"I want the fortunate readers to know that contemporary sounds are not restricted to lighthearted pop. There's as much heaviness available as well. The celebration of punk might be bad in the grand scheme of things but what I'm saying is, you wouldn't catch me digging into my parents’ record collection. You wouldn't want to dare go there. 

The fact that I treasure my friendship, for instance, with Depeche Mode really catches people off guard. But under thorough analysis, Depeche Mode was super-heavy, particularly live. That bottom end, that can only be found through synthesisers. It's earth-shaking. At one point back in the States Depeche Mode was wrongfully tagged and people said, ""Oh, you like that disco-sounding stuff?"" Well it wasn't. It was heavy."

"Eric Rohmer may be underrated as a director. His films are rightly known for their endless talking, and for their intricate, ambiguity-filled exploration of contemporary romance and relationships. Yet he is also a precise and inventive director. His deceptively straightforward films are rich and cinematic: every cut, every decision to shoot in long shot or shot–reverse shot, and every object, costume, and piece of furniture reveals something about the emotional and intellectual subtext. Filmed in lush, crisp black and white, during a snowy Parisian winter, by the great Nestor Almendros, this is the most beautiful of Rohmer’s films. And the good news is that in order to obtain this film, you’ll have to get the astonishing box set Six Moral Tales."