"The Cure were my gateway drug – a year or two later I discovered the Legendary Pink Dots, because I had a boyfriend who was really into them. That blew my mind. It was an entirely new way of being into a band, because they weren't well known. And the music touched me in a place that the Cure couldn't ever dream of reaching. Part of that had to do with the intimacy and depth of Edward Ka-Spel's songwriting, but also the fact that this was a band that no one in my high school had heard of. They were really, really special – they were my band. I became a devotee. If I could wish anything on any teenager, it's that they could get to have a relationship with a band like that, because the Legendary Pink Dots made me so incredibly happy. I really considered them a holy band. Going to see them live was like going to church. They're highly underappreciated band, and I wander around proselytising them all the time. But it's difficult to know where to start, because they have like 900 records. It's overwhelming. I counted the amount of Pink Dots records I have, and it's well over 50, with all the side projects and all the Edward Ka-Spel solo stuff. They're music putter-outers. In one life-changing experience when I was 18 or 19, I not only got to meet them, but they were staying at the house of a friend of mine and I was able to go over to the house after the show and hang with the band. It was my fantasy come true. This really is biopic stuff. I couldn't have scripted my life any better. My friend knew I was a musician and that I had a demo tape, and he said to the Legendary Pink Dots, 'You should hear her stuff.' And they said, 'Sure, put it on.' I nearly shit myself. It was the moment of judgement. This had been my favourite band for years, I couldn't believe I was even in the room with them, and this guy told me to go grab my demo tape so they could listen to it. It was unbelievable. So we sat there, in what was the longest ten minutes of my life, and we popped the tape in and played two songs, and they were like 'Yeah, sounds really good.' And then about half an hour later, I was on the porch sharing a cigarette with Edward Ka-Spel and he looked and me and said 'You know, I think your songs are genuinely really good, and I don't say that to everybody.' In that moment I legitimately decided that I could do this, because I felt like I'd been given transmission from the master. That one little moment of encouragement took me so far, and I always remember that when I'm talking to my own fans."

"I’d always quite liked Leonard Cohen, but when he died we’d just started making this record and that sent me into a deep Cohen shaped hole. It also came at a time where I felt quite lost as a songwriter and we were still trying to figure out what we wanted to do with this record. “That was about eighteen months ago and he really helped me to rediscover my voice I think. He reminded me how important it is to be yourself - to be cynical, to be dark, to try and be sexy, to put all of yourself into what you do, to be idiosyncratic, unique and personal in your approach to songwriting. I was in the midst of trying to write about quite universal themes and attempt to be as universal as possible and I think I maybe lost my way a bit, but he helped me to rediscover things. “He’s just so clever as well. If you’ve got a broken heart the second verse in ‘Take This Waltz’ is so good, I love how he can take a really simple sentence, switch out one word and completely flip the meaning; “There's a concert hall in Vienna where your mouth had a thousand reviews”, that’s so evocative and he does that all the time. For this record it got me into the habit of writing entire songs before the music, I’d write an entire lyric before I had any melody, which is actually what I used to do when I was eighteen. Then I could try and focus on trying to be funny, cynical and as honest and personal as possible. “I guess it’s like the difference between a book and a film isn’t it? People often ask me why I don’t like poetry or read it and it’s because I find it really hard to bring it to life, I’d much rather listen. A lot of my friends say ‘you’re so obsessed with lyrics, why aren’t you interested in poetry?’ but for me they don’t really come to life off the page. Leonard Cohen is a poet, but its poetry set to music and he brings it to life. For me, he’s more relatable and easier to connect with than Bob Dylan, you know what he’s talking about, but he does it in a very clever way. “I chose this song because I had a broken heart when he died. I was almost listening to it as poetry more than a song and actually it’s not my favourite song of his, but in the second and third verses, he talks about people being sentenced to death by the blues and it’s really evocative. I’m sure I wrote ‘Young American’ because of him, that was the first song I wrote for the record and that was lyrics first and then put to music, because of verses like that. I was trying to be naked in my approach to lyrics"