Through the Wire of Punk Glory

Wire is not a stereotypical punk band. There is a showcase of experimentation that goes into every album they have released, each with their own new spin. The London, England band consisted of four core members in the ‘70s – guitar and vocalist Colin Newman, bass and vocals Graham Lewis, drummer Robert Grey and guitarist Bruce Gilbert. The group presented three complex releases that are now iconic within the genre – Pink Flag, Chairs Missing and 154, all of which are being reissued with b-sides that paint the picture of Wire in the late ‘70s.

The first of the three, Pink Flag, really varies between a classic punk sound and an experimental form of art-punk that is quite influential to today’s genre. The album can switch from the noise of “Reuters” to the hard-hitting quickness of “Field Day for the Sundays” on a whim. The diversity of Pink Flag still brings a cohesive unit of enjoyable tracks that can range from the dangerously catchy “Ex Lion Tamer” to the humorously rude lyrics of “Mannequin.” The demos showcased here really show the barebone skeletons that these iconic tracks such as “Champs” were at one time. They reiterate an unproduced, lo-fi sound that makes Wire the punk band they are, as arguable as that statement can be at times. The same goes for the alternative mixes to tracks like “The Girl Rhumba,” which emphasizes the catchiness of Pink Flag.

Chairs Missing really paints a picture throughout. Classic tracks like “French Film Blurred” really encapsulate their title. The blurriness of the guitars and the mumbled vocals create a distorted vibe that stick with the listener. Yet, the album can switch on a whim just as Pink Flag does. Immediately after that track comes “Another the Letter” which is the most Devo style song in Wire’s discography. The noises sampled here plus the disfigured nature of the track make it a hokie, yet catchy piece. “Outdoor Miner” is the catchiest track on Chairs Missing, sporting a ‘60s rock vibe that is seen in art-punk bands today like Parquet Courts. If a listener enjoys this vibe from Wire, then the b-sides of this reissue have a track for them in “Culture Vultures” which transitions from the ‘60s sound to a more frantic Talking Heads post-punk style. The same raw aspect of the demos on Pink Flag have been showcased here on this reissue as well. Tracks with a lot more depth on the original record are shown at their most basic punk tracks in songs like “French Film Blurred” which has two separate demos here.

154 is the most unique out of the three albums listed here. The production style is darker, and the listener can sense a haunting sound immediately during “I Should Have Known Better” with the echoed distortion in the guitars and the deep vocals. “On Returning” is extremely catchy in its use of a synthesizer that builds into an anxious frenzy of sound by the end of the track. One of the better demos showcased in this triumvirate is the demo for “Once is Enough” that really emphasizes the catchiness of the riff that comes off as haunting in the original, but more universally fun and enjoyable in the demo. The b-sides on 154 are the best out of the three. “A Question of Degree” has that enjoyable ‘60s sound that is shown in Chairs Missing. “Midnight Bahnhof Café” has that typical Talking Heads-style ‘70s art-punk sound with an incredible bass line by Lewis.  

These three albums should be required listening for punk fans. Wire represents a feature in punk culture that is often forgotten in modern day interpretations – the idea of being different. In the current state of the genre and in its past where punk bands often sound similar to their forefathers, Wire represents an ethos that punk was born from and these three records showcase that differentiation and innovation for the genre. Not to mention the various demos showcase something for deep cut fans of Wire. Any die-hard is going to enjoy this release.