Without guitarist Bruce Gilbert around, the dynamics of Wire shifted considerably toward their poppier side. Object 47 sounds much more like a Colin Newman album backed by Wire’s single-minded, repetition-obsessed rhythm section than like the digital assault of the Send era. That could, of course, also be the result of Wire’s immutable habit of having each record sound unlike the previous one, and there are a handful of songs here that would have been anomalous on any earlier album, like the subdued funk groove “Four Long Years” and the slow, cranky stroll of “Patient Flees.” The group’s lyrics this time are as interrogative as they are declarative, and a few songs seem to be addressed to a former comrade who’s disappeared: “Are you part of the problem/Or part of the band?” Helmet’s Page Hamilton turns up on the closer “All Fours” for what’s credited as a “feedback storm” — a tribute to the way Wire inspired the generation of noise-loving rock bands that came after them.
By Douglas Wolk on 07.14.11 in Icons
One way of describing Wire is to say that they've effectively been three different bands with (mostly) the same lineup: the blazing art-punk mutants of their 1976-80 incarnation, the monomaniacal electro-brainiacs of the...
By Garry Mullholland on 09.09.14 in Features
The U.K. post-punks on the self-sabotage of their bizarre live album 'Document & Eyewitness.'
By Robert Ham on 08.18.14 in Reviews
It feels like the reissue of Wire's Document & Eyewitness 1979-1980 should have happened sooner. The 1981 live recording has been out of print for more than 20 years now, and many of the songs on it were used as the basi...
By Andrew Parks on 07.01.14 in News
In today's In Case You Missed It department, The Village Voice has dug up an old Dangerous Minds post about a St. Louis zine that featured Chuck Berry reviewing classic punk records and "so-called new stuff" like Wire an...