15 Songs, 51 Minutes


Ratings and Reviews

4.8 out of 5

10 Ratings

10 Ratings

Something Happened On the Way to Pop Music

Maze Wanderer

Once upon a time, most pop aficionados figured they'd been swept up into grimy bliss when they heard EMF's undeniably infectious hook-word hit "Unbelievable." But as time went on and the dirt faded, so too, did EMF. This is what often happens with bands who emulate, rather than purvey, a new sound. If emulated, you ask, then where, oh where did woulda-beens like EMF/Jesus Jones/Soup Dragons bite much of their so-called grimy dance style from? The answer: The Poppies. And "This Is the Day", ladies and gentlemen, is an album which alone created a sound unlike any other before. It is certain to be a rare treat for those who are lucky enough to stumble upon it; a coveted gem you will feel privileged to have been the first in your circles to hear. It is altogether dark, humorous, funky, political, dance-worthy, and so full of samples from so many stand-out pop culture and music influences that your boogie may simply explode. There will never be a first like this. It is only a shame that "The PWEI Cure for Sanity" is not available; only that album conjures up as much respect from PWEI Nation. Join Today.

Eclectic sound of it's time.


Pop was introduced to me via Cure For Sanity which was a more industrial sound compared to this and more refined as well. For an 80s electronic album it is a treat like "Not Now James" touting James Browns arrest headlines or Inject Me with it's gritty beat . The album is laced with countless well timed sound samples and for it's time was one of the best original efforts at blending music way before others were claiming how they 'did it first' and broke the (imaginary) line.

About Pop Will Eat Itself

Taking their name from an NME feature on the group Jamie Wednesday (later known as Carter the Unstoppable Sex Machine), the archetypal grebo band Pop Will Eat Itself formed in Stourbridge, England in 1986. Comprised of vocalist/guitarist Clint Mansell, keyboardist Adam Mole, drummer Graham Crabb, and bassist Richard March, PWEI began their existence as a Buzzcocks-influenced indie guitar band, and issued their self-produced debut EP, The Poppies Say Grrr, in 1986.

While recording their follow-up, Poppiecock, PWEI became immersed in sampling, drawing material from sources ranging from James Brown to Iggy Pop; soon Crabb emerged from behind his drum kit to join Mansell as co-frontman, and a drum machine was installed in his place. Honing a fusion of rock, pop, and rap that they dubbed "grebo," the Poppies kick-started a small revolution; by the release of their 1987 full-length debut, Box Frenzy, and the hit "There Is No Love Between Us Anymore," grebo -- the name quickly given the entire subculture of similarly grimy and raunchy bands -- was all the rage in the British music press.

The influence of hip-hop was even more pronounced on singles like "Def. Con. One." and "Can U Dig It?," both included on Pop Will Eat Itself's 1989 masterpiece, This Is the Day...This Is the Hour...This Is This!, their debut for RCA. "Touched by the Hand of Cicciolina," an ode to the Italian porn actress turned politician, was another hit, while 1991's Cure for Sanity marked an increasing interest in dance music. By 1992's The Looks or the Lifestyle, PWEI even added a live drummer, Fuzz (born Robert Townshend), to expand their ever-mutating sound.

In early 1993, the Poppies issued their biggest U.K. hit, "Get the Girl, Kill the Baddies"; ironically, later that same year the group was dropped by RCA. After signing to Infectious in Britain, they were picked up in the U.S. by Nothing, a label owned by longtime fan Trent Reznor; sporting a harder-edged, funk-metal sound, PWEI resurfaced in 1994 with Dos Dedos Mis Amigos. Prior to the release of a 1995 remix record, Two Fingers, My Friends, Crabb exited the group to focus on his side project, Golden Claw Musics. March later gained fame in the big beat act Bentley Rhythm Ace. ~ Jason Ankeny

Stourbridge, West Midlands, Engla




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