"I'd agree that they were ahead of their time, they were quite minimalist really. Minimal electronic music. When I heard the b-side of 'Electricity', which was a track called 'Almost', that was like hearing Simon & Garfunkel, only in an electronic world. The songs were really simple, there was heaps of emotion in that particular track. It was a record that everybody had in my group, and we all played it at parties and danced to it. I say 'dance', I am not Saturday Night Fever, I'm working on it. I'm trying to break the moonwalk at the moment. 'Electricity', I didn't know what it was about, it just sounded really really exciting. They were a prog rock band in the old days apparently. I was telling the keyboard player about my admiration for 'Almost' and he said, "Yeah that was one of our old prog rock songs, there were seven people in the band"."

"Assayas is one of my favorite living filmmakers, and this film is a testament to why that is. To me, it is the most effective film on grief and loneliness in the twenty-first century, when everyone views their electronic devices as extra appendages. It’s a genre-pushing investigation into the unknowable ways in which we communicate with one another through devices and airwaves, which we are still only just beginning to understand."

"What a fucking record! If you hadn't been introduced to synthesisers via Kraftwerk or Soft Cell, then this was the album that would do it. This was another that became the soundtrack to my teenage life. Knew it inside out and what a relief that boys could finally wear makeup. There's not one dud track on here and the non-singles are best, except 'Love Action', which is pure class. The League are the reason that electronic music has been kept alive."

"Having come to music production via electronic music first, I had to go back at some point and try and figure out how to write songs. Learning how to do so involved picking apart my favourite songs, including this piece of perfect concision. It’s a great reminder that those artists like Wire who pushed forward the boundaries of the avant-garde are by no means exempted from writing a perfect pop song every once in a while, when it strikes their fancy."

"Björk’s Debut and Post were mind-blowing records at the time—that somebody could use electronic beats and then do super innovative stuff with it. Then she continued doing things that explored lots of different other areas, with the Greenland Choir and with sounds made with the mouth. Once in awhile you see this amazing total artist, where you go, This person thinks about the stage, the shows, the costumes, the record covers, and the music, and it’s all part of a total thing."

"Of all the titles in the Collection, this may be the one whose content is most radically altered by the shift from film to video, projection to electronic display. What’s lost in translation—flicker, physicality, the sheer thingness of a Brakhage film flung through space—is made up for by our ability to study the intricate compositions, structures, and rhythms in detail. Taken frame by frame, it’s like owning a Brakhage monograph with 350,000 plates. Is Commingled Containers the most beautiful of all films? Yes."

"As a children’s movie, this might be a failure, but as a surrealist nightmare set in a world of Yuletide kitsch, it’s a masterpiece. Santa lives in a castle in outer space, with a wizard and a giant room full of singing children of every ethnic stereotype imaginable. The reindeer are robots. He watches the earth with a giant all-seeing electronic eyeball. Satan sends a demon to corrupt the children of earth, and only you-know-who can stop him. And that’s only the beginning…"