by Emma Shepard (@steely_dan_69)
In the words of Wire, 10:20 is a “collection of strays“ featuring brand new songs alongside re-envisioned previously-released material which spans from 1978 to present day. However, these eight tracks come together to create one solid piece of work that feels too cohesive and purposeful to be dismissed as a mixed bag of B-sides.
The album opens with an entirely re-imagined version of ‘Boiling Boy,’ which was originally released as the first track on Side B of the band’s 1988 LP A Bell is a Cup Until It Is Struck. The production on the 10:20 version certainly sounds more modern and crisp than the original- but not necessarily favorable. You won’t hear the heavy vintage synth tones that colored the 1988 track. On the new interpretation, the drums sound more rigid- driving a repetitive guitar riff. The guitar tone on this track creates a dreamlike, hypnotic atmosphere. The swirling riff in the verses is reminiscent of ‘The 15th,’ one of the strongest tracks on Wire’s iconic 1979 album 154, if not a highlight of their career. While it is an interesting and worthwhile re-envisioning of a fan-favorite; tastefully nodding to Wire of the past, present, and future, I feel that my familiarity with the version on ABIACUIIS keeps me from getting lost in it. I find myself missing the chaos of layered panflute and string synth patches. The post-punk sound is lost in translation on the new track, which has more pop sensibilities and favors a sort of melodic ambience to fuzzy noise. Out of context, this may hit harder as an opener. However, having gotten used to hearing this song in its original form, the juxtaposition leaves something to be desired.
“German Shepherds,” another re-imagined 1988 track (originally off It’s Beginning To and Back Again) follows “Boiling Boy.” While the actual arrangements of the 10:20 adaptations largely remain intact in comparison to the original versions, the vast differences in production assure that the 10:20 versions of classic Wire tracks feel entirely new. On IBTABA, “German Shepherds” relies heavily on layered, synthetic instrumentation while on 10:20- the track is driven by electronic drums and distorted guitar riffs. The casualty with which vocalist Colin Newman presents the dark lyrics adds to the mysterious nature of the song.
“Wolf Collides,” a previously-unreleased track, is perhaps the strongest on the album. Atmospherically, the song feels lush and full. The percussive elements are lively and interesting alongside bright, psychedelic guitar riffs that lend to the dreamiest and most melodic moment on 10:20. It could be that a lack of personal history with the track allows the listener to have a more honest and unbiased listening experience.
Originally intended as a Record Store Day release, 10:20 is an expertly-produced body of work. Spanning the length of their career from Chairs Missing on, listeners could expect a sort of clunkiness as tracks crash into one another. However, the sonic motifs from track-to- track provide an effortless, continuous flow. The album builds momentum, ending on the heaviest track; a harsh new version of “Over Theirs.” It shows the group’s versatility and reminds fans why they remain at the top of the post-punk food chain as an ever-evolving exemplar; a definitive and undeniable group within their own genre.