After forming in 1976, Wire became key in creating the post-punk genre. Already well situated in the annals of rock music history, their 11th studio album, Object 47, is a praise-worthy addition to the band’s expansive discography—as musically important as the seminal Chairs Missing, on which Wire first expanded beyond raucous punk to experiment with more complex instrumentation. 30 years later, this British outfit continues to churn out melodically chaotic gems that hark back to the swirling darkness of the early ’80s, as well as blend seamlessly into the modern age of retro-inspired music.

Though Object 47 does not constitute every original member, which is actually a first for Wire, the sound has not suffered. This album of brand new material opens on a single drumbeat and charging bass, which soon invite a slew of instruments and a consistently resounding rhythm section to propel Colin Newman’s accented and somewhat brusque vocals. The song could not be catchier, despite its non-mainstream edge. The guitar on “Circumspect” is spiked with fuzz before becoming clearer, layered atop Newman’s deepened voice. While “Mekon Headman” borders on industrial, “Perspex Icon” is dizzying shoegaze gone poppy punk; one of the album’s best, it flows into the enticing, New Order-esque “Four Long Years,” with a low-itched bass and reverberated vocals that seep into the electric dissonance.

“Hard Currency” is equally dark and hard-edged; here, Newman sounds like Bauhaus’ Peter Murphy, as a guitar stands at the opening of a cavernous pit of pulsing noise. “All Fours” ends the album with staccato drumbeats and microphone effects that turn Newman’s already cynical voice into something particularly intimidating. If this song doesn’t take you back to a deathrock world of dangerous synths and leather, I don’t know what does.

-Alternative Amy