Wire’s Object 47 is Too British


Since beginning my one album review a day last week, I missed a few days. I will catch up tonight and tomorrow and Wednesday. I hope. After being completely addicted to Wire for the past 6 months, I felt I was well versed enough in Pink Flag/Chairs Missing/154 I thought I would check out last year’s Object 47 that was so acclaimed and hailed and written about. This was my first listen. These are my notes. Albums deserve more than this, but fuck it, I think it’s a damn good review.(note: I just listened to Pink Flag and it is very British, but it doesn’t get in the way. It does for some reason for me on Object 47.)


Track 1- One Of Us:  Were they always this British? Their Britishness seemed less before. Man. I can’t stand this British singing-long-drawn-out accent thing. Too much chorus: One of us will live to rue the day we met each other. Is music really this bad these days that THIS is considered good?

Track 2- Circumspect: Repetition of unglorious riffs and chimes. That’s right. Chimes. Echoed out vox. Too British! Horrible horrible breakway with the line: Always dark and circumspect. Instead of breaking from things, they are breaking in cliches.

Track 3- Mekon Headman: Something better already. Good bass and guit, pounding WIRE drums finally. Some good weird WIRE lyrics finally.

Mekon Headman.

Good verse:

Surgeon General’s
Package warning
If you persist
Your time is up!

Still a bad bad chorus:

Please let me
Help you remember
Your memory’s shot
You’ve lost the plot
Please reveal
Your whole agenda
Your time is up

The chorus sounds like a song off Pink Flag being played by some horrible 80s new wave band.  Slowed down and too British. Good tangent guitar breakdown riffing. Something a lot of bands learned from WIRE.

Track 4- Perspex Icon: Where’s the balls? This band had balls. Weak shit man. High-pitched no ball singing. Mike walks in, (lover of old Wire) and says, “This is Wire?” Sounds like all this shit today. He says Decemberists.

Track 5- Four Long Years: I like Chairs Missing. I think it did a lot for synths in rock music. I take it seriously. If this is what it’s like to get old, I’m gonna suicide early. I think 27 maybe. A hallmark year. I can’t even think of what shitty bands this sounds like. No wonder the critics fell head over heals for this thing. It sounds like all the other shit today. And if you applaud it, you look smart for your knowledge of the ole seminal BRIT band’s story and it justifies a lot of the shit music that’s out there today. I hate the fucking word seminal. Semen.

Track 6- Hard Currency: What is forward thinking in rock music? I mean, you’ve got the same basic instruments played the same basic way. I mean it ain’t jazz or classical. There’s a repetition of a basic mixture of these sounds. The vocals of most rock musicians are about the same in the large scheme. So, forward thinking? Break up the repetition. DO something different to keep the listener on his/her/its toes. Yea, this doesn’t do that.

Track 7- Patient Flees: The first time you hear WIRE vocals on this album. This goes against my previous argument about forward thinking, but, umm, let me work my way out of this. Wire sang funny. A lot of bands to follow Wire tried to sound funny, mostly punk bands found it a very interesting style of singing. Stressing every syllable. Make words matter. It’s not a passive style of singing at all. I argue forward thinking is continuing to attack while all others sit back and let it all slide by. This is the only song so far with attacking vocals. Wow. Big words.

Premonition, humiliation, inspiration, intoxication
Provocation, subjugation, discrimination, motivation

Good WIRE words. This is a good song. I like this song. Good guit riff. Good bass. Good build at the end. The only studio artificial effect that’s paid off at all on this album.

Track 8- Are You Ready?: Did WIRE feel like they missed out on the late 70s (?) early 80s new wave warehouse dance scene? This song is the old guy who didn’t party enough in high school so he’s still going to high school keggers and asking the sixteen year olds if they are eighteen yet. OK OK. Toss in Iraq and Jesus and it’s a song you’ll dance to and occasionally turn your head and say, “What the fuck is all this about Iraq and Japan and Apple and Dell and Jesus?” I love the disparity. OK I just looked up disparity and Merriam and Webster say it’s definitely the right word to use. I like the idea, but I don’t like the song. Maybe it’s because 1. I can’t dance and 2. I don’t give a shit about politics. OK just read the lyrics again, and they are pretty good. I take it back, but won’t delete what I wrote. It was written.

Track 9- All Fours: At 2:20, this song is kick ass WIRE. Killer moment. Drums pound. Guitars squeal more than ever. I turn up the volume. Am not embarrassed at all about listening to this song. (Was when Mike came in before- see Track 4) Great lyrics. Good background vocals:

Lowest counts since moonman walked on all fours.

Good build in background. Nice halted WIRE ending.

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