Neither Lewis nor Newman is a natural-born singer, but they both know how to get the most out of their voices. Together with Grey and Simms, they are still in top form.
The serpentine subtleties and fresh takes on old ideas are what make Silver/Lead an especially engaging listen. These sorts of background-noise intricacies are what make the album sound so permeated by friendly ghosts, both in pushing forward to something new and harkening back to their heyday.
‘Silver/Lead’ is a harmonically and melodically rich album – with occasional stabs of heavier guitar, brooding bass and lurking drums – and feels like an example of not a rare gem late in the band’s catalogue but yet another example of their consistent evolution.
Despite their determinedly exploratory approach, the lingering traces of those origins still show through here as a sort of stylistic palimpsest.
They may not take the brave leaps into new territories they once did, but instead explore the detail in the terrain they themselves uncovered.
At this point in their uniquely demarcated, legacy-remodeling run, they seem practically incapable of making a misstep.
What’s most impressive is that Wire are still willing to evolve their sound and question perceptions of the music they make. ‘Silver/Lead’ is an accomplished record from a band who continue to challenge their audience.
As precise as ever yet oddly moving, Silver/Lead reaffirms that Wire are more like mercury, shape-shifting effortlessly while remaining true to the things that have always made them great.
To call it relaxed would be misleading, because there is, as ever, an unmistakable tension to the band, but maybe comfortable would be more accurate. Comfortable in their own skin and comfortably uncomfortable with the harrowing world outside.
There are few surprises in individual songs—some even sound like variations on each other—but each one holds something memorable. On that level, Silver/Lead is a well-made rock record by a band who knows how to make rock records well.
The sound of Silver/Lead is undeniably modern, if a little too slickly rendered at times. Add a sweetly romantic bent into the mix and the result is another solid addition to a nearly peerless discography.
The biggest problem with this album is its bloated mid-section, which drags down the commendable peaks of its opening and closing segments. Slow, drab arrangements are plentiful and the lyrics become pointedly lazy.
Silver/Lead contentedly just continues in the latter two’s path, and I would wager a guess that none of people who praise this will end up caring about it a year after the fact.
As Wire celebrates its 40th birthday, it’s reassuring to know that the band’s eagerness for experimentalism—and its talent for expressing it in (mostly) sharply honed rock songs—remains as boundless as ever.
The band's work has undoubtedly mellowed in recent years, but they've rarely turned in a set of songs as listless as this.
Nothing really stands out, and the songs that do ... don't leave enough of an impression to be overly impressed by.
Wire release Silver/Lead, a very mellow post-punk album, to mark their 15th studio album. The songwriting on this LP is great as always and the band remains very consistent with this release. Personally, I don’t find it too amusing. It’s pretty boring here and there but it is certainly a good project so I can respect that. There are a lot of parts though that sound kind of tiring and lazy though and almost as if this project was dragged out just to fit its release. All in all, Wire ... read more
Oh boy, never been into this band, but that record is great.
They know what they want and they deliver it.
"Diamonds in Cups", "Brio", "Silver/Lead"
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