Wire emerged out of the
British punk explosion but, from the outset, maintained a distance from that scene and resisted easy categorization. While
punk rapidly became a caricature of itself,
Wire's musical identity -- focused on experimentation and process -- was constantly metamorphosing. Their first three albums alone attest to a startling evolution as the band repeatedly reinvented itself between 1977 and 1979.
That capacity for self-reinvention, coupled with a willingness to stop recording indefinitely when ideas weren't forthcoming, has been crucial to
Wire's longevity and continued relevance.
By the time of
punk, British art schools had long been a hotbed of musical activity, spawning some of the nation's most innovative
rock acts from the '60s onward. Like many
punk contemporaries,
Wire had roots in the art school tradition. At Watford Art College in 1976, guitarists Colin Newman and George Gill formed Overload with audiovisual technician Bruce Gilbert (also on guitar). Subsequently, the three recruited bassist Graham Lewis and drummer Robert Gotobed (aka Robert Grey), and the first
Wire lineup was in place.
Wire began playing dates in London and, having ousted Gill, started from scratch, writing new material and taking a more pared-down,
experimental approach. A gig at the Roxy in early 1977 proved auspicious.
Wire met EMI's Mike Thorne, who was recording groups for a live
punk album, The Roxy, London WC2. Thorne included two
Wire tracks and was then instrumental in bringing the band to EMI in September. By then, with Newman writing most of the music, they were eager to record before they lost interest in material, abandoned it, and moved on; a pattern that would define the group.
Produced by Thorne, 1977's amphetamine-paced
Pink Flag found
Wire taking
punk to extremes while also keeping an ironic distance from it by introducing elements of tension and abstraction.
Pink Flag's 21 highly original tracks (each averaging just over a minute and a half) compressed and twisted
rock into often jagged, taut shapes. The album met with critical acclaim and a follow-up was recorded in spring 1978.
Chairs Missing was a radical departure. Although the phrase "early
Pink Floyd" was uttered dismissively in some quarters, it was well-received. With Thorne playing keyboards and producing, this was a more complex, multi-dimensional record that supplemented
Pink Flag's harsh minimalism with dense, occasionally unsettling atmospherics.
Wire albums usually feature one near-perfect pop song and
Chairs Missing's "Outdoor Miner" almost became a hit, until it was scuppered by a payola scandal at EMI.
This was an enormously creative phase. Songs were being written and jettisoned at a considerable rate and the band was gigging relentlessly. In summer 1978,
Wire played in the U.S. for the first time and, in March 1979, toured Europe with
Roxy Music. Although
Chairs Missing had been released only months before, live sets included a significant amount of material that would appear on
154. Indeed,
Wire often tended to bewilder live audiences by playing new, unrecorded tracks rather than the numbers people expected to hear.
If
Chairs Missing saw
Wire exploring the possibilities offered by the recording studio, on
154 they took fuller advantage of that environment. With Lewis emerging as a vocalist alongside Newman, the result was an expansive, textured album with a more pronounced melodic orientation.
154 was
Wire's most accomplished statement to date and the group seemed poised for success. The opposite happened.
Wire's relationship with EMI unraveled and they were soon label-less. In February 1980 at London's Electric Ballroom, the band played an infamously chaotic show (captured on Document and Eyewitness) that was more like performance art than a
rock performance. A five-year hiatus ensued.
Following a period of intense activity away from
Wire, the members regrouped in 1985, referring to their new incarnation as a "beat combo" -- a no-nonsense, stripped-down unit. The 1986 "comeback" EP, Snakedrill, begat "Drill," a track built on a paradigmatic
Wire rhythm, which bridged the gap between the group's past and its present. "Drill" would stand as an evolving metaphor for the band's shifting identity. It mutated through multiple versions, changing from performance to performance. (In 1991,
Wire would release The Drill, an album composed entirely of versions of the track.)
The bandmembers' solo endeavors during the early '80s proved crucial to
Wire's new direction: the avant-pop sensibility developed by Newman on his albums and the
experimental inclinations of Lewis and Gilbert were channeled into the nascent digital context in which the band was now working.
The Ideal Copy (1987), the first full-length example of
Wire's new approach to the processes of composition and recording with sequencing technology, found the group's smart, state-of-the-art grooves skirting the dancefloor. While first-generation fans were glad to have
Wire back, their new sound drew a new audience in the U.S. and an American tour followed. They continued in an electronically oriented direction with the more homogeneous
A Bell Is a Cup...Until It Is Struck(1988), whose combination of hypnotic, melodic patterns and impenetrable yet catchy lyrics made for surreal, brainy pop.
Wire had already made one of
rock's more unorthodox live records but they further deconstructed the cliché of the "live album" for 1989's
It's Beginning to & Back Again. Performance recordings were stripped down in the studio, sometimes to a drumbeat or a baseline, which was then used as the starting point for rebuilding the track.
Wire continued to experiment with ways of letting studio technologies affect their creative process on Manscape (1990), which forayed deeper into computer-based electronics and programming. Drummer Robert Gotobed was less enthusiastic about changing his role in the developing digital version of
Wire and left the band just before a 1990 tour. Dropping the "e" from the group's name, Gilbert, Lewis, and Newman carried on as Wir, releasing The First Letter. In 1991, another hiatus began and the three returned to their diverse solo ventures.
In the '80s, American bands like
R.E.M. and
Big Black had covered
Wire songs. By the mid-'90s,
Wire's influence started to manifest itself among a younger generation of
Britpop artists, most notoriously
Elastica, whose appropriation of
Pink Flag's "Three Girl Rhumba" resulted in a settlement between the groups' respective music publishing companies. Having briefly resurfaced with Robert Gotobed in 1996 for a performance of "Drill" to celebrate Bruce Gilbert's 50th birthday,
Wire remained silent until 1999, when they began rehearsing again. In 2000, the band played live in the U.K. (including an event at London's Royal Festival Hall) and completed a U.S. tour; unpredictable as ever,
Wire performed almost exclusively old numbers.
Although reworkings of older tracks taped during 1999 rehearsals appeared on The Third Day (2000),
Wire soon initiated their next phase. Completely new material appeared in the form of 2002's Read & Burn 01, the first in a projected series of releases to be developed at Newman's Swim studios. While the fast, loud menace of Read & Burn 01 harked back to
Pink Flag,
Wire sounded more like they were stomping all over their roots than nostalgically returning to them. A second Read & Burn was out by the end of the year;
Send, a full-length containing brand new songs and Read & Burn material, was released in May of 2003. Three years later, a number of
Wire's early albums were re-released; in 2007, the group's seminal
Pink Flag album hit shelves once again, as well as a third Read & Burn EP.
Object 47, a full-length album of new material, debuted in 2008. ~ Wilson Neate, All Music Guide
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