"I've been a fan of his since the start, when I heard ‘Didgeridoo'... At our age it was an interesting time, because it was the start of dance culture as we know it, but also I was young enough when I first heard it that I didn't differentiate between hearing a Mary Chain song or hearing an Orb song or a KLF song or a Loop song. I guess of all the bands or musicians that I heard around that first wave of electronic music, I think Richard James is the guy that's continued and kept a high standard and evolved what he did. I mean, that Richard D James record, if you went and listened to half of the brand new IDM vomit they'd be shitty copies of that. What makes his music is so special is that as well as being amazing at concocting interesting sounds and rhythms, he's also musically always doing something brilliant. The piano songs on the Drukqs album are unbelievable. Talking about that, it's completely irrelevant to this, but the most annoyed I've ever got at a music review is the review of Drukqs in Uncut where the journalist said there's no point in making solo piano music because you'd never do anything as good as Satie or Chopin. Well let's just fucking go home then! But anyway. To be able to marry the playfulness with the beauty and the melancholic element, that's just incredible."

"Saw this at a Bresson retrospective at MOMA, popular dinner spot of many of NYC’s finest moviegoers. And who knew dinner could be so work-intensive, demanding to be unwrapped and rewrapped several times over? Now that I have Laurie Bird on my mind, I am seeing her resemblance and similarity to Balthazar’s Anne Wiazemsky. Maybe these two films have more in common than I would have thought. Both involve brown hair with bangs, drifters, and modes of transportation, although in the case of Balthazar the real tragic, beautiful victim is the donkey. You just don’t get more beautiful and tragic than a donkey. Let it be said that I did not liken James Taylor to a donkey."