Post-masters

47 releases in, Wire can still get it up
By DANIEL BROCKMAN  |  October 2, 2008

081003_wire_main
NEWMAN, LEWIS & GREY: “That full-on rock thing from the early part of this decade, I’m not feeling that anymore at all. I’m feeling very bored with rock music.”

Methods to the madness: How Wire songs happen. By Daniel Brockman.

In the annals of rock-and-roll-origin stories, Colin Newman, singer/guitarist for the pinned-down cynical conceptualist rock band Wire, has one of the odder ones. “At the tender age of 20, I was sitting in my bedroom in Watford deconstructing rock and roll. My mission was to take the ‘and roll’ out of ‘rock and roll.’ ” There’s a pregnant pause, and then he deadpans, “You’re supposed to laugh when I say that.” Ladies and gentlemen, if you want to know where the dry wit and brutal irony of so much modern pop music comes from, it is a defensible theory that it all began in a bedroom in Watford.

Although they were thrown into the general category of punk when they formed back in 1976, there was always something . . . different about Wire. Newman’s sardonic voice — capable of being plaintive and yearning in one song (say, the shimmering effervescence of 154’s “Map Ref. 41ºN 93ºW”) and snarkily nasty with punk vitriol in the next (the pummeling proto-hardcore of Pink Flag’s “12XU”) — always met the music at odd angles. Which makes sense, since the simple no-fills clunk-clunk of the drums and the martial rigidity of the bass and twin guitars compelled their songs to move in straight lines. They had a prickly, studied attitude, like a buzzkill at a party. Newman recalls, “When Wire first played America in 1978 at CBGB’s, we were told that we couldn’t play, because we didn’t have proper songs, that they didn’t end properly. Bands like the Sex Pistols and the Clash were playing much more traditional rock songs than us. And for me, I could see them for what they were: there was great entertainment value, but it wasn’t so . . . interesting, what they were doing musically.”

What Wire were doing musically was, as Newman puts it, “taking a cutting tool to the whole notion of rock.” Their debut, 1977’s Pink Flag, was not so much a call to arms as a frigid and sarcastic commentary on the notion of rock and roll itself: 21 songs in 35 minutes. But instead of a relentless rock assault, you got a series of short, disturbing vignettes: melodic songs, energetic rave-ups, with all the indulgent fat of typical ’70s rock shaved off. “Rock music was mainly very tedious,” says Newman. “You see, the thing is, I don’t like rock and roll, and I never have. Fifties rock and roll, I mean. I grew up with this sound in the ’60s, which somehow seemed to be more in color, whereas the ’50s were more in black and white, or even brown and white. And the music all seemed very dreary, so I don’t have any warm feelings towards most rock and roll, so I don’t need to defend it or be in the tradition of it. So I’m quite happy to just, you know, take a big mallet or sledgehammer to it and smack it around a bit.”

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