"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."

"If you're listening to prog like Gong then you're going to bump into Magma. They make their own language on their records, so we made our own words for Magma albums. A number of Magma albums would pop up in various friends' record collection, and each one was quite different. On Üdü Wüdü there's an 18-minute track called 'De Futura', which is like a suite and it moves to different tempos and it's got all these cross rhythms in it; it's an overwhelmingly transcendent record. There was a rock disco that we used to go to in Manchester in the 70s and you could take your own records and we used to take this record. You'd see these rock fans freaking out to it. It was a curious time in Manchester because you had the punk thing, but all these other oddball things like Magma and Earth, Wind And Fire were standing beside each other. It wasn't as tribal as it's been made it out to be. You'd go up to a free festival in Rochdale that was called the Deeply Vale festival and all these subcultures would be represented there, because all of the sub-cultures would be big enough to stand on their own two feet. But at this disco in Manchester, you'd hear Bowie and Roxy Music, and Magma, probably some Genesis and some Sex Pistols."

"The other record I got into listening to at my friend's house. A lot of the records on the list were discovered around a two to three year window, at a time when I was really turned on to music. I was actively hungry, and reaching out, digesting what bands people turned me on to. I think the first Black Sabbath album I heard was actually Vol. 4. I always discover things way late, after the fact. But that's fine, I guess I like the fact of being kinda late to the party. But when it got to me, it really stuck. It's another record that I find very close to perfect. There's a heaviness and a darkness to Sabbath which I often cite as a direct influence to our sound. You can trace the bloodline, and I think you could say that of a lot of Seattle bands. Sabbath are also a very visual band, but in a different way, a lot more visceral. I've read interviews where Ozzy was saying they were trying to make horror film soundtracks, and that makes sense to me. Cause the themes were always pretty dark and pretty bleak, and they pulled their punches thematically and lyrically. Tony Iommi is also one of my favourite guitarists and very influential to me."

"Me and Rick were living in a terraced house in Splott in Cardiff, near Tiger Bay. That’s where we formed our first band, Freur. We were making dub electronics and listening to dub reggae and Kraftwerk’s Computer World and Bowie’s Low. What blew us away was Brian’s (Eno) analogue electronic sound – that kind of degraded sound that he was making – and the fact that this great icon, a hugely famous singer and frontman, had chosen not to sing for half an album. What guts and courage that seemed to take. Years later you read that it ended up like that because he wasn’t around and that Brian experimented in his absence. But it takes great foresight and courage for David to come back and hear that and say, "yep, that’s the album." And not to think that because he’s a singer he has to blast away over the top of it. So that became a part of the blueprint for Underworld – that the singer doesn’t have to be the dominant force. He can play a supporting role. That Berlin period – the three Bowie albums and the Iggy Pop record – deepened the mythology of what I love about Berlin. The idea of going to a place and locking yourself away and making quite an extreme record in a different environment"

"That's what I'd listen to on Bikini Kill tours. I'd put on my Walkman with my Fear Of A Black Planet cassette and I would go running and listen to it. I felt like they were making this really accessible music full of political ideas that were often very personal and sometimes very broad and I was like, "I want to make music like this, that you want to listen to because it sounds so great, but when you dig into the lyrics they're also smart and sometimes funny and very tongue in cheek." That's what I wanted to make so I'd just listen to it all the time. When I was running it was such good music to listen to because the beats are so awesome. It was a massive influence to Le Tigre. Not that we did hip-hop but I wanted to do songs that sounded good. Public Enemy made me okay with having higher production values. You can still be extremely political and radical and say what you want but do it in a way that just sounds great. First you notice how great it sounds and then, as you keep listening to it, you go, "Wait, what's this about? They mention this book, they mention Marcus Garvey, I want to go find out about that!"