"I heard this through a journalist, Michael Azerrad, he's a good guy. We started direct messaging on Facebook or I met him, I don't know what happened, and he said, ""You should listen to this"" and then I got it. He said that you're either going to love it or it'll feel like you're getting punished by having water dripped on your head! And I said, ""Perfect, I'll do that!"" It's incredible; once again, I watched it on YouTube, him performing in Japan, like, ""Fuck, really?! You can do this live?!"" Also, I just like the atonal thing of it and what they get from composing. It's very neutral. I actually used it, it's a total influence, you can totally hear it, on 'Birthday Video', it's on Weeds. I layered a lot of guitars and to my surprise, a lot of these noises start coming through, these sympathetic notes, and I was like, ""Wow-whee! This is cool!"" Totally taken from him, I hear it plain as day. I also got his box set, it's great. He's always got some kind of concept to it. He wrote one for what it would be like on a train ride to the Holocaust [Different Trains], to reach finality. He's got all these studies, drums, all sorts of percussion, but ...18 Musicians, I love it, I listen to it in my bunk in the bus!"

"I've been a fan of his since the start, when I heard ‘Didgeridoo'... At our age it was an interesting time, because it was the start of dance culture as we know it, but also I was young enough when I first heard it that I didn't differentiate between hearing a Mary Chain song or hearing an Orb song or a KLF song or a Loop song. I guess of all the bands or musicians that I heard around that first wave of electronic music, I think Richard James is the guy that's continued and kept a high standard and evolved what he did. I mean, that Richard D James record, if you went and listened to half of the brand new IDM vomit they'd be shitty copies of that. What makes his music is so special is that as well as being amazing at concocting interesting sounds and rhythms, he's also musically always doing something brilliant. The piano songs on the Drukqs album are unbelievable. Talking about that, it's completely irrelevant to this, but the most annoyed I've ever got at a music review is the review of Drukqs in Uncut where the journalist said there's no point in making solo piano music because you'd never do anything as good as Satie or Chopin. Well let's just fucking go home then! But anyway. To be able to marry the playfulness with the beauty and the melancholic element, that's just incredible."