemed possible that I understood how those things were layered up - beats and beautiful little melodies and there was no singing on it, which for me at the time was great because I was very shy about singing. I remember just hearing that and then going to my QY and hearing little synth sounds that sounded similar. Although Aphex Twin's synth sounds were, in hindsight, put through loads of pedals - I can hear that he's got field recordings layered on top of stuff and probably synths he's made himself - but it made sense to me and encouraged me to go and make my own ambient songs. I remember meeting Aphex Twin around that time at a Björk Vespertine concert. I'd met him once before and I went up to him with my MiniDisc player, which I used to put things I'd produced on, and I played him a song at the bar. I kind of knew him at the time a little bit by face, I think we'd met at some nights he was doing at a warehouse in London and me and my boyfriend at the time liked dancing and going out, and I played it to him and he said: ""I think it's really good. The production's quite good for a girl"". [laughs] That's what he said to me! I didn't take it as a bad thing. I was just like, ""cool"". I mean, Aphex Twin liked my production skills, so whether I'm a girl or not, it's fine. But I just remember thinking how funny that was - but I took it like ""that's a real stamp of approval for me"". I do think he's been a really pivotal figure and an important person in my life, because he does electronic music and it's really sexy and emotional. It wasn't cold like some of the other people, like Stockhausen, but I felt like he understood the dance movement and got the loved-up aspect to ambient music. There's a darkness to it, and a light, but a real twisted, disgustingness in what he does, like 'Come To Daddy' and 'Windowlicker', this rank Englishness, [adopts croaky drawl] ""come to daddddyyyy!"", all that weird shit. He's got a sense of humour and just seems to be one of the modern day composers of our time that understood emotionalism in electronic music. Dirty, disgustingness and kind of surreal, how to fuck with your mind, and his body of work is huge. So, yeah, I think he's a dude."