"I love her music. I toured with her a little bit a few years ago. This album came out after we did that. It's just really beautiful and haunting. There are so many people in the world making songs but there are only a few people doing it so that it all blends together as well as it does here. It doesn't happen that much. Sometimes it's sort of pleasantly off or weird or sometimes it's just awkward but most of the time it's just really boring. But she just does this great job of making it seem effortless and dreamlike and strange. I don't know, it's just really good. The lyrics: sometimes you don't quite hear them but then you do. The harmonies are so great. And she does something that I think I do too: she works with the timbre aspect of the music to affect her enunciation, and that has a lot to do with the success of it. She's moulding the shape of her mouth, almost, to get the sounds that she does. She's choosing to enunciate in this very particular way that is to do with harmonics and that sort of thing. I guess the difference with me maybe is that I'm not so good at having a distinct voice that is consistent throughout my songs; I have trouble with that. I don't necessarily think that's a bad thing, it's just a different approach. But she's really good at maintaining this consistent voice and I love that."

"Magazine were also one of my favourite bands and that they came from the same city as me was a marvel. It didn't make any difference to what I thought of their music, but it was definitely a bonus. As a teenager I was very critical at the state of guitar playing and the usual cliché-ridden approach that was either blues rock or prog rock. It didn't mean anything to my generation. In John McGeoch, Magazine had a guitar player who was modern and relevant and interesting, while Howard Devoto was, and still is, one of my favourite ever lyricists. There is a thought that the first couple of records for many bands are the ones that are considered seminal. As is the case with Wire, I think that when bands break away from their first seminal albums - in Magazine's case that was Real Life and Secondhand Daylight - and they take somewhat of a left turn, it is really interesting. On The Correct Use Of Soap, Magazine did something original and almost ahead of themselves. There is a lot of space on The Correct Use Of Soap and I think it is better than the first two records. The space means that John McGeoch can really stretch out. Songs like 'Philadelphia' and 'Because You're Frightened' are based on guitar-playing that is utterly unique. It is one of those records that you can say that if it came out now, it would still not only be fresh but ahead of the race."