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    stevethehouse: "I agree with the sentiment that Object 47 has not stood the test of time and in retrospect the album and tour caught Wire at sort of an awkward transitional phase. There are too many uneventful tracks like "Circumspect" and "Hard Currency" for such a short album."

    O47 was underwhelming for me from the start and hasn't really improved in the succeeding years (I wouldn't hesitate to place at the bottom of their catalogue). I think "awkward transitional phase" captures it right, figuring out what post-Bruce Wire represents. O47 always reminded me more of Githead than Wire, a much smoother vibe to it all. And while I like Githead just fine, Wire's always brought something more jarring for me (which is why I rate the disparaged Manscape higher—it's got more sand in the joints). The excellence of RBT (and seemingly CBU) is as much the quality of the material as the success in transitioning to post-Bruce Wire.
    On the other hand 'One Of Us' is still one (of many) of Wire's most sublime 'pop' moments.
    And therein lies a problem! There are so many sublime 'pop' moments in Wire's output that the prospect of CBU fills me with a tiny bit of dread - how the hell do you get those great tunes out of your head?! Generally it's an enjoyable dilemma, but am I the only one to be plagued in the wee small hours with hooks, melodies or perfect chord progressions, to the detriment of a good night's sleep?! Any advice willingly accepted.
    In the meantime, I'll confess to having such a weak will that I had to check out the itunes excerpts. Yes - it does sound like a belter. I'd love to be in the position of never having heard the original source material. What would these pieces sound like 'brand new'? I guess no-one on this forum could answer or imagine that.
    To be honest mark'em I'm looking forward to CBU dislodging the new My Bloody Valentine LP from my headphones (and my internal radio station), which I can't seem to stop listening to, it's very moreish that one.
    You won't have to wait too long R Swimmer. The digital version will be in your inbox tomorrow, that's if you paid for the special edition bundle. Bit of a delay on the physical release though if you ordered the book as well, which I have. Very much looking forward to hearing the digital version in the meantime though. :-)
    > The digital version will be in your inbox tomorrow, that's if you paid for the special edition bundle.

    Has this been confirmed that the digital version will be released a week beforehand? I mean, hot damn, a great start to the week and all, but I don't recall this being announced.
    I've only just received an e-mail from Pink Flag and it's on the Greedbag website as well, unless I've read it wrong!:
    Damn my cursory reading habits!

    > I think we can say pretty confidently that those who have already ordered, apart from getting the digital version of the album tomorrow, will be feeling pretty smug by the end of the summer (if not before) as the release will by then be a collectors item!

    I'm now in kid-on-Christmas-Eve mode …
    Looking forward to hearing the album tomorrow and also keeping my fingers crossed that Greedbag doesn't find a way to screw this up.
    On the eve of the album going digital, I'll come clean and admit I've had a promo of it for a little while now - as I'll be reviewing it for - it may be up in the first week of April but I'm about to write it now. Without giving too much away all I'll say is this.....

    It's my favourite Wire album.
    It blows my bloody head off.
    If "Eels Sang" wasn't included - I admit I was never a fan of "Eels Sang Lino" but the new version does improve upon it - this would be that all too rare commodity of a perfect album.
    My partner - who has never heard the original tracks the new album takes its springboard from - heard the album the other day and loves it for what it is - a great album.
    Oh dear.

    This is going to be torture.

    Here's the problem - for ages I have picked up an album that I've never heard to bring along with me on big vacations. Builds permanent associations and memories, which I quite like. The release of CBU - and the fact that it would take about a week to get my order from the UK - lined up almost perfectly with the trip I built around this spring's Utrecht Record Fair.

    Now I'm going to have the digital (FLAC included, I'm assuming) copy today? Don't get me wrong, I'm not complaining about the early digital release, but this now means I have to sit on it for about a month if I want my full holiday tie-in experience!

    Oh, oh, oh. This is gonna be rough.

    Well, at least I have Boots2 to tide me over 'til then.
    Downloading as I type - looking forward & thanks :)
    Wow. Even having heard clips beforehand, the effect of finally hearing the full album is glorious. This is a remarkable achievement for the band. It closes a loophole of the what-might-have-been fourth album and it summarizes the facets of Wire's history and character—sometimes discordant and fast; sometimes atmospheric and moody; sometimes poppy; and always a bit unsettling. "My" Wire has always been the noisy and jarring one, so it's unlikely Send will ever be dislodged from the status of my favourite, but I wouldn't look sideways at anyone who declares this their favourite or speaks of it in the same tones as Chairs Missing or 154. I had some fears about the idea of revisiting half-developed ideas thirty years old, but they've not only assuaged those anxieties but proven it as smart a move as any they've ever made. Many, many thanks to the band for this.
    After hearing it again last night - today I decided to cobble together a compilation of the original tracks (in order) that CBU sprang from. The new album is an astounding improvement!
    Are those Desmond Simmons penguins at the end?
    This album is an astounding achievement. The best thing they've done since 154. This won't leave my CD player for months.

    I was never a big "5/10" fan but "Time Lock Fog" is a huge standout for me. They really nailed the atmosphere on that song.
    "Time Lock Fog" is the biggest surprise - because as they were debuting a few of these tracks live during the November 2011 UK tour - they were playing "5/10" as it was originally written.
    My current fav is Stealth of a Stork, mind you I always loved Witness to the Fact. I notice Bruce does not get a writing credit on any of the songs which is a little surprising to me. Very happy with the how they've reinterpreted the majority of the songs especially B/W Silence, a real beautiful song. The only one I'm not to keen on at first is Re-invent your Second Wheel. Best new Wire album since A Bell is a Cup for me.
    "Bruce does not get a writing credit on any of the songs which is a little surprising to me."

    Colin told me that's because Bruce didn't write any of the songs that ended up being used—it's as simple as that. However, in recognition that Bruce was there at the time the original tracks were created, he's getting a percentage across the album nonetheless.
    "Great pity we did not do a studio version."

    Bruce's words re "Document & Eyewitness" - has he heard CBU? I wonder what his feelings are on the way the project ended up - and how he felt having the band re-record the tracks without him.