"The first album that I ever heard that made me realize that I wanted to make music was by a band called Joy Electric, and the album was called Melody. It’s like a really bizarre fairy tale synth pop from 1993 and they are out of Orange Country, California."

"This is referenced in my song 'I'm An Outlaw': "...an outlaw, burned from vinyl, dimed from cans, peaked to the dome". And that's some crazy, psychedelic, synth-y, weird funk. No offence to Miles, you know, unfortunately he's not with us, but fortunately he's not, because he's the weakest link on that record. At first he's awesome, and then some of his tone, it goes down south once in a while, but all the players, like John McLaughlin and the synth players, and if you listen to the record, especially in headphones, it's all - my theory is - going through modular synthesisers, all the percussion is going through envelope filters, but it's also panning non-stop. If you listen, it's unreal. If you crank it in headphones, it's full speed ahead!"

"This series of pieces by Florian Hecker is great. The 30 minute modular synth piece in the book ended by the vocal pieces is a really amazing. I could listen to this piece as one whole composition – I don't actually know his mode of operation, but it works great as a collection. As a modular synth and electronic music guy, the middle movement is just masterful. And he's such an interesting guy, so again, very personalised as far as the way that he works. I don't know at all about what he thinks. In a lot of ways theoretically he's quite impenetrable, I don't know where he's coming from in some instances. He definitely excites me. A lot of his stuff is heavily theoretical. Like the Joan le Barbara movement in the beginning with the voice – it's like the reciting of these philosophical truths or something. And in a way, I would ask him, “Am I supposed to be digesting all of this information or am I supposed to be just letting it wash over me?” That's how I appreciate it."