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By the time of their sophomore effort, Wire had notched plenty of live gigs off the incredible strength of their debut
Pink Flag. Where its predecessor had been awash in herky jerks and jagged guitars,
Chairs was rife with what must've seemed like downright longform musical essays. The dirge-like "Mercy," after all, clocks in at an unheard-of five minutes and 46 seconds, and the synth-surrounded "Another the Letter" is the only song that spans just over a minute, sirening and getting nervy and portending 1979's third Wire outing,
154. It's a silly phrase given the stature of Wire's debut, but compared to
Pink Flag (see how silly it is to compare things to
Pink Flag?), what's here is diffuse. It's also brilliant: claustrophobic and rich in post-punk detail, furious and floating, anthemic ("Sand in My Joints") and pop-laden ("Outdoor Miner"). And now it's back, in a gatefold digipak, remastered and rich in color.
--Andrew Bartlett
Product Description
UK remastered pressing. Wire's 3 Harvest released album's in the 70's are often referred to as a kind of accelerated development Triptych. The dfferences between the reductive minimalism of 1977's Pink Flag and the layered baroque (albeit still minimalistic) of 1979's 154 show a staggering turn over of ideas, yet each album remains iconic. 1978's Chairs Missing represented perhaps the biggest conceptual leap made during this period of Wire and was widey misunderstood at the time yet it remains, to the band and production crew Wire's favourite 70's album. If Pink Fag proposed an almost cut & paste approach to deconstructing rock history Chairs Missing proposed something more radical, a definite futurism with much less influence from it's antecedents. Chairs Missing was at once more stark and more lush than it's predecessor and has exerted it's own influence on the course of cultural history having laid down one of the earliest (if not the earliest) blueprints for the genuinely post-punk aesthetic. Emi. 2006
--This text refers to the
Audio CD
edition.