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  1.  
    No confirmation email for me, but I'm in Canada, so perhaps that affects things.
  2.  
    The NME takes a break from reporting the latest Twitter feuds between Hip Hop stars I've never heard of to bring us this:
    http://www.nme.com/news/wire/68326
  3.  
    I got that confirmation email early last week too but nothing's arrived yet. Anyone know what that's about?

    Cheers,
    Jim.
  4.  
    "Re-Invent Your Second Wheel" was played on last night's Gideon Coe show on 6Music:
    http://www.bbc.co.uk/programmes/b01qyj67

    55 minutes in, sounds good.
  5.  
    Wow, that sounds great! That's a sound I don't recall hearing from Wire before.

    Doesn't anyone know what this is a remake of? I can't quite place it.
  6.  
    Listen to the many letters in the chorus!
  7.  
    A relative of ZEGK HOQP ?
  8.  
    Wow, so ZEGK HOPQ, huh? This really opens up the possibilities for just how different a remake could be. Graham's voice sounds great in this track.
  9.  
    That Re-invent Your Second Wheel is properly terrific. Not 'it's Wire so I'll listen to it anyway', but 'I'd buy that even if I had no idea who it's by'.

    Officially can't wait for the album now.
  10.  
    ...didn't do it for me.
  11.  
    WTF...auto-tune on a Wire track? I guess I had the same sick feeling when I first heard Bob Mould use auto-tune on one of his albums. We're getting closer to Taylor Swift territory. So much for the rules of negative self-definition. Of course I will consume this, but this is just an experiment right?
  12.  
    Auto-tune? There's a ton of chorus on the vocals, like on most Wire vocal tracks from O47 on, but I'm not hearing auto-tune. Maybe I'm not listening hard enough.

    As for an experiment, it's a very successful one if that's the case. Some of the writing is among the best Wire's ever done (having proofed the special edition's book, I was captivated by some of the texts), and there's tons of atmosphere in the mix. I'm not sure exactly what it feels likeā€”the album as a whole is a combination of modern Wire and what the fourth album might have been, also boosted by Matt's input. Whatever the case, there are so many great tracks on here that Change Becomes Us is far more than an exercise in recycling or throwaway experimentation. Right now, it's probably my favourite Wire release, surpassing 154, R&B 02 and Red Barked Tree.
  13.  
    It sounds like auto tune to me but I think it's tastefully done. It works with the song.
  14.  
    Wire preceded by Brian Rix by The Brilliant Corners! Gotta love BBC 6 Music.

    Now I have a real aversion to Autotune. I think it's a very overused effect and it is to modern pop music what the Linn Drum and that dreadful electric piano preset on the Yamaha DX7 was to pop in the 1980s. I can normally spot it a mile away.

    When I first heard 'Doubles and Trebles' I did immediately think I could hear AutoTune. There is certainly some heavy vocal processing going on, and I can hear a similar effect on 'Second Wheel' and 'Love Bends'. It could be chorus, or harmonizer or some other effect. Whatever it is, I like the songs I've heard so far a lot, but I do find the production of the vocals a bit odd. Perhaps it will make more sense when I hear the whole album on CD rather than low bitrate streaming.

    It sort of doesn't matter because what I've heard so far sounds like post 154 experimental tracks, converted into weird pop records that come from the same place as 'Kidney Bingos' and 'Eardrum Buzz' but performed in 2013 Wire beat combo style. What more do you want?!
  15.  
    Yeah, just spouting initial reactions amongst family and friends. Of course everything needs to be heard in context. I'm definitely not coming from a place of "you can't" "you shouldn't," or "never." More like, "Wow, what is that?" Which is the same reaction W has been getting from me since day one.
  16.  
    To me it sounds more like an aesthetic decision than just something that is there to cover up bad notes. Auto Tune is bad when it is used for a crutch but I really don't feel like that is the case here. Even if it was I really have a hard time faulting guys who are in their 50's and early 60's for needing to use such a tool. There isn't a band on this planet who has remained relevant for as long as Wire have.

    It always struck me that Wire strive to achieve very idealized versions of their material when they go into the studio and performing live is more about raw energy. Take a recent song like "Perspex Icon" for example, that song sounded nothing like the studio version when they played it live. Neither was better or worse than the other... just different.
  17.  
    I really don't like all these vocal treatments (same for Doubles & Trebles). It really doesn't sound "new" or "fresh" to me, it sounds awful.
  18.  
    Maybe the 2 new tracks are deliberately sounding so smooth as a juxtaposition to how rough D&E sounds? I'm looking forward to Heaven to see how it sounds live. I miss Bruce and his spanner in the works.
  19.  
    The first I ever heard of auto-tune was when I read a criticism of Bob Mould (over-) using it. I haven't listened to Bob's work since Last Dog and Pony so this was news to me ... anyway, can someone explain to me how one can identify its use? I don't buy many 'current' artists and so am unaware of how to detect it and am curious (as well as being somewhat adrift in a world of technology with which I cannot keep up). The few current artists I listen to still manage to hit some bum notes, so I presume they're not using it!

    Thanks
    hp
  20.  
    Listen for very unnatural changes between notes. Auto-tune generally makes vocals sound unnaturally smooth and if the source material is really off-key... robotic. "Re-Invent Your Second Wheel" has the most audible use.