The Wolfgang Press
Enigmatic, moody, and challenging, Britain's Wolfgang Press were one of the most mercurial talents of the post-punk era, restlessly moving from gothic noise to dark balladry to eccentric funk; paradoxically, the group was also the 4AD label's longest tenured artist -- even their stylish album packages were all the product of the same designer, Alberto Ricci.
Formed in London in 1983, the Wolfgang Press comprised vocalist Michael Allen, guitarist Andrew Gray, and keyboardist Mark Cox. Read Full BioEnigmatic, moody, and challenging, Britain's Wolfgang Press were one of the most mercurial talents of the post-punk era, restlessly moving from gothic noise to dark balladry to eccentric funk; paradoxically, the group was also the 4AD label's longest tenured artist -- even their stylish album packages were all the product of the same designer, Alberto Ricci.
Formed in London in 1983, the Wolfgang Press comprised vocalist Michael Allen, guitarist Andrew Gray, and keyboardist Mark Cox. Allen and Cox first teamed in the group Rema Rema, which also featured Adam & the Ants alum Marco Perroni; after reuniting in the short-lived quartet Mass, the duo recruited Gray, and as the Wolfgang Press issued their cacophonous, gloomy debut LP, The Burden of Mules, in 1983. An EP trilogy co-produced by Cocteau Twin Robin Guthrie followed in quick succession: while 1984's Scarecrow was a lighter, more streamlined affair, 1985's Water spotlighted ominously sparse torch songs, and the same year's Sweatbox explored deconstructionist pop. The three EPs were later collected on The Legendary Wolfgang Press & Other Stories.
The Wolfgang Press' second full-length effort, 1986's Standing Up Straight, incorporated industrial and orchestral influences into the mix, while the Big Sex EP's "God's Number" offered a soulful backing chorus, a harbinger of things to come. Indeed, after 1988's hypnotic Bird Wood Cage and its leadoff single, "King of Soul," introduced strong elements of dub, reggae, and R&B, the trio took the full plunge into the dance arena with 1991's Queer, an idiosyncratic outing admittedly inspired by De La Soul's landmark 3 Feet High and Rising; the first single, a surreal cover of the Randy Newman-penned "Mama Told Me Not to Come," was a minor hit. 1995's Funky Little Demons completed the Wolfgang Press' transition into white funk; prior to its release, however, Cox exited the group's ranks.
Formed in London in 1983, the Wolfgang Press comprised vocalist Michael Allen, guitarist Andrew Gray, and keyboardist Mark Cox. Read Full BioEnigmatic, moody, and challenging, Britain's Wolfgang Press were one of the most mercurial talents of the post-punk era, restlessly moving from gothic noise to dark balladry to eccentric funk; paradoxically, the group was also the 4AD label's longest tenured artist -- even their stylish album packages were all the product of the same designer, Alberto Ricci.
Formed in London in 1983, the Wolfgang Press comprised vocalist Michael Allen, guitarist Andrew Gray, and keyboardist Mark Cox. Allen and Cox first teamed in the group Rema Rema, which also featured Adam & the Ants alum Marco Perroni; after reuniting in the short-lived quartet Mass, the duo recruited Gray, and as the Wolfgang Press issued their cacophonous, gloomy debut LP, The Burden of Mules, in 1983. An EP trilogy co-produced by Cocteau Twin Robin Guthrie followed in quick succession: while 1984's Scarecrow was a lighter, more streamlined affair, 1985's Water spotlighted ominously sparse torch songs, and the same year's Sweatbox explored deconstructionist pop. The three EPs were later collected on The Legendary Wolfgang Press & Other Stories.
The Wolfgang Press' second full-length effort, 1986's Standing Up Straight, incorporated industrial and orchestral influences into the mix, while the Big Sex EP's "God's Number" offered a soulful backing chorus, a harbinger of things to come. Indeed, after 1988's hypnotic Bird Wood Cage and its leadoff single, "King of Soul," introduced strong elements of dub, reggae, and R&B, the trio took the full plunge into the dance arena with 1991's Queer, an idiosyncratic outing admittedly inspired by De La Soul's landmark 3 Feet High and Rising; the first single, a surreal cover of the Randy Newman-penned "Mama Told Me Not to Come," was a minor hit. 1995's Funky Little Demons completed the Wolfgang Press' transition into white funk; prior to its release, however, Cox exited the group's ranks.
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Cut the Tree
The Wolfgang Press Lyrics
I wouldn't say that I have found what I was looking for
I wouldn't say that I was bound from what I am hiding from
These people follow me
I had the sound inside of me
The sound's a crowd
The sound's a crowd
My face is history, it's never forgiven me
I didn't say that I was sound
I wouldn't say that I was round
I couldn't help but walk on two legs
I couldn't help but walk with two eyes
I found that I was beckoned, never to be seen again
I see the man I want to be, his name is purity
He's walking free
He's walking free
He's walking free
I say why
I'll turn around
I'll turn around
And plant the seed
I'll turn around
And plant the seed
A bigger tree
And all behind, it's cutting me
It's cutting me
I'll turn around
I'll turn around
This is no vial act of God
I'll turn around
I'll turn around
I'll turn around
I'll turn around
And plant the seed
A bigger tree
And all behind, it's cutting me
It's cutting me
It's cutting me
It's cutting me
Contributed by Keira K. Suggest a correction in the comments below.
To comment on specific lyrics, highlight them
Stephanie Sharp
Gawd, this brings back memories. The Lonely Is An Eyesore compilation was a game changer to me. One of my most treasured pieces of vinyl.
Lentic Catachresis
I found Lonely Is An Eyesore on CD for 2 bucks at a library (in Flagstaff AZ to be exact) while on a road trip back in 2017. I was ecstatic! An original, 2 bucks...aaaaand then it disappeared within a year.
Fairly certain it was seized surreptitiously by the human I was dating at the time.
I don't blame them. 😀
Bahman Ghahremani
“I never said that I was round.”
Piotr Piątek
Still have that vinyl ☺️
Richard Oram
likewise, changed me from a pseudo metalhead into someone who realised that music does move in mysterious ways! My fav band on the 4AD roster. Still listen now.
mark1138
colourbox,ya
@Rob Vespa
SAR
I was invited down to 4AD to pick up my copy of ‘Lonely is an Eyesore’ wooden box set.
Handed to me by Vaughan Oliver himself. I still have it to this day.
rod dor
Thanks for bringing back the 4AD magical times! Ivo's 4AD and 23 envelope, changed my life for ever. Best regards.
Antonio Carrabba
My life too. And I feel very, very lucky. It's my lifestyle.
😎📷📸📽️🎞️🎥🎛️🎧🎼🎵🎶💎🔉🔊😎♾️
Sarah Reinbolt
same