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All release notes from the authors of The Wire Magazine. #

Contributors: Steve Barker,I Accept
Ed Baxter, Mike Barnes, Clive Bell, Chris Blackford, Linton Chiswick, Byron
Coley, Cristoph Cox, Brian Duguid, Robin Edgerton, John Everall, Matt Effytche, Sasha Frere-Jones,
Charlie Gillett, Louise Gray, Andy Hamilton, Richard Henderson, Ken Hollings, Steve Holtje, Mark
Show Purposes
Hudson, David Ilic, Velimir Pavle Ilic, David Keenan, Biba Kopf, Art Lange, Howard Mandel, Peter
McIntyre, Andy Medhurst, Russell Mills, Will Montgomery, Tim Owen, Edwin Pouncey, Tom Ridge, Mike
Shallcross, Peter Shapiro, Chris Sharp, Mark Sinker, John F Szwed, David Toop, John L Walters, Ben
Watson, Barry Witherden, Douglas Wolk, Rob Young

http://web.archive.org/web/20070613182618/http://www.rtxarchive.com/archive/articles/wire175.html
https://web.archive.org/web/20120919144327/http://www.thewire.co.uk/articles/166/

Missing Records (i used the Artist page):

Youssou N'Dour - Djamil

(Senegalese Cassette 1983)
(maybe this release (not in Discogs yet):
1983
Youssou N'Dour et Le Super Etoile de Dakar
Vol. 6: Djamil (cassette; Ibrahima Sene, no suffix)
[A] Mbarbuethe / Ferridigua / Alboury
[B] Djamil / Yalla
http://biochem.chem.nagoya-u.ac.jp/~endo/EAYoussou.html )

Jean C Roche - A Nocturne Of Nightingales

(Sittele 1993)

Golden Gate Jubilee Quartet - Golden Gate Gospel Train

(Bluebird 1937)

Hot Gossip - The Hollywood Jungle

(DinDisc unreleased 1981)

Derrick May - Debut LP

(Transmat unreleased)

26 Paul Dolden - L'Ivresse De La Vitesse

Paul Dolden - L'Ivresse De La Vitesse

(Empreintes Digitales 1994)

Canadian electroacoustic composer Dolden champions a 'theory of excess', a belief that the
intoxication and seduction of information overload is a desirable condition, one that frees us to
perceive the world afresh. L'Ivresse De La Vitesse compiles nine devastating sonic manifestos to
make his point. Several hundred painstakingly scored and multitracked solo acoustic instruments
collide to produce a super-dense musical black hole that even Iannis Xenakis would have shied away
from. Trying to actually follow the impossible complexity drags you across the event horizon into a
world where consciousness survives but meaning has been obliterated. Futile relief comes on a few
tracks where virtuoso soloists battle in vain against the taped chaos. Nirvana or nihilism? No matter,
you can listen to it a thousand times without wanting it to make sense. BD
27 Dr. John, The Night Tripper - Gris-Gris

Dr John The Night Tripper - Gris-Gris

(ATCO 1968)

Now acclaimed by everybody and their dog, Gris-Gris has been neglected for 30 years in the
psychedelic waiting room, overshadowed by lesser obscurities. Part of the problem was the fact that
this was a warped R&B record of ungraspable originality. The instrumental combinations were
inspired. Combined with electronic treatments that owed much to post-Spector LA studio trickery,
they constantly unbalanced the ear's efforts to place the music within a continuation of music history.
Plus Johnson's playing in particular sounds more like steam powered organ played at a lizard funeral
rather than conventional reeds. Partly fuelled by drugs but consummately skilled, the album created its
own self-contained mythology out of the recording studio. A good proportion was flummery and
vaudeville, but enacted with sufficient conviction to come across as real magick. DT

28 Die Electric Eels* - Agitated / Cyclotron

The Electric Eels - Cyclotron/Agitated 7"

(Rough Trade 1977)

An unbelievable slab of primitive art damage from the deep Cleveland underground. Recorded in
1975, the incredibly itchy-scratchy quality of the vocals, instruments and recording give the songs a
crumbling edge that is the mark of only the best sub-underground murk. When this single appeared
(on Rough Trade of all places) it challenged every outsider notion of the American pre-punk scene. If
Pere Ubu was avant garage, what on earth was this? Could it really have been recorded in 1975? The
primitive instrumental raunch dynamics combine with Dave E's aggressive sissy-boy vocals in a way
that should have made every dada-loving teen start a group immediately. If not sooner. And it seems
to me that the versions of these songs on subsequent archival issues of Eels material are not as raw
and disturbed as the ones on this single. Jesus, what a sound. BC
29 Esquivel And His Orchestra - Other Worlds Other Sounds

Esquivel And His Orchestra - Other Worlds Other Sounds

(RCA Victor 1958)

In January 1958, Juan Garcia Esquivel drove from Mexico City to Hollywood, California, at RCA
Victor's invitation, to record an album that would feature American musicians playing some of his
startling 'Sonorama' arrangements in stereo for the first time. The result, the company decided, was to
be a gentle little affair entitled Beguine For Beginners. Esquivel thought otherwise. Claiming that all his
sheet music had been stolen, he suggested they tackle "Granada" instead. The producer had a fit. The
ensuing session, however, included reworkings of Cole Porter, Sammy Kahn and Kurt Weill of such
stark exuberance and scintillating orchestral muscle that, 40 years on, they still have the power to
amaze Esquivel's passion for drawing new sounds from conventional instruments shines through in
the taut dynamics of Other Worlds Other Sounds, a tribute to the arranger as an unacknowledged
force in 20th century music. KH

30 Fadela* - N'Sel Fik

Chaha Fadella & Cheb Sahraoui - N' Sel Fik

(Factory/Mango 1985)

While N' Set Fik is probably the closest that raj, or any other form from the Islamic world, will get to
approaching the verities of Western pop music, such a dizzying, swooning record could never have
emerged from the Anglo-American tradition. Chaba Fadella's comeback record after a sabbatical
raising her children, N' Set Fik expresses commitment with a drive that has only ever signified
wandering lust since Charley Patton and Jimmie Rodgers first claimed that they were pistol-packin'
daddies 60 years ago. Needless to say, the closest you will come to hearing such a complete
surrender to ecstasy in Western pop music is a Massive Attack or Bally Sagoo remix of Nusrat Fateh
Ali Khan. PS
31 Faust - The Faust Tapes

Faust - The Faust Tapes

(Virgin 1973)

"We made tons and kilometres of tapes and The Faust Tapes is only the best," is how the group's
Jean-Herve Peron assessed this epochal album. When the group produced the raw musical material,
they were holed up in a converted schoolhouse near Wumme in Germany, growing their own dope and
tomatoes and living naked. Assembled by their producer Uwe Nettlebeck, this 26 part opus
showcases the art of sonic collage at its best. The editing forms a brilliant narrative structure,
wrenching the listener through psychedelia, motorik, quirky pop and musique concrete. At a time
when the label 'Krautrock' is often erroneously applied to any spliff-riffing that goes on for longer than
it should, The Faust Tapes reminds how in their hands it meant the whole world in sound,
encompassing all music from the daftest to the fiercest. MB

32 Fingers Inc. - Another Side

Fingers Inc - Another Side

(Trax 1988)

The first, and still the best, House album ever released. Up to that point, House music had centred on
the body, drawing its influences from disco, Electro and soul, all musics centred around the
dancefloor. The music of Larry Heard, together with vocalist Robert Owens, seemed to exist outside of
any earthly reference point whatsoever. It was as if they had fallen out of the sky. Slow, spacious
dreamscapes drifted by, while Owens's voice recounted tales of dark sexual intrigue, whose emotional
brutality were at odds with both the music below and the purity of his delivery. The whole thing was
underpinned by Heard's sense of musicianship and his belief in House as a musical form capable of
sustaining a prolonged, varied vision over the course of an album. That he achieved this with a set
comprised largely of previously released singles is further testament to the quality of the originals. PM
33 Fire Engines - Lubricate Your Living Room

19 For Sale from $21.43

Fire Engines - Get Up And Use Me

(Pop Aural 1980)

This mini-album offers the freshest of the various inspired rethinks of the electric guitar that came out
of post-punk Scotland. Guitarists Davey Henderson and Murray Slade spooled off writhing, dissonant
lines of energy that spoke of obsession and entanglement. The music claimed the riff back from bad
rock - all the pieces work on nagging, repeated bass and guitar lines. But there was no truck with
regular rock rhythms - the group rode on the tightly wound, oddly paced bounce of Russell Burns's
snare hits. Henderson's vocals are frequently shrieks ("Get up!): the 'songs' are essentially guitar
instrumentals. The group's interest in the warping neuroses of consumerism was reflected in the
packaging (the record came in a plastic carrier bag) and titles such as "Plastic Gift" and "New Thing In
Cartons." Listening back to the lo-fi, 'live in the studio' approach, it's striking what an unusual sound
the group achieved - the harsh, electrifying prickle of the guitars (Rickenbackers, as I recall) and the
trashy fatness of the drums. Speedy, delirious and unrepeatable. WM

34 Family Fodder - Monkey Banana Kitchen

17 For Sale from $15.46

Family Fodder - Monkey Banana Kitchen

(Fresh 1980)

A loose collection of friends and, more often than not, wanderers, Family Fodder reached their apex
(or at least one of them) with Monkey Banana Kitchen. The music took the ferocity of
contemporaneous British punk and scaled it way back. They also eschewed the giant pop hook,
replacing it with the hoop jumping of songs in three languages, instruments played for only four
seconds, harmonic call-and-response motifs and opaque but symbolic political lyrics. Multiple
reprises of phrases and fragments result in a much more subtle and effective memory-tickle. I can't
count how many instruments finally made it onto the album, though piano (providing much of the
rhythm), melodica, sax, synth and cowbell dominate. Their integrated eclecticism is actually layer after
thin layer of dub, jazz and New Wave - peering down into this multi-ply music, you detect traces of
structural complexity, and the pop that's there blurs. Lesson No 537 from Fodder members:
participate only when absolutely necessary - knowing when to pare down makes it easier to
transcend. RE

35 4 Hero - Parallel Universe

4 Hero - Parallel Universe

(Reinforced 1994)

Before Goldie took drum 'n' bass into the realms of 'conventional' (ie album-oriented) music with
Timeless, there was Parallel Universe. These days, drum 'n' bass albums are almost the norm, but
back then, the idea of not only moving beyond the darkcore dancefloor style prevalent at the time, but
sustaining that vision over the course of an album, was groundbreaking. Dissolving Jungle's tunnel-
visioned rhythmic matrices and reassembling them into sonic collages of beats and loops, threaded
through with saxophones, guitars and female vocals, the greatest strength of Parallel Universe lay in
its ability to touch on all the disparate bases of the breakbeat scene and make it appear totally natural
that they should all be sitting there together. No single track stood out; it was the wholeness of the
album that was so staggering. To achieve this required a quantum leap of ambition, light years beyond
the grasp of those simply content to trace over the 12" template of Jungle. That would only come
later. PM

36 Robert Fripp - Exposure

Robert Fripp - Exposure
(EG/Polydor 1979)

Most of Fripp's recorded output showcases his talent as a guitarist, but only Exposure offers any
serious insight into the man himself. Returning to music after a four year break studying with Gurdjieff
disciple JG Bennett, Fripp's psyche had veered from frustrated hostility to enigmatic good humour,
and his first solo album captures every aspect of a many-sided personality. Angelic electric guitar
drone in the form of Frippertronics serves to frame a sparse, moving reworking of Peter Gabriel's
"Here Comes The Flood". Tape recordings of Fripp's argumentative New York neighbours jostle for
space with cryptic spoken comments from Brian Eno. Terre Roche and Daryl Hall sing gorgeous,
gentle ballads over mildly unreliable rhythms, but the highlights of Exposure see guest vocalist Peter
Hammill chewing glass, barking with grisly charisma over cracking rock riffs. There's no stylistic
consistency, and no need Fripp is resplendent in divergence. It's the Sergeant Pepper of avant punk.
BD

37 Lewis Furey - Lewis Furey

Lewis Furey - Lewis Furey

(A&M 1975)

Previously known to the world only by a session violin credit on Leonard Cohen's New Skin For The
Old Ceremony, Lewis Furey established himself as nothing less than Montreal's answer to Lou Reed
on this, his first (and best) solo album. Cohen's producer John Lissauer created the sound of
francophone cabaret trapped in a bell jar, the perfect showcase for Furey's piano - and banjo-driven
tales of obsessive love and betrayal. Those who currently thrill to Rufus Wainwright's debut need only
hear a few seconds of Lewis's torchy, nasal vocals to know that there is nothing new under the sun.
These tales of Quebec's demi-monde are laced with imagery drawn equally from Blake and
Burroughs, brutal metaphors and sly, devilish arrangements. And speak of the devil, The Rocky Horror
Show's Tim Curry turns up as backing vocalist - along with Cat Stevens. RH

38 *-
4 For Sale from $59.52

Fushitsusha - DBL Live

(PSF 1991)

It was the emergence of Keiji Haino in the early 90s that really opened up the contemporary Tokyo
scene to the West, a scene primarily concerned with glorious guitar reinvention; pushing individual and
group expression to the extreme; and making huge leaps of rock imagination. Their geographical
position alone gave them, like the Krautrockers, much more of an outsider's view of the 'classic'
Western rock canon. Here, the likes of Blue Cheer or Arthur Doyle - not exactly household names -
figure as the most influential artists for new Japanese music. DBL Live still stands as the scene's
crowning document - a sprawling double CD set that sounds so otherworldly and unprecedented, the
rest of the world is still trying to catch up. From static and forlorn proto-Gregorian howl, minimal
feedback hiss and spectral six string tremblings through ridiculously overdriven guitar destruction in
the space of 50 minutes, Haino's power trio redefined the leftfield forever. DK

39 Michael Gibbs - Michael Gibbs

Michael Gibbs - Michael Gibbs

(Deram 1970)

For the debut album by composer (and reluctant bandleader) Mike Gibbs, youthful passion and
intensity burst every seam. Listening to it is a heady experience - it's packed solid with music whose
structural, melodic and harmonic language was way ahead of its time. There's also an unstoppable
personal timbre, something Gibbs's 'straight' contemporaries talked about, but rarely achieved to this
degree. It should have changed orchestral jazz forever (it's hard to believe anyone could churn out
conventional charts after hearing this record), yet anonymous big band music has trundled on much
as before. What makes Michael Gibbs an essential jazz record is the relationship between great
composition and improvisation. There has rarely been a finer setting for Kenny Wheeler's glittering
solos, Tony Oxley's fractured swing and John Surman's explosive baritone. Phil Lee, Jack Bruce and
Chris Spedding are superb. And the brass chorale that kicks off "Family Joy, Oh Boy", crowned by
John Wilbraham's piccolo trumpet, is one of the great opening moment in recording history. JLW

40 Glenn Gould - The Radio Artist = L’artiste De La Radio

5 For Sale from $20.94

Glenn Gould - The Solitude Trilogy

(Canadian Broadcasting Corporation 1967, 1969, 1977)

Glenn Gould's decision to abandon live concert performances for good was three years behind him
when he accepted an invitation to make an audio documentary for Canadian national radio. Gould
accepted with alacrity and subsequently devoted hundreds of hours of research, travel, editing and
mixing to the project, which he called The Idea Of North. Like its two successors (The Latecomers and
The Quiet In The Land), The Idea Of North edits a collection of monologues into a complex, shifting
meditation on solitude and isolation. Voices advance and recede, questioning, theorizing, wondering,
describing; the whole could be described as an oral tone poem, with Gould counterpointing the
rhythms of words and emotions with the rattle of a northbound train, the seas off the coast of
Newfoundland, and carefully selected snatches of music. The various thoughts, textures and visions
fuse into a moving whole - and the climax of Sibelius's Fifth Symphony which closes The Idea Of
North is breathtaking. These documentaries mirrored Gould's increasing withdrawal from the world
and were clearly born out of his own intense preoccupations. As one of the voices in The Latecomers
says, "People are ecstatic about getting into the mainstream. I think it's a little bit stupid since the
mainstream is pretty muddy..." CS

41 Stan Kenton Plays Bob Graettinger - City Of Glass

4 For Sale from $6.00

Bob Graettinger - City Of Glass/This Modern World
(Capitol 1953)
Graettinger's entire body of work consists of about a dozen original compositions and song
arrangements commissioned by Stan Kenton from 1947-53, but it was enough to briefly shake the
foundations of big band jazz before sliding into obscurity. Such aggressive dissonance, jagged
polytonality and clashing rhythms, in scores like "Incident In Jazz", "House Of Strings", and his four
movement "City Of Glass", were previously unheard in the jazz world, and quickly confused and
alienated critics and even the musicians themselves. Graettinger's unorthodox compositional methods
were drawn in part from Bartok, Stravinsky and especially Varese in his collision of dramatic blocks of
sound, but his own unusual psychological/acoustic theories - plus the undiluted intensity of their
presentation - turned them into a musical Rorshach test for listeners. They're just as shocking and
breathtaking today. AL

42 Al Green - The Belle Album

Al Green - The Belle Album

(Motown 1977)

A pivotal record for Green, launched from somewhere between Memphis and Valhalla, it was pop
sensibility infused with Pentecostal fire, and the last gasp of soul passion before the adolescent cool
of the post-Jimmy Carter years suffocated the US. These were songs not intended so much to rattle
the pop cage as to find Green himself a new and sanctified place in the music. But the shift was too
much for anyone in 1977 and left even the cognoscenti confused. And no wonder "Belle" proposed a
menage a trois with God; "Country Boy" was an apologia of Southern life, skillfully hidden in part by
the hieroglyphics of Southern dialect; there was the spirited eschatology of "Chariots Of Fire"; the
ethereal spun gold of "Dreaming". Even by 1977's production and technical standards, it sounded like
a field recording, especially with Green playing his own lead guitar. But it had real down home power.
As Green himself once said, this was music as strong as death. JFS

43 Bernhard Günter - Un Peu De Neige Salie

Bernhard Gunter - Un Feu De Neige Salie
(Selektion 1993, Reissued Table Of The Elements 1997)

Gunter's debut album is a masterpiece of radical restraint. It's a compact disc with every last trace of
the music seemingly surgically excised, and all that remains are the minute glitches of the recording,
mixing and mastering processes. Microscopic pops and buzzes flicker across the surface of nearly
imperceptible high frequency tones - unless you listen to it in a quiet space or on headphones, it may
seem at first to be completely silent, and the CD pressing plant at first returned the master tape to
Gunter as 'faulty'. Its humility is beguiling - once attuned to their subatomic universe, the sounds
become strangely compelling. The disc heightens awareness of your immediate surroundings and the
rarely tapped full potential of the human eardrum. BD

44 Herbie Hancock - Sextant

Herbie Hancock - Sextant

(Columbia 1973)

One of the charges against electronic music is that it's cold, alien, deadly serious. As pioneered by
academic serialists at Cologne Radio, it certainly invites those adjectives. However, when The Herbie
Hancock Sextet recorded Sextant they'd been using clavinets and mellotrons and ARP synthesizers
on the road for three years. This gave their burbling sonics a hands on, funky spin that still causes
smiles today. Buster Williams's groovesome basslines and Hancock's boogie figures float over
polymetric layerings that recall Eric Dolphy's Out To Lunch and Miles Davis's ESP. Trombonist Julian
Priester supplied the umbilical link to The Sun Ra Arkestra. Uncushioned by the harmonic conventions
that padded out later, more saleable fusions, the players' lines glisten over deep black space and
tangle into multicoloured collective improvisations. BWa

45 Kip Hanrahan - Desire Develops An Edge

Kip Banrahan - Desire Develops An Edge
(American Clave 1983)

Hanrahan, a former film student turned audio auteur, was pushing the envelope even by New York
standards. Different musical camps were already checking each other out, but the dolly mixture he
picked for 1983's Desire... looked flamboyant to the point of foolhardiness. This was where Bronx met
East Village; Latinos and Haitians doing the bump and skronk with No Wave art punks, free
improvisors and jazz's contemporary cool. Rhythmically luscious, it oozed sensitivity; Jack Bruce sang
a blinder (his relationship with Hanrahan still bears fruit), while the likes of Elysee Pyronneau, Arto
Lindsay, Steve Swallow, the three Johns - Stubblefield, Scofield and Zorn - Milton Cardona and
Davis's producer (and Hanrahan's idol) Teo Macero gave themselves completely to the mood. Next to
this, Bill Laswell's pick 'n' mix ventures were crude patchworks. DI

46 The Joe Harriott Quintet* - Abstract

Joe Harriott - Abstract

(Columbia UK/Capitol US 1961)

When conjuring up the name of the UK's greatest jazz musician, all of whose records are out of print,
the temptation is to list every one of them. And truth be told, almost anyone of them would qualify for
this list: the two with double quartet of Indian and jazz musicians (Indo Jazz Suite and Indo Jazz
Fusions, both 1966), and the 1954 records with Buddy Pipp's Highlifers, would put him on the
WoridMusic list; then there are the poetry and jazz record with Michael Garrick; the Afro-Cuban
recordingswith Kenny Graham; his Dixieland work with Chris Barber; blues recordings with Sonny Boy
Williamson and Jimmy Page... But his heritage will probably rest with Free Form, Movement and
Abstract, all three of which have been compared to the best of Charles Mingus and Ornette Coleman.
In fact, with Abstract, the effect is that of Coleman playing with a group with the cohesion and
compositional unity of Mingus. Except that - dare I say it? - Harriott was a more passionate alto
saxophonist than Coleman, and the compositional feel of the Harriott quartet evades the cliches which
Mingus often relished. If Harriott's records are ever reissued, or better yet boxed together, the UK's
stock in the history of jazz will go through the roof! JFS

47 Jonathan Harvey - Spectrum (14) • Guy Protheroe - Bhakti

5 For Sale from $13.99

Jonathan Harvey - Bhakti

(NMC 1984)

Harvey fits the profile of the 'academic composer' in a New Music ghetto. Yet the British composer
has written some of the most stunning electronic music since Stockhausen, with dazzling
combinations of synthesized sounds and real-time orchestral forces. Born in 1939, he underwent a
"Stockhausen conversion" in 1966: "Here was a man who was quite explicitly seeing in music the
language of some greater consciousness." Harvey's best known piece, Mortuos Plango, Vivos Voco,
was created at Ircam in 1980. A second Ircam commission, the electroacoustic Bhakti, is probably his
masterwork, inspired by hymns from the Rig Veda, "keys to transcendent consciousness". Harvey's
precise but sensuous aural imagination particularly favours bell - like sonorities, and transitions from
tape to orchestra in Bhakti are remarkably seamless. Its first recording inaugurated the NMC label, a
vital showcase for contemporary composition in Britain. Still an underrated figure, Harvey is one of the
most exciting composers writing today. JLW

48 Henry Cow - Concerts

Henry Cow - Concerts

(RER Recommended 1976)

20 years after their demise, British avant rockers Henry Cow continue to inspire those who seek the
outer limits of rock. Signing to the enterprising Virgin label in the early 70's enabled their uncomprising
LPs to reach the provincial high streets of Britain, as well as more far-flung places. Concerts, recorded
live at various European venues during 1974- 75, showcased the remarkable span of their eclectic
experimentation; from Weill/Eisler influenced songs, hauntingly sung by Dagmar Krause, and complex
instrumentals that absorbed free jazz and avant garde chamber styles, to ambitious non-idiomatic free
improvisations like "Oslo", which, for the young teenager I then was, became the gateway to the
wonderful and rather frightening world of Improv. Legendary stuff. CBI

49 Ram John Holder - Black London Blues

6 For Sale from $35.00

Ram John Bolder - Black London Blues

(Beacon 1969)

In this Windrush anniversary year, it is salutary to revisit this 1969 release. Holder, now known as an
actor in films (Lester's Cuba) and TV comedy (as 'Porkpie'), is the son of a music loving Guyanese
preacher. In 1963 he came to London, where Rachmanism flourished. The blues, big in white suburbs
like Richmond and Ealing, were rarely used to express black experience in Britain. Holder's ten
trenchant short stories, including "Notting Hill Eviction", reflected life as he had lived it in the years
when, after decades of economic depression, world war and austerity, thousands of people, black and
white, were trapped in slum conditions while prosperity grew around them: "Regent Street is out of
bounds/Unless you have a hundred pounds". Though musically mainstream - electric Chicago with
James Brown seasoning - Holder's songs fixed the picture of a crucial part of British social history as
evocatively and potently as Roger Mayne's North Kensington photographs. BWi

50 The Homosexuals - The Homosexuals' Record

The Homosexuals - The Homosexuals' Record

(Recommended 1984)
The greatest lost first generation punk group never made a legit album. This 16 song compilation,
released six years after the fact, collects singles and work tapes, and omits as much as it includes. It's
still dazzling. The Homosexuals were very smart, very weird and very intent on striking out on their
own path; they hid behind multiple pseudonyms and embraced obscurity. Their songs have a million
hairpin turns, and they'd stick a big roaring chorus out front - "MY NIGHT OUT GREAT FUN GREAT
FUN!" - while they snuck around to kneecap you from behind and leaned over to kiss the inside of
your skull. Take Chairs Missing Wire, square the artiness, dub the mix until it's flipped inside out, and
you're on the right track. Sublimely difficult. DW

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