On this day, 34 years ago, the Scottish electro band The Shamen conquered the fist position on the UK independent single charts (27 July 1991) with “Move Any Mountain”, where it stayed for 5 consecutive weeks. Although initially released under the title ‘Pro>gen’, in 1989 the song was re-released in the UK on 15 July and got remixed by numerous various artists. It also became The Shamen’s first top-ten single, in the regular UK Singles Chart reaching as high as number 4.

Move Any Mountain (Pro>gen 91)

Move any mountain, move any mountain
I will not fail nor falter, I shall succeed
My perception is altered, I do believe
Faith is so strong now nothing shall bar my way
Firm conviction is no fiction
This is my day

I can move move move any mountain
I can move move move any mountain
I can move move move any mountain
I walk so tall, ascending I stand so high
Earth below me revolving above the sky
I feel no fear to be here is oh so fine
Shining brightly, like sunlight inside my mind

Well you know that any mountain is capable of moving
The Shamen and the new generation who are proving
You can be what you want to be
Let your soul and your body and your mind be free
Well never mind, we all are that
And going all the way is where I'm at
With delivery smooth like water from a fountain
That's why I can move any mountain

Move any mountain
I can move move move any mountain
I can move move move any mountain
I can move move move any mountain
I can move move move any mountain

Move any mountain
Move any mountain

Future feeling, new sensation
Body is rocking and the mind is reeling
And rolling race changing motion
Flowing like a river into the ocean
Better get yourself ready for the new vibration
My vision, one nation, one tribe
One day'll come the might to move any mountain

Move any mountain
Move any mountain
I can move move move any mountain

I walk so tall, ascending I stand so high
Earth below me revolving above the sky
I feel no fear to be here is oh so fine
Shining brightly, like sunlight inside my mind

I can move move move any mountain
I can move move move any mountain
I can move move move any mountain
I can move move move any mountain
I can move move move any mountain
I can move move move any mountain

I can move move move any mountainSongwriters: Colin Gilbert Angus / Richard West / Will Sin

Pro-Gen © Tairona Songs Ltd

DISCOGS

On this day, 45 years ago, Closer, Joy Division's second and final studio album reached number 1 in the UK Official Indie Albums Charts. Closer was released on July 18, 1980, by Factory Records. The album is a seminal work in the post-punk genre, often hailed for its profound influence and haunting beauty. Tragically, it was released two months after the suicide of lead singer Ian Curtis, imbuing the album with a sense of melancholy and poignancy.

Musically, Closer is characterized by its brooding atmosphere, intricate basslines by Peter Hook, atmospheric synthesizers by Bernard Sumner, and Stephen Morris's precise drumming. Tracks like "Atrocity Exhibition," "Isolation," and "Heart and Soul" explore themes of existential despair, alienation, and inner turmoil.

Closer received critical acclaim for its emotional depth and innovation. It reached number 1 on the UK Independent Albums Chart and has since been regarded as a landmark in alternative music. The album's legacy endures, influencing countless artists and solidifying Joy Division's place in music history.

Closer (Tracklist)

Atrocity Exhibition 6:03

Isolation 2:53

Passover 4:44

Colony 3:52

A Means To An End 4:04

Heart And Soul 5:48

Twenty Four Hours 4:26

The Eternal 6:01

Decades 6:08

DISCOGS

"Only," a single by Nine Inch Nails, was released on July 25 2005 as part of their fourth studio album, With Teeth. The song epitomizes Trent Reznor's blend of industrial rock with a catchy, electronic groove. Lyrically, "Only" delves into themes of existential angst and self-realization, showcasing Reznor's introspective style. Musically, it features a driving beat, layered synths, and a minimalist yet infectious melody.

Singer Trent Reznor said the song is about the music business clashing with his artistic desires.

When you get on this path of trying to sell records it becomes about selling more records and playing bigger venues.... It's like, 'Wait a minute!' The goal has to be about making the best music possible or else it becomes something that will make you implode.... Should I say yes to that Microsoft commercial because I could use a new house? Or do I say no because this is something precious that would be tarnished if I did that? I find myself saying this to record labels and business manager guys, and they're like, 'You won't do what because of what?'

The track was well-received, praised for its accessibility and innovative production. It reached number one on the Billboard Modern Rock Tracks chart, underscoring Nine Inch Nails' continued relevance in the alternative rock scene. The music video, directed by David Fincher, further cemented its impact with its groundbreaking use of CGI, visualizing Reznor's vocal performance through an animated pin art display.

Like the previous single, "The Hand That Feeds", "Only" was only widely released in Europe. European releases include a CD, a DVD, and a 9" vinyl. The only United States release is a vinyl format—a remix record with mixes from Richard X and El-P.

"Only" stands out not only for its chart success but also as a testament to Reznor's ability to evolve his sound while maintaining the dark, introspective edge that defines Nine Inch Nails.

Only

UK single

1. "Only" 4:24

2. "The Hand That Feeds" (The DFA Remix) 9:01

3. "Love is Not Enough" (Live at Rehearsals) 3:50

4. "Only" (music video) 4:27

UK single/DVD

1. "Only" 4:24

2. "Love is Not Enough" (Live at Rehearsals) 3:50

3. "Only" (music video) 4:27

UK 9" vinyl

1. "Only" 4:24

2. "The Hand That Feeds" (The DFA Remix) 9:01

12" vinyl and promo CD (Interscope Records B0005465-11)

1. "Only" (Richard X Remix) 7:24

2. "Only" (El-P Remix) 4:21

3. "Only" (Richard X Dub) 7:51

4. "Only" (Richard X Edit) 3:46

5. "Only" (El-P Instrumental) 4:21

DISCOGS

Dirk Da  Davo, the driving force behind Belgium’s seminal electronic cult act The  Neon  Judgement, has officially unleashed Nothing  For  Nothing under his Neon  Electronics banner. This electrifying single, heralds a potent resurgence of Da Davo’s industrial‑dance vision.
A collaboration with longtime creative partner Glenn  Keteleer (aka Radical G) brings us a thunderous bass groove and Da  Davo’s signature guitar‑infused industrial edge, “Nothing  For  Nothing” channels the raw, unapologetic energy that defined Neon Electronics’ stage presence at festivals like Barcelona’s Ombra and Madrid’s MAD.
Clocking in at 4 minutes 12 seconds, the single reflects a period of introspection and rebirth following a four‑year creative lull. Neon Electronics had re‑emerged live only in 2023, and the overwhelming audience response inspired Da  Davo to resume studio, resulting in this dramatically dark yet danceable piece. Its release promises more new material later in 2025.
Musically, “Nothing  Fo r Nothing” fuses mechanical rhythms with haunting vocals—Da  Davo’s guitar and voice cutting through a synth and electronic backdrop sculpted by Keteleer. The production, co‑helmed by Keteleer and Da  Davo, brings crisp clarity to each ominous pulsing layer.
Neon Electronics began in 1999 as Da  Davo’s sideline to The Neon Judgement, but has since evolved into his primary creative outlet. Inspired by a shared vision with Keteleer and Theunis, the group has solidified its identity as a stylish, groove‑driven outfit rooted in post‑punk and industrial traditions.
As the single lands across all digital streaming platforms, fans around the globe raise expectations for the full-length work teased for release after summer 2025. If Nothing  For  Nothing is any indication, Neon Electronics is poised to reclaim its place in the avant-garde electronic dance scene.

www.dancedelicd.com/audio/neon-electronics-nothing-for-nothing

"Arabian Knights" is a standout single by Siouxsie and the Banshees, released on this day, 44 years ago, and taken from their fourth studio album JuJu. This track encapsulates the band's dark, gothic post-punk style, blending Siouxsie Sioux's distinctive vocals with evocative lyrics and atmospheric instrumentation.

"Arabian Knights" is characterized by its haunting melody, driven by John McGeoch's swirling guitar riffs and Budgie's rhythmic drumming. The production, handled by Nigel Gray, balances the eerie, echoing soundscapes with a tight, cohesive structure, making the song both haunting and memorable.

The lyrics of "Arabian Knights" delve into themes of Orientalism and critique the Western perception of Eastern cultures. Siouxsie Sioux's vocal delivery is both alluring and critical, weaving a narrative that challenges stereotypes and evokes a sense of mystery and intrigue.

Upon release, "Arabian Knights" was well-received, praised for its atmospheric sound and Siouxsie's enigmatic performance. It reached number 32 on the UK Singles Chart, cementing its place in the post-punk canon. The song remains a fan favorite and a testament to the band's innovative approach to music and lyrical content.

In summary, "Arabian Knights" by Siouxsie and the Banshees is a quintessential post-punk single that combines haunting melodies with thought-provoking lyrics, leaving a lasting impact on the genre and its listeners.

Siouxsie And The Banshees
Arabian Nights (7" Polydor – POSP 309)

Siouxsie And The Banshees
Arabian Nights (12" Polydor – POSPX 309)

*The 12" mix "Arabian Knights" is a different mix to the album and 7" version.

DISCOGS