The second EP by the 21st-century incarnation of Wire is the most aggressive record they’ve ever made. Colin Newman clears his throat five seconds into the title track, and thereafter we get a quarter-hour of non-stop distortion, one- and two-chord riffs, and head-down-and-charging rhythms. It’s not quite all of a piece — “Trash/Treasure” is one of Newman’s more tuneful moments, although it’s skewered with hot-metal guitar buzz — but mostly it’s a bulldozer tour of Wire’s history. (“Raft Ants” reimagines “Kidney Bingos” as industrial-tinged hardcore, for instance.) The one real respite from the assault is the throbbing first half of the closer, “99.9,” before its metallic flares ignite and Newman starts screaming his throat raw again.
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...