"This has a bit of an H.P. Lovecraft feel to it. We were stuck, because there were two albums, the other one being by his band, The United States of America. That one’s much more weird, and we like it a lot, but this one we always found harder to listen to, so for that reason we chose it. Because if it’s still hard to listen to, there must be something in it that’s playing with my expectations, whereas The United States of America is fairly funky. So, it was a struggle to choose one, but in the end we picked that one for the singing."

"Robert's voice does the same to me as Antony's – it's all about vulnerability and power together. I also love Robert's playfulness in his language, in the way he makes music, and his humour. It's like he makes up his own rules. 

And to think of what he'd experienced: to have been this virtuosic drummer having to change his whole way of making music. He's always taking me on lots of different journeys when I listen to him. He also came to see us singing his songs live once, which was terrifying! But he was so generous and so full of warmth afterwards though, which just as I'd expected from his songs."

"Joy Division used to play Trans-Europe Express before we went on stage, to get us into the zone. It worked because it gets up a lot of momentum. Radioactivity was a bit of a downer album for me, but Trans-Europe Express just seemed to express an optimism - even if people see it as machine music. It reminds me of Cabaret , the film, with all of the 1920s singing. For Kraftwerk, it's proper 'songy'. It's the same thing as with LCD Soundsystem and Sparks; when you get that marriage between humans and machines, and you get it right, it's fantastic. I have to say it's my favourite Kraftwerk album."