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[5] BBC Music called the album a "glorious avant-pop coup" and (referring to the 2006 edition of the album) "the most satisfying of the three reissues [the others being Pink Flag and 154]." [17] In 2004, Pitchfork listed Chairs Missing as 33rd best album of the 1970s. [18] In 2013, NME listed the album as the 394th greatest album of all time. [19]
154 is the third album by the English post-punk band Wire, released in 1979 on EMI imprint Harvest Records in the UK and Europe and Warner Bros. Records in America. Branching out even further from the minimalist punk rock style of their earlier work, 154 is considered a progression of the sounds displayed on Wire's previous album Chairs Missing, with the group experimenting with slower tempos ...
Mind Hive is the seventeenth studio album from English art punk band Wire, released on 24 January 2020 by Pinkflag. [6] The release was preceded by a music video for "Cactused" made up of clips from the forthcoming documentary People in a Film [7] and streaming audio for "Primed and Ready". [8]
The discography of Wire, an English rock band, consists of seventeen studio albums, twenty-six live albums, eleven compilation albums, eleven EPs, and twenty-four singles. Albums [ edit ]
Pink Flag is the debut album by the British post-punk band Wire.It was released in November 1977 through Harvest Records. [1] The album was critically acclaimed on release, and has since been highly influential; today it is regarded as a landmark in the development of post-punk music.
Silver/Lead was conceived to arrive in conjunction with the fortieth anniversary of Wire's first gig as a four-piece band on 1 April 1977 at The Roxy in London (there had been three previous gigs with a fifth member, George Gill, earlier that year). [13]
[11] [17] Pitchfork described Red Barked Tree as "a shrewdly sequenced album," a necessity arising from the variety of different styles represented on it. "Its 11 songs are more or less positioned along a logical arc-- where a sense of ominous unease gives way to violent release before simmering into a peaceful comedown."
The Electric Ballroom show documents a band revelling in their (artistic) freedom, creating a surreal and challenging show that not only included almost all new material, but also a Dadaist cabaret including a moving 6'x12' sheet behind which the band performed, assorted headdresses and props, and an MC, Wire's manager Mick Collins, who tried to keep control of proceedings.