"This dark, fast-paced novel is a visionary masterpiece. It’s populated by hackers and cyberpunks, Gibson’s creations that have since become fixtures in the electronic matrix. I first read the book in the mid-1990s, when the Internet was beginning to wrap itself around all of us, and I read it with increasing excitement—but not without some difficulty. Gibson doesn’t bother to explain his terms or lead the reader by the hand through the puzzling dislocations of his futuristic landscape. Neuromancer is pulp fiction, but it’s guided by a hip wisdom about a baffling phenomenon that was only beginning to take shape."

"It's a beautiful record. It's the Neu/Can supergroup in a way with Jaki from Can on drums and Michael on guitar. It's the pop end of Krautrock and sounds like Utopian sports montage music or something! It evokes the future, even still, for me or my idea of what the future would be at that time. It's a record I listened to a lot in recent years and just a record that I really recommend. I wouldn't have heard any of this stuff until the early-1990s but it was something we listened to a lot of as the Super Furry Animals. I quite like listening to instrumental music as it means I can still think over it without lyrics interfering; there's a time and a place for lyrics!
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"I haven't listened to this record for ages. But I intend to! I walk a lot and used to live by Richmond Park and I like to walk with an album as I don't do that very often. That was one of my Richmond Park albums. There's that Kate Bush element, beautiful, mad lyrical content and some of those song titles are like 'what the fuck?' Just great. What was I doing during this period? I was retired. I quit in the mid 1990s and decided I was going to teach myself to make records for other people like a producer. And it was a time when Auto-tune was king in pop music and this – and other things – made me realise I didn't want to do it and also I probably can't do it. It's quite an art to make songs for other people. You give it your everything but no one writes songs for bands, no one wrote songs for The Smiths. They write them for solo artists most of the time. That void is taken up by pop and you have to make records which are autotuned because a lot of the time - in the 1990s – the idea was 'Can she sing? Well, it doesn't matter'. But it did to me! It is an alchemy of Christ knows what to make a good record and I don't think I've got the chops to do that [for someone else]. I had a record deal with Polydor in Germany at one point specifically within the context of not having to release the album anywhere else! I did a bit of promotion there but nothing happened. It wasn't the kind of record that used to get me on the radio in the 1980s but it also wasn't the kind of record that was enough of truly doing what I wanted to do."