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Rain on the Humming Wire

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Dec 16, 2021

Rain on the Humming Wire is the fourth studio album by Australian indie rock band, The Panics. The album was announced in May 2011[6] and was released on 29 July 2011 by Dew Process. The album debuted and peaked at number 7 on the ARIA Charts, becoming the band’s first top ten album.

2011 studio album by The Panics
Rain on the Humming Wire
Studio album by

Released 29 July 2011
Studio Dreamland and Electric Lady Studios, New York[1]
Length 41:08[2]
Label Dew Process
Producer
The Panics chronology
Cruel Guards
(2007)
Rain on the Humming Wire
(2011)
Hole in Your Pocket
(2016)
Singles from Rain on the Humming Wire
  1. “Majesty”
    Released: May 2011[3]
  2. “Endless Road”
    Released: September 2011[4]
  3. “Not Quite a Home”
    Released: January 2012[5]

At the ARIA Music Awards of 2011, the album was nominated for ARIA Award for Best Adult Contemporary Album.[7]

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Professional ratings
Review scores
Source Rating
AllMusic [2]

Jon O’Brien from AllMusic called Rain on the Humming Wire “a bolder, more confident sound that proves the time away hasn’t hampered their ability to create an indie rock anthem or two. Written in Manchester and recorded in Woodstock with producer John O’Mahony, its 11 tracks show traces of their globetrotting past, from the grandiose reverb-soaked Americana of ‘One Way Street’ to the lilting orchestral pop of ‘Not Quite a Home’, to the Fleetwood Mac-esque West Coast soft rock of ‘Creatures’, all of which reveal that frontman Jae Laffer‘s husky Bob Dylan-esque vocals remain as potent as ever.” O’Brien concluded the review saying “Overall, Rain on the Humming Wire is the sound of a band whose members are no longer panicking but are confidently looking forward to swapping theaters for stadiums.”[2]

Beat Magazine said “The influence of being away from home is evident in Laffer’s song writing. Like all [of] The Panics albums, Rain On The Humming Wire is reflective, intimate and human, but, there’s an extra twinge of loneliness and frustration that Laffer blames on dislocation.” They continued saying “‘Not Quite At Home’ exemplifies the influence of dislocation on The Panic’s music; descriptive, moving and musically orchestral, it illustrates the feelings of isolation that often accompany homesickness – something the band all experienced while overseas.”[8]

A JB HiFi reviewer called it “their most dynamic and electric album [and also] their most tender and poetic.”[1]

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