"I’ve had this one since I was a teenager. This is the soundtrack to a movie called The Flasher. The music sounds like a Superfly version of electronic music for plants. The back cover has some genius film stills of the Flasher flashing old ladies and statues. I want to find this movie."

"Both of Atom TM's records on the Raster-Noton label are some of my favorite electronic records ever made. Liedgut was his first one for the label. It feels cinematic without being pandering. Inventive and beautiful. Being that it’s electronic, and just that it in its own particular style, it’s a lot more having to do with texture and sound design. But then there’s this weird kind of melodic framework that goes in and out throughout the record, that’s very “hypermelodic”. Very consonant. It almost sounds like… you know those snow-globes that have a twisting belt? Like a music box. It’s texturally focused sound design. And he’s able to go back and forth here in a way that’s really compelling. And again, you can tell it’s very intuitive - he’s just going where the music takes him. In a world of forward thinking electronic music, where anyone can pick up a computer and do this thing, his voice is so unique. I'd be able to pick him out of a thousand records – his own distinct voice. I really love his records, especially the ones he did for Raster-Noton."

"Before that, I read a book called The Curious Incident of the Dog in the Night-Time. I go to bookstores when I’m in London or America. I get a coffee and keep browsing for hours—something I can’t do in India. I come back home with a bagful of books. I’m always stopped at customs as they think I’m carrying some heavy electronic items!"

"I parted ways with Luaka Bop maybe 10 years ago—it was taking too much of my time and my money and my house. But the label still goes on. And they’ve done wonderful things, including this album by the African electronic musician William Onyeabor a few years ago. And then they put on shows of people like myself and others performing his songs. They continue to do great things."

"The reason I’ve chosen the Donna Summer album is not truly because it is a record I’ve played a lot. There is one song on it that changed my career. It’s a song that changed a lot of people’s perceptions of music and it’s, obviously, ‘I Feel Love’. I remember when I first heard ‘I Feel Love’, it sounded alien. I hadn’t heard anything like that before. There wasn’t anything like that before. Somebody had the forethought and the invention to actually come up with something with electronic sequencing that people could dance to. It pulsated in a different way. That person was Giorgio Moroder. I am very grateful to Giorgio Moroder for inventing this way of thinking and for the other records he’s made. I think he is a terrific talent and I loved the work he did on a lot of movie soundtracks, particularly Midnight Express and Cat People. I have all his work. ‘I Feel Love’ was visionary – that’s all I can say about it. The song, along with The Sparks’ album Moroder did [No. 1 In Heaven], was the sort of sound I wanted to make. I was just learning electronic music and how to sequence things. Without a doubt, between Moroder and Kraftwerk, those were the people leading the way – that paved the streets for me. Without ‘I Feel Love’ there wouldn’t be a lot of electronic dance music. That’s the DNA we all used. Moroder, for me, had a period where he was defining the future and it was very unnoticed by a lot of people, perhaps because he was more of a producer than a writer of a lot of songs. As for I Remember Yesterday, it’s a funny album as half of it is electronic and brilliant and the other half is very traditional and is okay. It’s a strange balance but a very important album because of that track."