"I discovered this album quite recently and it transported me very much. I've had times in my life where I've wanted to go in a more electronic direction, and I find her work very inspiring because it's mostly electronic work, which she does a lot of on her own in terms of production and such, and at the same time it sounds very organic and connected to the earth. Not everybody can do that; to do electronics and make it sound like the earth. It's an art form. I just think it's perfect. The songs are incredibly creatively arranged and written; it's all there. It all seems very effortless even though I'm sure it's taken her a lot of work to get it that perfect. But it's seamless and you're transported from one song to the next. Some of the transitions are just so inspired; it's inspired and it's inspiring. It's rooted, and that gives it a sort of spiritual value which is lacking, and which we're losing. We live in a system that will seek to cut us off from our roots and cut us off from our connection with the universe. And that's our sense of direction, like the birds: they know when to migrate. They have this connection to the universe and that tells them, they have this sense that comes from the earth up, and we are losing this. But it's present in her album, this connection, in a very vivid way. And of course it's nourishing because it's pointing in that direction: this is where we connect to the earth, to our past, to our ancestors who knew so much. In the past 50 years we've unlearned so much. Our great-grandparents probably knew a lot about the land, where things come from and the cycles, and these are very important things so you aren't disoriented in this world. You have a sense of how things work in the natural world. There was probably less disorientation then than now, in terms of people consuming fewer antidepressants and things like that. Juana has this quality of being able to connect to ancestors and a whole knowledge that's been there for thousands of years and we're now cutting ourselves off from. I wouldn't blame it on the technology itself, but more on how it's being used, and to what ends. It's technology in the service of a system that will seek to disconnect, so we consume more and think less, creating desires for objects that we don't really need, and narcissism, and developing aspects of human traits that should really be kept in check."

"That one was quite deep for me because again, growing up in church and being a believer; my family being from the West Indies - my mum’s side from Jamaica, my dad’s side from Dominica - I remember going to church and it was authentic West Indians there in their 40s, 50s that now live in the UK but have kept these traditions, they were singing these songs just without the drums. So when I first heard this, something just went - ‘Hang on?’ I remember being four and hearing this person sing that song but swap Selassie for this or that. It had that same spiritual element I was so used to, just in a very different form. It was like a weird full circle thing for me. It was almost like going back home. These drums are taking me somewhere, but also I'm being carried by these songs I know. It was beautiful to check out more of what Count Ossie was doing and people that were part of his band like Cedric Brooks. He was infusing a lot of the jazz elements that he's hearing from Coltrane or Ornette Coleman. That's deep, you’re deep in the heels of Kingston, aware of Ornette and them man. Like Duke Ellington had to come and visit him, you know, there’s a photo of him and Duke Ellington in the bush. You know he's got something that's important, not only important for culture but it's spiritually important for the Nyabinghi tradition. For me when I heard that record, particularly Grounation, where they’re going through loops for 20 minutes, it’s that thing again with soundsystems where you ‘wheel up a riddim’ or at church when the tune would just keep going. It was something I’d never heard but I also felt like it wasn’t foreign, those experiences are so wicked and that influenced the whole fascination with drum culture and drum languages, spirituality connected to drums, music orientated around the drums. I got into Batá and music for the Orishas and things that are all over the Diaspora in West Africa, the Caribbean, South America. And when you listen to it, the recording’s so rags but it just couldn't work if you put it in Abbey Road. It gave me a bit more confidence when I was doing my record that if I go to someone’s house and I show up with a handheld recorder, as long as it feels right it doesn't matter. Big studio, small studio, my phone as long as it’s got that feeling that I was going for."

"They famously reformed last year and I've seen them a couple of times and played on the same bill with them. One of my great regrets was that I came to this album a couple of years after it came out and my friends had all been to the show when they came through town and I missed it. It felt like a concert I should have been at. Part of it was that I hated guitar bands. In high school I was into terrible progressive rock like Emerson, Lake & Palmer and Yes, while all my friends were into Dinosaur Jr. and Sonic Youth. I always thought I was in the right and it was them who was barking up the wrong tree, which subsequently has made me a little bit embarrassed, because it was the 90s - I should've been listening to Sonic Youth. But I was firmly committed against guitar music and it was the same friends, like Ryan [Smith] - who's in my band now playing guitar and keyboards and other stuff, and who's been my friend since I was 11 or 12 - who was the guy in the Dinosaur Jr. T-shirt trying to get me to play organ chords in the background for his band, and I was grumbling away, ""When the fuck do I get my solo?"" And he introduced me to Neutral Milk Hotel. It's kind of an obvious way in for me, because it very much has that sound - the spiritual free jazz and the horns and the power and the instruments from around the world, different bagpipe kind of instruments - for me, it has that same spirit and wildness. It's also one of those albums, like the Pharoah Sanders, where the songs are all essentially the same song. And I don't mean that to diminish the achievement of this record because I think it's amazing, but when you have a record where you listen to the first song and the melody is so elemental to me - it's like it existed before this album was written - and then later on you hear another song and it's the same melody but inverted. Not in a technical sense, but you get the impression that these songs all come from the same tree and I love that. That's one of the things that the album format can do - tie things together like that. I've done that myself consciously on my records in the past - reprised a melody. On Our Love there are two songs that are essentially the same song revisited - 'All I Ever Need' and 'Your Love Will Set You Free'. Not the melody, but the underlying riff and the harmony."