It’s a delight to hear Colin Newman sneering about “a comet/coming this way with your name on it,” in part because that’s the sound of Wire mk. 3: icy, monolithic, huge and unstoppable. The original plan for Read & Burn was that it would be a series of six EPs, and the first one, released in 2002, is faster and harder than anyone would have guessed they had in them. Wire’s new working procedure combined elements of their first and second incarnations: brief, super-condensed rock songs (25 years in the trenches had toughened and streamlined Robert Grey’s drumming even more), disassembled and reassembled digitally. They’d also extended the minimalism of the Pink Flag era to their lyrics: “In the Art of Stopping” has all of 11 words; “Germ Ship” beats it with 10.
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...