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  1.  
    I didn't order the book, though. I ordered the legal bootleg series bundle.

    Long story short: I could have the physical copy in my hands today if I DIDN'T pre-order.
  2.  
  3.  
    "I didn't order the book, though. I ordered the legal bootleg series bundle. "

    Ah. In that case, I've no idea why you don't have your item. From what I've seen elsewhere, others have theirs. Could easily be Royal Mail rather than Greedbag. (Our local depot periodically 'stacks' mail—instead of a daily delivery, we get a suspiciously large pile of stuff after three or four days of nothing.)
  4.  
    That might be the case but I'm in the States. I'm really hoping the shipment passed through Royal Mail weeks ago.

    I could check the tracking info... oh wait... there is none!
  5.  
    This just in from my order at Amazon UK:
    Unfortunately, the release date for the item(s) listed below was changed by the supplier, and we need to provide you with a new estimated delivery date based on the new release date:

    Wilson Neate "Read & Burn: A Book about Wire"
    Estimated arrival date: April 09 2013 - April 13 2013
  6.  
    Another 5/10...ho hum:
    http://diffuser.fm/wire-change-becomes-us-album-review/

    And can't work out if they like it or not:
    http://spydistrict.com/2013/03/change-becomes-us-by-wire/

    A great review: Wire’s most philosophically consistent album, Change Becomes Us is also one of their best
    http://www.rockcellarmagazine.com/2013/03/26/wire-band-change-becomes-us-album-review/

    Another good one:
    http://exclaim.ca/Reviews/PopAndRock/wire-change_becomes_us
  7.  
    I'm putting my steel helmet on as I think this is their best album since the Mk2 Wire days. Which is hardly surprising as it does sound in many places like bits of both period 1 and 2. I was always a sucker for the more melodic Wire tunes juxtaposed with the high speed punk thrashes so this has hit all the buttons. I've bought every Wire album on release since discovering them on 'Live at the Roxy' and I think this is going to become on of my favourites. Also Matt has brought a new dimension to the sound, a bit of warmth that's been missing? Roll on to another 35 years although I suspect we'll all be playing harps by then.

    Now if they could just get on "Later with Jools..."
  8.  
    CBU is the best Wire album since 154. There. I said it.
  9.  
    So, you got it then?
  10.  
    Nope. Just the digital download is all I have. I emailed Greedbag and they were surprised that it hadn't landed in the states because they "mailed it last week". Total amateur hour nonsense.
  11.  
    "CBU is the best Wire album since 154. There. I said it."

    I agree. Possibly the strongest thing about it (apart from the playing, the textures, the tunes, the texts and the variety) is the track order - it's so cohesive. Like 154.
  12.  
    It's a very substantial record indeed, it's still on heavy rotation here!


    Some more good reviews here:

    http://www.spin.com/reviews/wire-change-becomes-us-pink-flag 8/10

    http://www.popmatters.com/pm/review/169699-wire-change-becomes-us/ another 8/10
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  15.  
    Has anyone in the states received their physical copy of Change Becomes Us yet? I'm starting to get worried as it's been a week since the "release date" and I still haven't received mine.
  16.  
    As I see it CBU is a totally separate and discrete work from D & E. Clearly Wire made this record for themselves, as all artists do, and that's the way it should be. I haven't yet seen a lot of reviews which is surprising as it seems they're were a good deal more for RBT. I think critics have their place but what they say should always be taken a grain of salt. Even calling someone a *critic* implies an importance that is often not really warranted. Basically their journalists who often distort or fabricate the facts to make the story more interesting or sensational. As Truman Capote said about Jack Kerouac, "it's typing, not writing", the same could be said about many so called art critics.
  17.  
    Just a short coda to all of the chat about whether CBU is a 'new' or an 'old' record: it appears to escaped a lot of people's attention (and I'm largely talking about music journalists here) that Wire appropriating bits of its past to fashion something new is not a new concept.

    If you read ELAH, you'll see that German Shepherds evolved out of Finest Drops, while significant chunks of The First Letter contain riffs and samples from the glory days. The whole of The Drill was created by exploring the possibilities of the song of the same name.

    The only difference is it's a little more overt this time round, but it's hardly controversial.

    For the record, and in case anyone cares, I think it's easily the best thing they've done since A Bell is a Cup. It's certainly the most confident-sounding collection Mk III has created. And someone's going to have to go some to beat Re-invent Your Second Wheel if they want to come up with a better tune all year. Absolutely wonderful.
  18.  
    Fortunately, looking around, most publications seem to have gotten it. The pity is many no longer include ratings and so get omitted by Metacritic and Google and that crappy NME 'review' is prominent (although now has a spiky comment from a reader, at least on the UK NME site). But, yes, Wire's always taken things and reworked them; the thing is, that doesn't fit with the story certain hacks want to tell, which is that Wire rebooted itself for every album. That's a bit more complex and harder to write about.
  19.  
    Pitchfork review is up, and to be fair I'd argue these guys reach far more people than NME these days.

    A very respectable 8.2 from them

    http://m.pitchfork.com/reviews/albums/17720-wire-change-becomes-us/
  20.  
    Yeah, I was just reading the Pitchfork review- certainly very influential here in the states among younger kids.

    Just don't agree that D & E is "messy, bizarre, muck, or difficult".