"Me and Rick were living in a terraced house in Splott in Cardiff, near Tiger Bay. That’s where we formed our first band, Freur. We were making dub electronics and listening to dub reggae and Kraftwerk’s Computer World and Bowie’s Low. What blew us away was Brian’s (Eno) analogue electronic sound – that kind of degraded sound that he was making – and the fact that this great icon, a hugely famous singer and frontman, had chosen not to sing for half an album. What guts and courage that seemed to take. Years later you read that it ended up like that because he wasn’t around and that Brian experimented in his absence. But it takes great foresight and courage for David to come back and hear that and say, "yep, that’s the album." And not to think that because he’s a singer he has to blast away over the top of it. So that became a part of the blueprint for Underworld – that the singer doesn’t have to be the dominant force. He can play a supporting role. That Berlin period – the three Bowie albums and the Iggy Pop record – deepened the mythology of what I love about Berlin. The idea of going to a place and locking yourself away and making quite an extreme record in a different environment"

"I love pretty much everything Jarmusch does, and Down by Law is as good an introduction to his work as any of his many wonderful films. Now that I think about it, be sure to also check out Mystery Train and Night on Earth, probably before watching Down by Law because they’re a bit more accessible. Then come back to Down by Law and watch it again, and see how it gets better each time, and how you want to relive it like a nice dream. The world of Jim Jarmusch is a truly wonderful place, like a little corner café for cinema lovers to spend their days in. Bonus: Roberto Benigni is just incredibly delightful in Jarmusch films. Hey, Criterion, can we get a nice Ghost Dog set?"