#english band

[th3-0bjectivist]

Dear listener, I’ve got three more musical entries this year, this being the first of three. Just so you know, the next two entries will be classical ditties (Mozart and Beethoven), but today I’m going to put the microscope on an English big beat group that I should have displayed eons ago, The Prodigy. If you’re anything like me, you’ve been at least subconsciously listening to music by this band for decades, and you’re probably better off for it. I’d normally request you turn the volume all the way up, but this is a rare group that makes music SO DAMN LOUD that listening to their bangers at max volume may very well blow your testicles and/or ovaries clean off your body. So, start low and adjust. Just above is Spitfire from their 2004 album Always Outnumbered, Never Outgunned. Join me below for a bit more if you dig it!

Generally speaking, I’ll always try to put a focus on groups that don’t get as much attention as big mainstream acts. The one and ONLY exception is when I’m posting tunes by groups that have literally changed music on planet Earth. Since I was sixteen, this band has been making me feel uncomfortable, but in a good way. They tend to set tones with music that are very disturbing, urgent, menacing or unpleasant. For their time, generating controversy and being pioneers of big beat music was simply Prodigy’s bread and butter. If you like electronic rock, breakbeat or rave… their catalog will have you on your back, legs akimbo, ready and willing to conceive their dance-child. Probably the most immortal banger by this band was 1996’s Firestarter, but I find the most joy in their lesser known, more repetitive and more experimental works. This is not a group that had a dedicated lead singer, just a front man (Keith Flint, R.I.P.) that would bow out of full albums to let another, or several others, take the vocal reigns. At the peak of their commercial success in the mid-90’s, they earned themselves the title “the Godfathers of Rave”. I don’t know what the hell they’re putting in the water in England, but ol’ Brittania has managed to crank out some of the best and most influential electronic music on Earth in the last few decades, Prodigy clearly being at the tippy top of the apex. This band had a punk mystique that was unique and unforgettable, and their music boasted BIG hooks that, even if they rubbed you the wrong way, were irresistibly catchy. Love them or hate them, this band established a completely original sound that was impossible to duplicate without being called a hack. They also went from underground to mainstream because of their combined talent, creative drive and underlying intelligence. This is a story with a very sad ending however, as frontman Keith Flint took his own life by hanging in 2019, leaving future works by this group in a perpetual state of flux and their best days long behind them. Below, you’ll find The Day Is My Enemy from their 2015 album of the same name. Smash play, and as usual, enjoy dear listener.

Although I would not say that The Prodigy is one of my favorite bands of all-time, one must appreciate how they were probably one of the premier acts that brought electronic music, rock music and heavy experimentation under one undeniably well-constructed roof. Not bad for a bunch of dancers and audio engineers from Braintree, Essex. Image source: The Prodigy : un documentaire en préparation - OUI FM

[bigbreadpedlarandconnelwaldron]

im so glad that they collaborated and made these wonderful songs together that aren't just songs they hold a special memory every single one of them. I'll never be the same person i was before I started listening to the beatles and that's something im glad to be

[marejadilla]

The Cure, "A Night Like This", album "The Head on the Door", 1985 (HD Remastered). "The Head on the Door" is the sixth studio album by English rock band The Cure released on 1985. Formed in Crawley, West Sussex in 1976.”

[dedicatednotobsessed]

Thank you si much for your help, you’re heaven sent!!! ;-; since i only messed up the number i’m confident the postman would figure out who is the going to and deliver it to the right address so things should be fine. I would like to double check something else though, how many emails was i supposed to get, only the one with the order confirmation or more? Once again, thank you so much!!! ><

I’m glad I could help! 🥰 and yeah, I only got the order confirmation even though it said you would get updates 😂😂 I blame everything on Jack though. Totally Jack’s fault 🤪

[bea-lele-carmen]

[papa-osmubal-artworks]

Tears for Fears

[witchpuppies]

[k-i-l-l-e-r-b-e-e-6-9]

Depeche Mode - Enjoy The Silence

[hoofpeet]

Bunny in the awkward kinda goofy tgirl phase where she doesn't really know how to dress femininely yet

[marejadilla]

"Vienna" is the fourth album by the English band Ultravox.

Ultravox - Vienna (Full Album, 1980)

(vía https://www.youtube.com/watch?v=imIW41AmclY)

[th3-0bjectivist]

Dear listener, three months ago I began posting music by recently deceased artists and long-dead bands that were, all of them, exceptional in some way. I haven’t stopped since, and with this post I hereby pronounce my quarter-year long rediscovery of dead bands to be officially complete… and lucky you, I’ve got a plump Maraschino cherry to place on top of this layered ice cream cake. Folks, crank the volume, smash play, and be placed in salivating awe at one of the most influential dead bands of all-time. Imagine a musical act that is completely mediocre in every way; just some shitty, generic modern band the likes of which you hear ad infinitum on Top-40’s radio. Now, add to that same non-specific act a lead lady vocalist that has a voice on par with Billie Holiday. Back that superb voice up with instrumentalists hungry to deliver something that sounds new and exciting to the world, subtract the pretentiousness and insincerity of modern music, and cube the equation with infinite collective creativity and genuine inspiration. What you are left with is the almighty and immortal Portishead. As English as roast beef and hailing from Bristol, this group hasn’t made an album in about fifteen years and only technically lives on through ultra-rare live performances. In just under two decades from the mid-90’s to 2008, this group managed to produce not mere music, but genuine lightning-in-a-bottle magic. The members were all very motivated by old timey film soundtrack LP’s, leaving a lot of their tracks sounding like a tune from a film noire. Whether they liked it or not, they had a major hand in popularizing trip-hop, a highly experimental genre (in the 90’s anyway) which relies heavily on hip hop tempos mixed with soul, jazz, funk, or whatever form of electronic music you want to throw into the fusion. This was also a band that just kind of burned out; despite their notoriety and mega-successful presence in the industry, the members of this collective were just fallible people at the end of the day, and apparently suffered from extreme exhaustion by way of constantly recording and touring. If you spent your time in studios cranking out some of the highest quality music available at the time, you’d be exhausted too. This is Biscuit from 1994’s Dummy, and it is merely one of many, many outstanding works from their contemplative, well-executed and downright industry-changing catalog. Truly quality music (just like any quality entertainment; movies, television, art, etc.) should reveal something true and perhaps tragic about the human condition. Portishead excelled in this area. It doesn’t matter if they were only around for a moment in time. Their music is TIMELESS.

I don’t generally post many ultra-famous acts on this page unless given a motivation. Here’s my motivation; Portishead changed music on the planet Earth forever. They’re more goth than the whole of modern goth music. They’re trippy-er than the entirety of trip-hop. And, if anything you do in your life has 1/10th the positive impact on the globe as this here musical act, you, my friend, have earned my respect for merely existing. Image source: https://www.nme.com/blogs/nme-blogs/the-roots-of-portishead-767977

[doyoulikethissong-poll]

Band Aid - Do They Know It's Christmas? 1984

"Do They Know It's Christmas?" is a charity song written by Bob Geldof and Midge Ure to raise money for the 1983–1985 famine in Ethiopia. The BBC News crew were the first to document the famine, with Buerk's report describing it as "a biblical famine in the 20th century" and "the closest thing to hell on Earth". The song was recorded by Band Aid, a supergroup assembled by Geldof and Ure consisting of popular British and Irish musical acts such as U2, Sting, Wham!, Duran Duran, Culture Club, and Phil Collins, as well as the US group Kool & the Gang. The song was recorded in a single day in November 1984, and the single was released in the UK on 7 December 1984.

It entered the UK singles chart at number one, where it remained for five weeks, becoming Christmas number one. It sold a million copies in the first week, making it the fastest-selling single in UK chart history until Elton John's "Candle in the Wind 1997". UK sales passed three million on the last day of 1984. The song also reached number one in 13 other countries. It was released in the US on 10 December 1984 and sold 1.9 million copies in its first eleven days on release but did not reach number one, due to the more complex chart system, which counted airplay as well as sales. Despite outselling the official number one by four to one, it did not make the top ten due to a lack of airplay, and reached number 13 on the Billboard Hot 100. The song had sold 11.7 million copies worldwide by 1989 and 3.8 million in the UK by 2017.

Most retailers agreed to sell the record at its cost price of £1.35 including VAT. The British government donated an amount to the charity equal to the amount of tax they had collected on the single. The song raised £8 million for Ethiopia within a year, far exceeding Geldof's hopes. When Wham!, who appeared on "Do They Know It's Christmas?", reached number two with their single "Last Christmas" (poll #445), they donated their royalties to the Band Aid Trust. The success led to several other charity singles, such as "We Are the World" (1985) by USA for Africa, and spin-off charity events, such as Comic Relief and the 1985 Live Aid concert. In 2010, the BBC apologised after falsely reporting that money raised by Band Aid and Live Aid had been diverted by rebels and used to pay for weapons.

Critics objected to the song's depiction of Ethiopia and Africa as barren. Ure said the song was secondary to the purpose of raising money for the cause. It was re-recorded and re-released in 1989, 2004 and 2014. All three reached number one in the UK, and the 1989 and 2004 versions became Christmas number ones. A new mix, combining elements of the previous versions, was released in 2024 for the 40th anniversary. For the 2014 version, several contentious lyrics were rewritten, and the song was changed to focus on Ebola rather than famine. The new lyrics have also been criticised as promoting stereotypes and condescension. Criticism from Africans regarding the song remained: in 2014, African activists and Twitter users complained that the song disregarded the diversity of the continent of Africa and ultimately did more harm than good for the people.

Several publications and commentators have described the lyrics as racist and demeaning towards Ethiopians. Ethiopia is home to one of the oldest Christian communities in the world, yet the lyrics and title imply that Africans would be unaware of Christmas at all. Peter Gill, one of the few Western journalists in Ethiopia at the time, said: "As Ethiopians have pointed out ever since, they did of course know it was Christmas because the starving were mainly [Orthodox] Christian."

"Do They Know It's Christmas?" received a total of 48,7% yes votes.

[marejadilla]

Bauhaus, “King Volcano”, “Burning from the Inside”, 1983. “Burning from the Inside” is the fourth studio album by English rock band Bauhaus, released on 15 July 1983.

[dedicatednotobsessed]

Hiiii~ Are you in the us time zine where it’s almost midniiiight??? or do you have to wait more for lyall??? >>

So I live on the west coast, just waiting until 9 pm for LYALL to drop {when it turns midnight on the east coast in America it will be released 🥰}

When Romy came out, one of the boys responded to my friend when she asked when it will be released and he {we’re really sure it’s Jack} responded: “midnight everywhere around the world. 😊}

So just waiting in pain and misery until 9 pm hits 😪 but it should be out in a lil over 20 minutes 🥰

[marejadilla]

"Some Girls Are Bigger Than Others" is a song by the English rock band The Smiths, 1985, released on their third studio album The Queen Is Dead, 1986.

The Smiths: Some Girls Are Bigger Than Others (Dance Compilation)