| Artist |
Wire |
| Album Title: |
Wire |
| Album Cover: |
 |
| Primary Genre |
Alternative & Punk: Post-Punk |
| Format |
Vinyl |
| Released |
05/15/2015 |
| Label |
PinkFlag/Mutesong |
| Catalog No |
PF22LP |
| Bar Code No |
5 024545 712216 |
| Packaging |
LP Sleeve |
| Tracks |
| A1.
|
Blogging (3:46)
|
| A2.
|
Shifting (3:17)
|
| A3.
|
Burning Bridges (3:17)
|
| A4.
|
In Manchester (2:41)
|
| A5.
|
High (1:53)
|
| A6.
|
Sleep-Walking (7:30)
|
| B1.
|
Joust & Jostle (2:12)
|
| B2.
|
Swallow (4:17)
|
| B3.
|
Split Your Ends (3:30)
|
| B4.
|
Octopus (3:16)
|
| B5.
|
Harpooned (8:23)
|
|
| Date Acquired |
09/17/2016 |
| Personal Rating |
 |
| Acquired from |
Electric Fetus - Duluth |
| Purchase Price |
19.99 |
Web Links |
All Music Guide entry:
Discogs entry:
Wikipedia Entry: |
Notes |
Notes:
Issued with a silver inner sleeve with credits.
Recorded at Rockfield, Monmouth & Brighton Electric
Production, mix & additional recording at swim studio
℗ & © Pinkflag 2015
Distributed by Cargo Records [Europe] and Redeye [USA]. Made in England
Credits:
Acoustic Guitar – Colin Newman (tracks: A1, A2, B2)
Art Direction, Photography By – Jon Wozencroft
Backing Vocals – Graham Lewis (tracks: A1, A4, B3, B4)
Baritone Guitar [Electric] – Colin Newman (tracks: A1, B1, B2, B5)
Bass Guitar – Graham Lewis
Bass Guitar [High] – Graham Lewis (tracks: A3)
Bass [FX] – Graham Lewis (tracks: A6)
Drums [Drum Kit] – Robert Grey
Effects [FX] – Matthew Simms (tracks: B5)
Electric Guitar – Matthew Simms
Electric Guitar [12 Strings] – Matthew Simms (tracks: A2, A3, B3)
Engineer – Sean Douglas
Keyboards – Graham Lewis (tracks: B2), Matthew Simms (tracks: A1, A2, A4, A6)
Lacquer Cut By – Pete Norman
Lap Steel Guitar – Matthew Simms (tracks: A3, A6)
Loops – Matthew Simms (tracks: B2)
Mandola – Colin Newman (tracks: A6)
Mastered By – Denis Blackham
Music By – Wire
Percussion [Water Tank] – Robert Grey (tracks: A6)
Producer, Mixed By, Recorded By [Additional] – Colin Newman
Synth [Modular] – Matthew Simms (tracks: A4 to A6, B2 to B4)
Voice, Electric Guitar, Keyboards, Songwriter [Song] – Colin Newman
Words By [Text By] – Colin Newman (tracks: A6, B4), Graham Lewis (tracks: A1 to A5, B1 to B3, B5)
Companies, etc.:
Phonographic Copyright ℗ – Pinkflag
Copyright © – Pinkflag
Published By – Pinkflag
Published By – Mute Song
Distributed By – Cargo Records
Distributed By – Redeye
Recorded At – Rockfield Studios
Recorded At – Brighton Electric Studios
Produced At – Swim Studio
Mixed At – Swim Studio
Recorded At – Swim Studio
Mastered At – Skye Mastering
Lacquer Cut At – Finyl Tweek
Pressed By – Optimal Media GmbH – BF86481
Barcode and other Identifiers:
Barcode: 5 024545 712216
Matrix / Runout (Runout side A, etched, variant 1): PF22.A` FT BF86481-01A1
Matrix / Runout (Runout side B, etched, variant 1): PF22.B` \Λ BF86481-01B1
Matrix / Runout (Runout side A, etched, variant 2): PF22 . A' F.T. BF86481-01 A1 1=
Matrix / Runout (Runout side B, etched, variant 2): PF22 . B' BF86481-01 B1 1=
|
|
| Reviews |
All Music Guide Review by Heather Phares:
Self-titled albums, especially those that aren't debuts, usually imply some sort of definitive statement. That's not necessarily the case with Wire, which feels more like an update than a manifesto thanks to its restraint. On first listen, it's not as bold as Change Becomes Us, which isn't surprising since those were songs the group abandoned three decades before. Instead, these shadings recall Wire's previous album of all-new material, Red Barked Tree, which tempered its explosions with more atmospheric evolutions of the sardonic, bittersweet post-punk-pop they pioneered in the '70s. "Split Your Ends" picks up where droning, implosive Tree songs like "Down to This" left off; "Octopus" jangles instead of jabs; and "Joust & Jostle," perhaps the most quintessentially Wire song here, adds a psychedelic glaze to its barbs. Wire also brings Red Barked Tree's political undercurrents to the fore, arguably with more finesse: though "Blogging"'s title could seem cringe-worthy, its acerbic melancholy regarding the digital age is a harbinger of the disconnection that runs through the album, as well as its mix of disquieting lyrics and droning sonics. On another album, the band might have blazed through a song like "Harpooned"; here, it's a slow burner. Similarly, "Sleep-Walking"'s plodding tempo enhances the ominous feel of lyrics like "the narrowest vision has the widest appeal." Even if Wire isn't the band at its most uncompromising, it requires closer listening than might be expected: is Colin Newman singing "on a mission/telling lies" or "an omission/telling lies" on the aptly named "Shifting"? Either way, it's a highlight that, like many of the album's other best moments, lets the band's melodic gifts shine. "Burning Bridges" and "In Manchester" borrow from '60s pop, but the insistent rhythm section is unmistakable; meanwhile, "High" boasts the kind of dreamy chords that launched a thousand shoegazing followers. The album borders on monochromatic at times (possibly because there are no songs by Graham Lewis, who provided some of Red Barked Tree and Change Becomes Us' finest tracks), yet its subtle subversions are thoroughly Wire, and thoroughly befitting the band at this stage in its career.
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| Cover 1 |
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| Cover 2 |
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| Cover 3 |
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| Cover 4 |
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| Cover 5 |
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| Cover 6 |
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| Cover 7 |
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