"It's one of the classic records of all time, but I remember when this came out I wasn't particularly a Stevie Wonder fan. He'd done the singles and he was a Tamla pop artist really, wearing a suit, and I thought I'd got him labelled. But then this record came out and it was like his coming of age almost. It's like a small journey, listening to this album. It has a very positive beginning and ending, from side one right through to the last track. And that whole thing of here I am in New York, that wonderful idea of bringing in sound effects of street sounds that gave a different atmosphere and set the scene for what you're about to hear. I think most bands wanted to do that kind of thing but it was very easy for it to take over, so it was mostly left to the Pink Floyds of this world. But for somebody to do it just on the one track worked really well. And he played drums on this album, too. That was the weird thing, because when you listen to the drums it doesn't sound like a drummer. The things he plays aren't instinctive, so there's a different kind of musicality to what he's doing, and where it goes and where he puts things and where he hits the toms and where he does crashes and stuff like that. In some ways it was very brave of him, because let's face it he could've got any drummer to do it. But it gives it what I suppose these days you'd call an artisan quality, but I think of it as an earthy feel. Otherwise everything would be too perfect on this record. You have to have imperfection to give it character and personality. I think there's something about imperfection that puts you more in touch with what you're listening to, because you're not alienated by something that's unachievable. This record has that by the sack full"

"This was also quite a challenging record for me. I bought the 7"" of 'Ceremony' when it came out, and I thought that's what Movement was going to sound like. A very pretty, emotional, bucolic record, and of course it has moments like that, but in a strange way it's almost darker than Closer. When I was 14 or 15-years-old I was full ensconced on the cult of Ian Curtis, so when I got Movement I listened to it and tried to decode it... how many songs were influenced by Ian Curtis, how many songs were written by Ian Curtis, were they trying to communicate with Ian from beyond the grave. It's certainly the darkest of all the New Order records, and after this they became much more melodic and happy. The first track on the record is quite uplifting, then everything else is quite dark. One of the things I've always loved about Bernard Sumner's voice is there's a naive, vulnerable quality to it. I was at an airport the other day and 'A Perfect Kiss' came on, I hadn't listened to it in about 25 years, and it's such a perfect song. His vocals are sing-songy, like a nursery rhyme, but they're so effective. Each of these records that we've talked about, one thing they have in common is that they're all primarily electronic. At the time I was completely surrounded by very traditional rock music, and it felt interesting and subversive to be listening to these records primarily made with electronic instruments. I think that affected me a lot. I was a guitar player at the time, and I was so bored and frustrated with playing the guitar because it didn't do that much. I couldn't figure out how to make a guitar not sound like a guitar, and then you hear all these electronic records with all these textures and atmospheres and sounds that I'd never heard before, and I found that quite exciting."

"When I heard Girl Talk I was already in Bikini Kill, towards starting my solo Julie Ruin thing and I clicked with everything with a female performer on it. I was always aware of Lesley Gore and her songs and Joan Jett had covered some of them and I was like, "Oh, these are actually kind of feminist." The things that I learned from her from that album in particular was that there was a certain quality to her voice that told a different story than some of the lyrics. The lyrics could be about one thing but the way she sang; her singing had such an amazing tone that you really can't duplicate. I was just listening to the tones of her voice, thinking about the voice as an instrument and thinking – this is when I was doing my solo record — "It's not just the lyrics you're singing, it's how you're singing them." And so much can come across in the way you're singing that can either underline or scratch out the lyrics or amplify them. So I started to realise there were all these nuances there and her voice just viscerally affected me. I started playing with that idea a lot on the solo record. Some things didn't really have lyrics, I was just singing made-up nonsense stuff, it was just the way I was singing that was getting across, I was just going for a feeling. I was really focused on the lyrics in Bikini Kill and getting across these certain ideas and then listening to Lesley Gore I started realising it's not just the lyrics but the tone. That you can make the song sound like a sunny day and you're driving in your car having a great time and you can make the song sound like it's been raining for the past year; that was a new thing I found in my tool box."