I began listening to Wire in October 2022.
Pink Flag (1977): A+
Chairs Missing (1978): A
154 (1979): B
The Ideal Copy (1987): B+
A Bell Is a Cup (1988): B
Send (2003): B+
Pink Flag (1977):
The Ramones led the charge to take the fat out of rock music by mostly cutting out verses; Wire lead the charge to take the fat out of punk music by cutting out everything save raw playing and emotion. The Ramones (almost accidently) led their charge because playing it simple was all their skill set allowed; Wire are very talented techniqually--despite their raw approach, they cover much more musical ground than the most punk bands combined--and thus, their strict adherence to the punk archetype is done out of the utmost reverence for the genre's musical ideals. Packing in an astounding 21 songs into a brief 35 minute album, Wire only repeat what they want to emphasize and the songs cut to credits once they get their point across. Like the music, the lyrics are similarly influenced by Imagist ideals and are rife with picturesque lines like "I have a fleeting love/scorching when it lands." Funny enough, however, they get their point across perfectly without the lyrics: like most punks, you can hardly understand them anyway. A+
Chairs Missing (1978):
Like all great artists but perhaps more swiftly than most, Wire are moving on. Generally, they still keep it brief--only three songs go past four minutes and five are under two minutes--but here they further indulge in their artsy side. To create more atmosphere, they add synthesizers and keyboards. To balance out their hardcore rockers, they slow down the tempo and Newman delivers some pretty vocals. Like Television's Adventure, it's sometimes difficult to accept the retreat after such an exhilarating and innovative start but it's clear that the band has just as much conviction now as they ever did. A
154 (1979):
Wire has had artsy tendencies from the beginning but they're starting to drown in them on their third album. Usually, I can swallow such excursions from bands that have proven themselves as much as Wire has but with the introduction of Graham Lewis as an additional lead vocalist and another complete metamorphosis in sound, I have a difficult time even remembering this is a band with whom I'm well-acquainted. B
The Ideal Copy (1987):
After an extended hiatus from 1980 to 1985, Wire reformed and released 1987's The Ideal Copy. Although the album also indulges in a diverse pallet of synthesizers and a laborious post-production like their previous album 154, Wire once again forget the past and experiment with a new, increasingly electronic soundscape. The Ideal Copy notably departs from their previous release by utilizing reverb-heavy drums and for boasting a more cohesive vision, even as it moves through remarkably different styles. From the thickly-layered "Ahead," to the horrific "Feed Me" with Bryan Ferry-esque singing, to the futuristic punk number "Cheeking Tongues," each song somehow becomes the logical next step in the track-list. Long gone are the simple punk pleasures of Wire's first two albums, but it's hard not to be impressed with their immediate mastery of each sound they decide to pioneer. And at the very least, it's easy to admire their unceasing dedication to push the limits of themselves and popular music. B+
A Bell Is a Cup (1988):
Wire, whose musical vision always necessarily subverted the sensibilities of conventional pop, stumble upon a pretty agreeable electronic rock sound for 1988's A Bell Is a Cup. The polish on their backing tracks not only reaches something of a pinnacle, but their warm guitar sounds, the gated reverb on Gotobed's drums, and their mastery of synthesizers creates a cacophony of wonder digestible for a larger swath of contemporary listeners than Wire has ever known. But that's not to say that this is at all accessible for the average 80s listener weaned on Tears for Fears. With Newman's and Lewis's lyrics as well as Newman's vocals melodies, this sounds like anything but a conventional rock band and more than ever before on a Wire release, the vocal melodies come off as pretty grating and poorly conceived. B
Send (2003):
Wire released several albums between A Bell Is a Cup and 2003's Send, one released under Wir because Robert Gotobed's departure in 1990 left the group as a three-piece. With his departure linked to the group's increasing dependence on drum loops and electronic sound effects, his return in 1999 seems to have sent Wire on a nostalgia trip. Not only did they begin performing old songs in concert, but they also return to their punk roots on this album, which sees them utilizing raw riff power and fast tempos like it's 1977. Of course, the return is on Wire's own terms and for those fans who only listen to Pink Flag and skip everything else, this wouldn't exactly give them something to celebrate. But for those who fell for the band because of Pink Flag and have been following them ever since, it's exactly the kind of project that they were always patiently, quietly, and respectfully waiting for. B+
