Through the three distinct stages of their career, Wire has never been known to give much thought to their singles. Their records from the mid-80s and early-00s should probably be heard in “best of” compilations to avoid the occasional missteps and their three flawless albums from the 70s are so densely packed and perfectly constructed that listening to individual cuts seems somewhat odd. But one single sticks out in Wire’s discography, both because it’s one of the best tracks from their first incarnation and because it’s only appeared in one or two places over their entire forty-year span.
Released in June 1978, “Dot Dash” fills the already brief gap between 1977’s minimalist punk masterpiece Pink Flag and its expansive, synthy-er follow-up Chairs Missing from later the same year. As expected, “Dot Dash” toes an interesting line between these very different albums and shows what exactly Wire was working on in the months between LPs. On one hand, its sound isn’t too far from Pink Flag’s side B tracks like “Fragile” or “Mannequin.” But picking it apart a bit more shows Wire embracing a wider sonic pallet than Pink Flag offered and edging subtly closer to the more fleshed-out Chairs Missing.
At around the 1:20 mark, the song opens up with an actual guitar solo (sort of) and these chiming pings continue until the end, adding another layer of background texture. Now that doesn’t sound like much, but considering how crushingly stark and focused Pink Flag was, “Dot Dash” drops a pretty big hint at what Wire’s sound would morph into over the next couple years. Combined with a relative lack of aggression and strong pop sensibility, perhaps it was ultimately a lesser known single that foreshadowed the unique brand of experimental post-pop Wire focused on for much of the 80s.