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    I honestly don't understand the negative feedback towards this album. i think its one of the best wire albums yet. whenever i listen i feel they have finally got it together after the bruce man left. they really sound confident and sure.

    obviously the album has been split in two. the first half is pure beauty.
    the second half is propellingly beautiful. thats my opinion anyhow.

    and pretty much every track for me is my fav off this album. it changes daily. shifting is the only one i had to really try and get into. but now i love it!
    I agree on Shifting which is the only one i did not like too much at the beginning, and it took me a while to even include it in the playlist in the first week, when i still had the album only in digital format. It's growing now but i'd probably still like the album better with 10 songs. Must be my personal taste though, as i've read somewhere else of people that consider it even among the best songs in the album.
    No doubt that it's a great album, and the strength of the material is certified by the fact that at the recent gigs the majority of the new songs didn't sound at all weaker than some absolute classics like Drill, Used To or Blessed State.
    In fact if i had to mention my absolute highlights from Drill Lexington those would probably be (alongside Drill) Harpooned and Split Your Ends, both from the new album.
    I agree. It would have been much stronger with 10 songs. In fact I feel shifting will deter people from the album if they don't know wire. I think, if commercial success is in mind, the song should have been left out or put much later as a buffer. Or replaced in general. I don't feel it fits with the album tbh. Another comment... The lyrics in this album are some of the best. Brings me back to 79-80 wire.
    Really hoping Colin was serious when he said they should be putting an ep out early next year of the 6 or so songs that didn't make the album cut for fluidity reasons.
    "Blogging" - It's a shame people focus so much on the lyrics (which I personally think are great) because I think they nailed it on the studio version of this song. It sounds totally like Wire yet completely different than anything they've done before.

    "In Manchester" - Pop perfection that can only come from the band who wrote "Outdoor Miner"

    "Octopus" - I love that main riff and the album version sounds lively in a way that has been missing from recent studio albums. Has the feeling of a band playing together in a room.

    "Harpooned" - The best Wire album closer ever! Really hypnotic and intense.

    The only track I am lukewarm on is "Joust & Jostle" - it hangs on that one chord for too long which makes it sound kind of monotonous. If this is what "Flying Dutch" evolved into I would like the original back.

    The self-titled album is easily the Krautrockiest thing Wire have ever done. It is a good direction for them especially with someone like Rob behind the kit. I hope they take that direction even further next go round.
    Octopus was an instant hit when I first listened to it, and In Manchester is incredibly catchy.
    I knew Harpooned from when I saw the band live last year, and loved it - also love the album version, maybe the best song of them all.

    It's not an easy album to say the truth, I didn't like it that much on the first listening, it seemed like an "easy" album. But it's not. Just have to listen to it a few times to discover it. And I like very much the recording, sounds very clean and well done, with everything in place. Maybe the vocals sound very prominent, but still ok.
    For me it's pointless trying to allocate a new Wire album in the canon so soon after release (other thread). The latest/new one is obviously always likely to be the most interesting, but a Wire album rarely reveals its full charm or otherwise on the first few plays.

    However, to choose a 'current' favourite on the new one, I'd have to go for Burning Bridges. Something simultaneously very Wire/Un-Wire about it that somehow bites.

    I'd have to disagree with Julia; after initial ambivalence I think Shifting is fine and deserves its place.

    Leeds this evening!
    whenever i listen i feel they have finally got it together after the bruce man left.

    The Bruce man ?

    After listening a few more times I now love shifting and regret what I said before. Haha oh wire
    Often the way with Wire. I was underwhelmed by Joust & Jostle when it was put out as a taster, but it's in my head now, even though it's not always welcome.

    CBU was pretty immediate for me, and I'd place it right up there with their best work; the only one there that has never worked its way into my affections is Magic Bullet. I often like the fact that there's a track or two that one bypasses due to them just not working / hitting the spot, only to return to them later to find they've fallen into place - it's almost like having bonus new material; but Magic Bullet has just never got there for me.
    Didn't realise there was an 'official video' for Burning Bridges. Not on my toes I guess.
    its exactly like having new material! and it gives you a sense of accomplishment when you finally realize why a song is so good, same with the lyrics!
    After listening to the album something like 20 times or more i still don't like Shifting enough to think that it should be on the album, and if it certainly shouldn't be so early in the album. But as i was saying tastes are obviously different :-)
    I also never particularly liked Smash, which seems to get a love from everybody else, including the band as it's one of the songs they played most often during the tours pre- and post-RBT.
    Blogging, In Manchester and Harpooned are my favourites at the moment. The album's been something of a grower here, although I think that's in part due to Shifting and Burning Bridges not doing a great deal for me and knocking initial listens; now I find In Manchester through Harpooned is a really strong block of Wire work.

    I do find it bizarre how critical reviewers have been of Blogging's words, though—clearly, some people don't get the joke. (And the chorus especially is fantastic.)
    After repeated listenings, I think the whole album is excellent, really quite excellent. Of the last 3 it's the one that I like everything on from top to bottom. To my ears there's no "filler" whatsoever. For me the whole thing has an infectious vibe to it
    and no disrespect to GL, but I don't feel his vocals are missed or needed on this one. Colin's vocals and the understated, subtle brilliance of the music give this one a dreamy, surrealistic quality that wasn't on the previous 2 releases which were a bit of hit or miss for me. Not this one. Shifting is beautiful shimmering pop at it best and definitely fits in with the rest of it. At first I would have preferred weirder, noisier, more experimental stuff as some have suggested but now I feel just the opposite. I view the whole record as stunningly beautiful single piece, rather than a collection of discrete songs. This one stands with the best of Wire's output. So hard to compare to the early first 3 albums. They're kind of like Warhol's car crashes and electric chairs and Jackies…..they occupy a space and time all their own…...this one is more like Picasso's late period -there's a radiance, depth, and vibrancy that, unfortunately, is going to be overlooked by the masses.

    Craig, it happens all the time. I personally never focus on the words when hearing something new. To me they're just sounds that have to compliment the music or it doesn't work. I have to love the singer's voice or, again, it won't work. I mean it's fucking pop music and in terms of writing it 's about as abstract as you can get. Obviously some lyrics are better, more profound than others but that is secondary to the sound of the music.
    "I view the whole record as stunningly beautiful single piece, rather than a collection of discrete songs."

    From what I understand, a certain amount of coherence was intentional. These are the songs from the sessions Wire did that felt most like a band playing, and held together as a set. The ones removed weren't 'worse' songs, just ones that didn't fit this particular item.

    As for the words, I think Graham's been on a roll these past few years. Change Becomes Us and Wire in particular contain some of the finest sets of texts he's ever written for Wire. And some of the funniest too, which flies over the heads of so many reviewers. (The darker side, at least, is noted. Harpooned, in particular, has a certain harrowing edge.)
    The coherence in the 'Wire' album has one slight flaw in that on first and second listens it can sound it bit samey.

    This might explain why some music journalists – who obviously don't sit down with a new release for weeks on end – pronounce that parts of the record stray into monotony (yes, I'm looking at you Uncut!)

    But after subsequent listens each track reveals itself more and more – then when you've heard 'Wire' 20 times it lets out a loud fanfare and declares: "I, the eponymous Wire album, am worthy to sit at the big table with all the other Wire masterpieces!"
    Reviews of music are so often utterly useless. There's no money in media journalism any more, so what you're often getting is someone's immediate response to a thing rather than their considered opinion. (It's the same in games journalism and most TV/movie stuff, too.) Uncut's 7 for Wire seems harsh to me, but there you go.
    I'm a newspaper production editor, Craig, and it's all about smaller budgets, fewer subs, tighter deadlines and no wage rises for seven years. It's all shit – then you go home, switch on the TV and be patronised by some electioneering politician straight out of uni who promises a brave new world, even though he/she is talking out their sphincter.

    Yes, both Uncut and Mojo were a tad harsh in their ratings, but everyone takes reviews with a large handful of Saxa anyway.

    The main thing is WE have Wire. That's all that matters