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The Quietus | Features | Various Artists: Why I Love Wire

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He sounded punky but smart, hardly anyone else did at the time. What lyrics you could make out were interesting. When the first album came out I knew there was some kind of agenda going on and I think that's never changed. Also, seeing pictures of them in the music press was interesting. It went with the music, and the artwork, the whole aesthetic, like all great artists. I first saw them at Manchester University, I was fifteen and the second album had just come out.

I didn't realise what Bruce was doing on guitar until that point. They were pretty full on and energetic. They seemed to be deadly serious but slightly taking the piss at the same time. I thought that was really different, they were quite irreverent, even of themselves. I really think Wire got better as they went along in those early years. The first two albums are held up so much but I thought was so good when it came out. As a youngster I thought it was important to do something new, so I loved that they did that.

The only influence I could detect in Wire's records was perhaps Eno's early material. I've always found their attitude inspiring: I really like that. Also, "rocking" without "being rock". They're arty for sure but they're not wimpy, there's an appropriate power. The words are great to, Graham is really good and has quite a distinct lyrical style. Colin and I met at Jon Savage's book launch a few years ago and we kept in touch. Malka and Colin invited me to play on a few songs for Malka's record and I was pleased to be able to do it.

It's a good collection of songs with a specific atmosphere that I wanted to respect. I think it sounds really good sonically too.

Colin is a good engineer and producer. Recently, I've been getting into Change Becomes Us. I'm on tour and it's been getting some play backstage. I've always thought of Wire as a warped British psychedelic band, embodying a similar mixture of Lewis Carroll surrealism shone through a JG Ballard prism and primo art school thuggery as bands like John's Children or early Soft Machine.

Most of all though, they're Wire, a meeting place for willful obfuscation and chiming white-light clarity. Fucking great pop, in other words. Wire are a bit more on the ball melody-wise than Teeth Of The Sea are, it has to be said. But, yeah, they definitely take their conceptual side pretty seriously, which is something we all really admire. They have a similar approach to ideas as we do, maybe? That it doesn't matter if you're the best player in the world, or the greatest songwriter. You can think your way successfully through musical situations if you use the right blend of literal and lateral thinking.

If you look back at their work you can see how important humour is as well. Although maybe it's closer to the 'Umour' of the surrealists? I don't know, because I don't know what 'Umour' means. It's like Harmolodics or something. I think Change Becomes Us is brilliant. I've listened to it three times today already.

Like The Who if they'd been bought up by Wilhelm Reich. I love the weird polish the album has, and the vocal effects. To be honest, I think pretty much every other guitar band in the country should have a listen and a good hard look at themselves, irrespective of their fucking age. It's difficult to say how the rehearsal for Saturday went, as I was busy psychically high-fiving the fourteen year old me.

We plugged in and we did it. Fast, noisy and ferocious. And fun, don't forget fun. The cherry on the cake was being told that the extremely nice sports car outside the studio belonged to Marti Pellow of Wet Wet Wet to be honest the 'X1 WET' reg plate should have given it away which led on to a long involved conversation about the existence or otherwise of Pellow's fabled 'Heroin Moose'.

There was a moment when we were playing though, when Colin and Graham both looked up at each other and cracked out in smiles, and that's what will stay with me, I'd imagine. Can't wait to play 'Drill' on Saturday! I knew more about Bruce Gilbert's solo electronic project than Wire, so they're pretty fresh to my ears.

I was sucked in right away by the darkness of the opener 'Practice Makes Perfect' - it felt familiar because I'd obviously heard music that had been influenced by this sound before knowing about the origins - like seeing the film before you've read the book But it also had a strange edge. I'm drawn to the a detachment and a sense of eerie space. The first three albums each have so many unique moments, one minute you get a really hooky rock song, then you get hit by something really abstract and gnarly.

There's space, repetition and aggression but all in different ways. I also like identifying the elements that have influenced or share an affinity with countless other artists, especially from Pink Flag. I mean it's kind of hard to equate how influential that's been. He was helping me source a cover song to fit with my EP, as he has better knowledge of music made before than I do - back then I was caught in a choral loop.

I wanted a song by a male vocalist and something abstract that I could cover naturally or at least without trying too hard, or without shitting on a relic and getting berated for it although I am quite aware there are people out there who think I've done so with my version.

I was drawn in by its coldness and repetition. Most of all, Colin's lyrics hit me, "Is there something here behind me I am mesmerised by my own beat". You can't avoid feeling a shock run through your body and consciousness after hearing those words. There's definitely a kinship between my work and Wire with the outsider, eerie spirit of it - existential, rather than the political. Definitely a preoccupation with 'the strange' when set against the mundane or everyday.

Colin's shift in personality and vocal style is something I'm fascinated by too. Wire's influence is sure to be more conscious now. It's definitely filtered in to my newer material in the form of more aggressive minimalism. I find it hard to choose one album but Chairs Missing and are both so brilliantly different the remaster of is pretty outstanding. I picture them in my mind as perfectly formed sculptures. Little nuggets of spite. My brother and I really like Wire.

We did a stage set for them, when they did that Pink Flag gig at the Barbican. And we wanted to find lots of fitness videos with pink bikinis in them. It was really easy to find videos with pink bikinis, we even found one with a pink flag in it. So we looked at it in an editing suite and there was absolutely no editing needed whatsoever. It all synced perfectly. All these women in pink bikinis exercising, it was totally in time with the music.

I do like serendipity. I heard Pink Flag around ''79 and Chairs Missing and shortly afterwards. English bands like Wire, the Mekons and the Gang of Four seemed to me at the time to be made up of non-musician idealists as opposed to ex-rockers pretending to have ideals.

I think this appealed to young people in the US who were inspired by punk and starting their own bands. The idea of ideals. Of course all of the important American bands of the era were more about art school and poetry than politics. I take that back.

There were politics, I don't know what I'm talking about. I didn't see Wire until the late 80s. I was disappointed that they didn't play any material from their early records.

It seemed like an unusual choice to make. They had a Wire cover band as support. The cover band played Pink Flag from start to finish, which was interesting as a conceptual joke, but ultimately lame. The most inspiring aspect to Wire is the willingness to move into different areas and try different things, experiment.

Tortoise definitely tries to do that. We collaborated with Colin for BBC Radio 2 because we figured that working with him would be very immediate and potentially rewarding.

Given the circumstances, quick, concise decision-making was essential.

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