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Of all the bands in the rock canon, Wire may be the best embodiment of the term “forward-thinking” that is so vogue nowadays, and Object 47 keeps with the mantra with stunning results.
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Wire is a great band who have often been daunting to approach, so the really dazzling thing about Object 47 is just how approachable and digestible it is.
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Object 47 does an excellent job of making a leap toward the avant-pop side of the pop/punk wire walked by…uh…Wire on "Chairs Missing" and "154."
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That misstep ['Patient Flees'] aside, no band mocks harder, and Object 47 is a smartly sardonic piece of work on par with Wire's late-'70s heyday.
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Deprived of Bruce Gilbert's guitar, these fractious lifers return to and improve on their dance-rock '80s.
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Object 47 highlights Wire's pop credentials, but the band hasn't lost its edge.
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Object 47 is at once warmly familiar as Wire yet not a "return" to any particular sonic period in the group's convoluted history.
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At 35 minutes long, Object 47 is the perfect length: short, to the point, and boasting some of Wire's most vital music.
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Scuffed-up and brainy, Object 47 finds Wire still beguiling after all these years.
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Q MagazinePleasingly, this is the Wire's best new music since their glory days in the late '70s. [Aug 2008, p.145]
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Object 47 is proof that Wire’s edge remains as sharp as ever.
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Alternative PressThe serrated serenades of Object 47 offer all the compact joys of past Wire classics like "154" and "Chairs Missing," but amplified and digitalized for the internet age. [Sep 2008, p.149]
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UncutTheir first album without guitarist Bruce Gilbert draws on their strength as writers of nuanced pop, producing, in the mellow rumble of 'One Of Us,' 'Mekon Headman' and Perspex Icon,' a few more for the next Best Of.
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BlenderEven when the Wire slow way down, their densely layered riffs reward wall-shaking volumes. [Oct 2008, p.83]
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Even when the vocals are being run through processors and the guitars are distorted, it still feels managed, and a lack of high-range makes it inviting and easy to listen to even at its noisiest.
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Various people have tried to explain to me why I find Object 47 so frustrating.... My inclination is to forget all that and just play the last four tracks over and over.
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Object 47 is not a horrible record; it just isn’t all that good. It has none of the flare found on the band’s trilogy of classics and is never quite able to free itself from not-so-desirable labels like bland and unchallenging.
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Under The RadarThe album has a very sterile feel to it, almost as if the members all recorded seperately and then mailed their contributions in to be mixed together. [Fall 2008, p.85]
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Wire have consistently proclaimed a dedication to looking forward, yet many of the dance-rock collisions here seem rooted in the late 1980s/early 90s.
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MojoNeither sparkly nor weird enough. [Sep 2008, p.110]