"She's going to represent all the new. This is what we like, new electronic music. Rock music is boring, absolutely boring. How many times have we been bored with it, that's the question. It's really odd, that feeling that you step out of the room. What's interesting about it? Rock music doesn't captivate me. It's faintly ridiculous isn't it? Men with guitars. When we started Wire we thought about how the group would be on stage and how we'd behave. We thought: 'This is a good area to exploit, we can take the piss.' There's got to be a sense of pushing it to almost folly or failure, try again. Now you get things like Inga Copeland, people who are really fucking wilful about what they're doing. It's like: 'Fuck you'. Klara's not like that, but she's very much, 'This is what I am doing, that's it'. She has this manifest confidence, that always helps when you're listening to something. I think because she's processing field recordings and found sound it's got what seems to me to be a very organic feel, in the way she composes things. She deeply understands the importance that things sound right tonally. I've seen her playing in a few different spaces, and her music has translated for all of them."

"You can hear it's making, in the same way you can hear Joni in her lonely love cabin. Just the idea of the moon cast out on the water. That paints a picture. I can hear excitement and new love all over that Melody's Echo Chamber record. When my last relationship ended a few years ago now, I pissed off to New York for a bit, just to sort of gather my thoughts, and I would take to sitting in a cafe with my headphones on, listening to a piece of music and I had put together words to it in a book. And I remember being quite pleased with something I had just written, taking my headphones off, and that music, Melody's Echo Chamber, was playing on the sound system in the cafe. I listened to it, spellbound, you could just feel the excitement in it. I was listening to that, and I just looked away, who is this? And I shut my book and felt like giving up music. It was just so fucking good. And actually at the end of a tune, you hear them all whooping in the studio. It's like when you hear the Kinks whooping during 'Victoria' – when you're hitting a certain level of energy, bang on the nose, you're allowed to record yourself whooping at your own efforts I think."

"Listening to this in Brazil a few years ago was a proper Eureka moment for me. We'd moved to the middle of nowhere for seven months, and I decided to properly have some time properly listening to music, so got a lot of stuff off Thom on a hard drive. I was really into Burial and that side of dubstep back then. Stuff that works perfectly underneath railway arches at 3am strangely enough didn't resonate on the edge of the rainforest, though. What did was Screamadelica. 

I'd first heard Loaded when I was studying at Manchester University in 1990. I remember it coming out after 'Fools Gold' and 'Hallelujah', and seeing Primal Scream on a double-header with Looper. I remember thinking, ah, this is good, a bit different for them, but they're jumping on the bandwagon, aren't they? Later, 'Don't Fight It Feel It' became the ultimate tune of that time for me. But away from that time, this album still stands alone. It's so colourful. It's like gospel dance music. It's got all the euphoria of house music, plus the community and love. It reminded me that that moment in culture wasn't just about the drugs – those drugs were just there to pierce the veil. Music held the ultimate power to bring people up. I want my music to have that joy, that light, that sense of possibility."