On this day, 33 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, 44 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

"Arabian Knights" is a standout single by Siouxsie and the Banshees, released on this day, 43 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

Released in July 1980, 44 years ago, Cabaret Voltaire, initially composed of Stephen Mallinder, Richard H. Kirk, and Chris Watson, released their second studio album ‘The Voice Of America’ following their 1979 ‘Mix-Up’ LP. The Voice of America stands as a seminal work in the post-punk and industrial music landscape. This album by Cabaret Voltaire, a band hailing from Sheffield, England, showcases their innovative approach to sound and their critical perspective on socio-political issues. The album's mix of abrasive electronic sounds, tape manipulations, and dystopian themes firmly established Cabaret Voltaire as pioneers in the industrial music genre.

The album opens with "The Voice of America/Damage Is Done," immediately setting a tone of disquiet and urgency. The track's layered electronic textures and dissonant rhythms create an unsettling atmosphere, reflecting the band's discontent with contemporary socio-political climates. Richard H. Kirk's guitars and electronics, Stephen Mallinder's vocals and bass, and Chris Watson's tape manipulations combine to produce a sound that is both jarring and captivating.

Throughout the album, Cabaret Voltaire employs a wide array of sonic techniques that were groundbreaking at the time. Tracks like "Premonition" and "News From Nowhere" feature heavy use of tape loops, found sounds, and experimental production methods. These elements contribute to a sense of fragmented reality and media saturation, themes that are central to the album's conceptual framework.

The lyrics throughout The Voice of America are often cryptic and fragmented, mirroring the chaotic soundscapes. Stephen Mallinder's vocal delivery ranges from detached and monotone to aggressive and urgent, emphasizing the album's themes of alienation and dissent. The band's lyrics critique mass media, consumer culture, and political propaganda, reflecting their disillusionment with the state of the world at the time.

The track "Obsession" delves into themes of control and surveillance, a reflection of the growing concerns over government and corporate monitoring. "Messages Received" and "Stay Out of It" further explore these ideas, painting a picture of a society inundated with information yet disconnected from reality.

Produced by the band themselves, The Voice of America is characterized by its raw and unpolished sound. The use of rudimentary recording equipment and unconventional production techniques gives the album an edge that many contemporary recordings lacked. This DIY approach was not only a necessity due to budget constraints but also a deliberate aesthetic choice that aligned with the punk ethos of the time.

The album's influence can be seen in the works of many subsequent artists in the industrial and electronic music scenes. Bands like Nine Inch Nails, Ministry, and Front 242 have cited Cabaret Voltaire as a significant influence, particularly for their pioneering use of electronics and tape manipulation.

Upon its release, The Voice of America received mixed reviews. Some critics were put off by its abrasive sound and unconventional structure, while others praised it for its innovation and boldness. Over time, however, the album has come to be regarded as a classic, with its influence on the industrial genre being widely recognized.

The album's exploration of media manipulation, surveillance, and socio-political control has proven to be remarkably prescient. In an era where these issues are more relevant than ever, The Voice of America continues to resonate with new generations of listeners.

The Voice of America is more than just an album; it is a statement of resistance and a call to awareness. Cabaret Voltaire's use of abrasive electronics, found sounds, and experimental production techniques created a soundscape that was both innovative and reflective of the band's critical view of society. Despite its initial polarizing reception, the album has endured as a crucial work in the history of industrial music, influencing countless artists and continuing to challenge listeners with its uncompromising vision.

The Voice Of America - LP/CD ROUGH 11

DISCOGS