"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."

"This one I discovered more recently. I'm a big Hermeto Pascoal fan; I was turned onto Hermeto by Kamasi Washington when we were teenagers. But, again, it's Brazilian and stuff like that you have to seek out, you have to want to find it yourself because it doesn't always get translated. I didn't know about Egberto Gismonti at first, but I spent a lot of time listening to Hermeto, and I remember I went on tour with Miguel Atwood Ferguson in the band with me at one point. And Miguel is also an astute follower of music, to say the least. We were listening to Hermeto Pascoal backstage and Miguel turns and he goes 'Is this Hermeto? Do you know about his friend Egberto Gismonti?' and I was like, 'no'. Miguel proceeds to tell me this is the person that plays bass with Hermeto Pasqual, and he's a beast of a composer. He played me the album, and I was floored. I was completely overtaken by this album and the composition. It tells such a story – Egberto Gismonti's albums in general tell a story – but this specific album, there's some moments on it that are so intense that it's hard to listen to them. It's hard to play one song for somebody, but if I've ever played the record for somebody, it has to be listened to very loud."