"I love the songs on it and I love Karl Wallinger's singing. I fell in love with it cause he sorta took all the influences that he loves from the sixties and seventies - I guess from The Beatles, The Stones, Bob Dylan - and somehow he made it into his own style. I don't think anybody really heard this album in the States, I don't think it had any commercial success at all. It's a great record. It’s a record I played to death and it still sounds as good now as when it came out."

"I recently was taken to an old cinema in Atlanta to watch this. I hadn’t seen it before, and it resonated with me for weeks: it’s quite preposterous and absurd, but it’s a real picture of alienation juxtaposed with love and growth, and this exploration of losing your visibility even when you’re the focal point. There’s something so stark and brutal about the film. And also to watch it after Bowie’s death, it resonates a bit more, because it feels like there’s a little bit of his soul captured in the movie."

"If you think you aren’t a big fan of Springsteen, let this be your gateway drug. It was for me. The record consists of 8-track demos for what was to be the record. They recorded the record with the full band and then decided that there was something special to the demos and put them out instead. Amazingly the full band recording has still never been released. The record as it stands though is a stark and darkly haunting collection of masterfully told stories of life and death and ill-fated love."

"To me, there is a holy trinity of hardcore bands, and the first among these is, obviously, Black Flag. They pretty much invented the genre, and as much as it's become boringly de rigeur to be "into" Flag and have a tattoo and a t-shirt (guilty on both counts), and as much as Greg Ginn seems intent on fucking their legacy to death, this record is still pretty untouchable, not just as a groundbreaking musical statement, but also because of the raw fucking attitude in every cut."