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    Hey, just bought my vinyl copy at my favorite viennese store.
    Yes, at first glance the b-side feels a bit same-same, but nonetheless powerful.
    And in that sense also "Small Black Reptile" fits perfectly, does it not?

    But again i have to ask: is noone else bothered by the missing of printed lyrics ? Not even on the vinyl?
    It is not only a chance of playing with design, as Wire did on every album till "the first letter" if i am not mistaken.
    It also sets a different mood of listening, if you hold them as part of the product, hold the wrapping still in hand, while listening.
    Or is this really just a thing for people with a certain age and not having english as their mothertongue?

    all the best
    You could listen to the album whilst having this page open of course
    yes i could, but that is not practical and not comfy
    obviously i printed them, but still this is not the same, and still this is not the point i was trying to make.
    The lyrics are on the special edition
    The album starts very strongly, and drifts away over the second half where there is not enough variety of tone. Welcome return of Graham to vocal duties and Harp for the Fishes is particularly great.
    I enjoyed the Marc Riley session, and I am looking forward to seeing the band on Thursday.
    I have to say I think this is the best work since CBU. I thought the first half of Nocturnal Koreans was excellent, and although I enjoyed aspects of Wire, I didn't fully warm to it; Sleepwalking seemed to get in the way somewhat. And whilst on initial plays of Silver/Lead it took time for some of the tracks to assert their individuality (Forever And A Day* and This Time seemed initially a little interchangeable in aspects, whilst both being very strong) it's developed into a really cohesive body of work. The slightly sombre atmosphere is a major positive for me. And although bucking that trend, at least sonically, Short Elevated Period works much better as a part of the whole than as the advanced sneak preview that it was when I first heard it.

    A couple of points regarding the book. The excellent Graham Duff writes; "Not since 1979's 154 have there been so many Lewis vocal cuts on a Wire album." But this appears not to take into account Manscape.

    Secondly, Wire state in the intro " ... we wrote and recorded far more material than we needed." Does this mean that there's the possibility of a second 'Nocturnal Koreans' type release? I do hope so.

    * Giving a lift home to a friend with no knowledge of Wire the other week, I had Silver/Lead playing (it sounds fantastic in the car), and Forever And A Day was the one he immediately hooked into, took note of and started raiding Spotify for.
    "But this appears not to take into account Manscape."

    Bugger. I must have missed that in my proofing runs. Although I'll just blame Graham Duff, natch.
    I didn't mean to tittle-tattle (do people still use that term?) - I was going to, half-heartedly, offer my services to proof-read any further projects. But yeah, blame Graham Duff. I met him at the Brudenell (at a Wire gig) two or three years ago; thoroughly good bloke, from what I could gauge.
    This one really grows on you, I'll say that. The mid-tempo thing is real but turns out to not be such a bummer. This album is killer.
    I had an email published in the latest edition of Uncut magazine, defending Wire's brilliant output since 2011. I felt compelled to do it after someone accused them of treading water over the last few albums. Utter nonsense. So...pleased they published my thoughts, not so pleased they mistakenly printed the correspondent from a letter earlier on page instead of my own! At least my point was made, I suppose!
    Does anyone out there know what sort of sales figures Wire have accrued over the last few albums?
    I know we're not talking about platinum figures, but I'd like to think they were pretty healthy for the pinkflag label.
    Wow! As many as that?!
    Is it just me or has Wire's 40th year been - in true Wire fashion - so low profile it has almost disappeared inside itself? Silver/Lead seemed to come and go with not much fanfare. There's been very little activity on this website. And the band have been close to anonymous on Facebook and Twitter. OK there's been a fair bit of live activity and their autumn and early-winter schedule is packed, but there just seems to be a low level of media profile considering we'd been building up to this anniversary. Maybe it's been a typical Wire rues - the anti-celebration celebration!
    I think that is fair to say. I love the new record but when you take a step back and look at the last 3-4 records I think Wire could be in danger of becoming too reliable and less challenging over time. Send was the last Wire album that really took me by surprise and I think they need to shake things up a bit and really challenge their audience on the next record.
    I agree, Steve. It feels a bit churlish to say this when of your fave ever bands are still releasing new music all these years later, but...I would let Nocturnal Koreans off the hook as it didn't quite seem like a proper full-clown release, more tidying up leftovers if I understood that right, but Silver/Lead - I like it, but no, it doesn't really surprise me. It's a solid LP but that's not what I associate with Wire. Personally I'd like to see them work with an outside producer to throw something else in the mix