Swift, sharp, smart and highly-focused, this perfect pairing of two pared-down fulminations from the four-piece UK group were just too new for 1978. Released as Wire’s third single, “Dot Dash” / “Options R” were both non-LP and a two-tine forked bridge stuck in-between PINK FLAG and CHAIRS MISSING. A bridge too far, and one suspended far away from ‘77 (God, those RPMs.) Both songs maintained the conciseness of the contents of the former while displaying the textural expansion of the latter but neither would have fit into the programme of either album. Although the lyrics were enigmatic and often blurted out in rough, indistinct segments, the equally rough musical sensibilities and the speed at which these two songs hurtle through time were the message. Both sides displayed the band’s keenly refined arrangement skills with comprehensive scope and extreme organisation. Anything cliché was avoided at all costs (even if that meant to occasionally beat a cliché into the ground), and parameters of the group’s sensibilities were defined with each release — Oftentimes by what was absent. Suddenly, the miraculous would occur in Wire’s records: a joy, elation, some building feeling of symbolic release. On these occasions, the grooves of their records, transmitted into vibrations then coalescing into patterns in the mind, would quickly break down assumed regularities of thought to reassemble into new meanings. At this point in time, it occurred with alarming regularity and these series of unique singularities would be discharged from the severe sonic limits of Wire for the next eighteen months through 4 singles and 2 albums and was never to be repeated.

From the opening chiming guitar to the chiming guitar on the fade out (possibly in Morse Code evocation or possibly not), “Dot Dash” is an evergreen dash across the mindscreen while white dots after-image in the chorus. Shifting from jaunty to careening with slashing rhythm guitar, the pummel of the drums, the drive of the bass and the London elocution of the sparse lyrics create a cautionary tale and a freewheeling sense of driving with high beams at high speed at night. Where the only goal is not to crash. They’re rounding corners at top speed until they’re reduced to just bark-chanting out the title over and over until the drums stop while all guitars begin chiming at alternating speed of broken turn signal indicators. Blinking in the dark by the side of a road. Frame the situation precisely and bluntly.

The 96-second mystery blur of “Options R” tears opens with a manically strummed, nearly rockabilly guitar rhythm, then bass, before it all breaks out with pounded tom-toms. Into a series of canal locks, portages, white river rafting, and navigation of a series of unpredictable twists and turns at top speed. Spelling out love in the air…Then lurching to a halt just after the cascading lyrics and vocals run out like sand, alongside the bass.

Best line:
“I thought I was in / but now I\‘m trying to get out
I’m learning to twist / but nowhere to shout”

Ah, but the sustained beauty, economy, and energy crackles throughout this single. There’s nothing like it. If brevity is the soul of wit, then this is the funniest single of all time. I’ll repeat that.

One of the perfect singles of all time.