"Flawless again. She's a poet! I knew who she was, she was in my peripheral, but I discovered her, god, maybe ten years ago. The beauty of being in your 30s is the beauty of being able to admit that you didn't hear The Wipers first. Or that you knew the Hole version of 'Credit In A Straight World' before you knew the Young Marble Giants version. When you're 20 you're a little more self-conscious about it. But yeah, and I'm glad that I had a relationship with her as an adult. I didn't grow up listening to her as a teenager at all. In Arkansas she wasn't on the radio. God, that's another record where every song is my favourite song. 'Kimberly'? My god. 'Free Money'? I don't even know where to start. It's poetry set to music and it's done so well. Other people have tried to do that and it doesn't really work and she just really pulled it off in a way that was beautiful and not trying too hard. She's effortlessly cool and she gets cooler."

"We've played with them quite a few times over the last couple of years, getting to know James Murphy and hearing that music in unexpected places. I love them now. I think I loved them too late, now they're broke up or whatever, but I love them. It's hypnotic, [like] we're going to grind away and discover the nuances. It's not about a big giant arrangement that takes you up and down, it's about being on the edge and going, and going, and going. They did that well, he had a great band. And their sounds are important, it isn't just guitars and keyboards. We'd see them play and they'd take a lot of effort to get these little sounds that all work together. We got to know that record by it being around all the time, which is great, because you're not just putting it on and going 'What is this shit?'. You're just hearing it and going 'What is that, that's cool?'. 'Dude, it's LCD Soundsystem.'"