Emerging from punk, Wire was part of the "art-bands", in opposition to punk's general distaste for "art"; apart from drummer Robert Gotobed, Wire all came with an art-school pedigree. Releasing their debut Pink Flag at the end of the age of punk (if it wasn't already 'dead') - December 1977 - it was also something of a protest to the movement's increasingly becoming a parody of itself. Pink Flag is fast and furious, few songs passing the 2-minute mark. It is brutal and 'punk', but all the same it is clever and original, through its many experiments. In many ways, it marked the beginning of post-punk.
On Chairs Missing, Wire proved themselves unpredictable. (As I said, I am impressed by Wire's ability to naturally progress from one style to another - and that is mainly an album-thing). Consciously, they opposed themselves not to repeat themselves - this was obvious, considering their defining art as something alienating and ever-changing. Songs were lenghtened, and synths was introduced by producer Mike Thorne, that practically became a member of the band. Overall darker than its predecessor, Chairs Missing lacks the brutality of Pink Flag, but is sometimes much more catchy and accessible. This is a post-punk record that would shape a lot of post-punk records to come, and that I suppose (this is just an assumption) have had a huge influence on a lot of modern indie pop. It is a classic.
This version contains some bonus tracks, including what I think is the single-version of "Outdoor Miner" - their biggest "hit" - as well as the great non-album single "A Question of Degree," along with its b-side, "Former Airline."
Chairs Missing
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