The band released their first album on vinyl, Self Non Self in July 1989. The intensity of that album garnered very good reviews and caught the attention of John Peel, who picked up on the album right away, with the group recording a session for him in the album's first week of release. Shortly afterwards they signed to the label Dedicated (which also became home to Spiritualized and Beth Orton) and went on to record their EP "Espero" in 1990, with the album "Wings of Joy" following a year later. The release of "Wings of Joy" caught the attention of Robert Smith of The Cure who picked the Cranes to open for them on their world tour in 1992. They then went on to record the albums "Forever" (1993), "Loved" (1994), "La Tragedie d'Oreste et Electre" (1995), and "Population Four" (1997).
After a 4 year break, Cranes re-emerged on their own independent label Dadaphonic to release "Future Songs" (2001) and "Particles & Waves" (2004), which saw the band heading in a more electronic direction while retaining the trademark sound of previous releases. In January 2007 the band released a download only album, "Live at Amsterdam Paradiso," originally recorded in 1991. The show captures the darker, heavier days of the early Cranes and is available only via www.dadaphonic.co.uk.
In 2008 Cranes albums "Wings of Joy', 'Forever' and 'Loved' were re-issued by Cherry Red Records, www.cherryred.co.uk as part of their series of 'influential artists' re-releases.
In October 2008 Cranes released their self titled album 'Cranes', to which they did a supporting tour. After that there was the odd performance here and there up until 2012 after which Cranes fell silent again.
In 2022 they re-emerged with several newly opened social media accounts to which the purpose soon became clear: Cranes have reformed in their original nineties line-up to celebrate the 30th anniversary of the "Forever" album with some gigs in the UK (see events) and they are currently rehearsing.
In June 2023 they also released a 'new' album: their previously unreleased "Peel Sessions 1989-1990" which you can get on their Bandcamp site (see Linktree below) both digitally and on CD/Vinyl.
Current members
Alison Shaw – vocals, bass guitar, acoustic guitar (1985–1997, 2000–present)
Jim Shaw – guitar, bass guitar, keyboards, drums (1985–1997, 2000–present)
Mark Francombe – guitar, bass guitar, keyboards, spanner (1989–1997, 2022-present)
Matt Cope – guitar (1989–1997, 2022-present)
Former members:
Kevin Dunford – lead guitar (1988–1989)
Paul Smith – guitar, keyboards (1995–1997, 2000–2012)
Manu Ross – drums (1996–1997)
Ben Baxter – bass guitar (2000–2012)
Jon Callender – drums (2000–2007)
Jon Mattock – drums (2008–2012)
Cranes official Linktree: https://linktr.ee/cranesofficial
Inescapable
Cranes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Your love is stronger
You make believe now
The days are longer
You make believe now
Your love is stronger
love
Go longer now
Go long
you make believe now
Your love is stronger
You make believe now
The days are longer
You'll never leave me now
Your love is stronger
love
Go longer now
Go longer now
and I can't belive me now
And love is stronger
He'll never believe me now
The days are longer
He'll never believe me now
Your love is stronger
He'll never believe me now
The days are longer
The lyrics of Cranes's song Inescapable describe a relationship that has reached a point of disbelief and mistrust. The singer is trying to convince their partner that their love is stronger and that they shouldn't leave. The repetition of the phrase "you make believe" suggests that the partner is not convinced of the strength of their love. The line "He'll never believe me now" is particularly poignant, as it indicates that the relationship might be beyond repair. The use of the phrase "days are longer" also adds to the sense of despair, as if time is dragging on endlessly and there is no escape from the pain of the relationship.
The overall mood of the song is melancholic and introspective, with a hint of desperation. The repetition of certain phrases and the rhythmic structure of the song create a haunting quality that matches the lyrics. The use of the word "inescapable" in the title also reinforces the idea that the relationship is beyond saving. Ultimately, the song speaks to the universal human experience of heartbreak and the struggle to hold onto love in the face of doubt and uncertainty.
Line by Line Meaning
You make believe
You pretend
Your love is stronger
Your feelings are more intense
You make believe now
You are pretending at this moment
The days are longer
Time moves slower
Your love is stronger
Your feelings are more intense
love
Intense affection
Go longer now
Continue for a longer period of time
Go long
Continue for a long time
You'll never leave me now
You will not abandon me
and I can't believe me now
And I am surprised by my own actions
And love is stronger
And feelings are more intense
He'll never believe me now
He will not trust me
The days are longer
Time moves slower
He'll never believe me now
He will not trust me
Your love is stronger
Your feelings are more intense
He'll never believe me now
He will not trust me
The days are longer
Time moves slower
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Thread Bomb
This is the song that got me into Cranes. It was on a shoegaze compilation, which is a bit odd. Cranes are only shoegaze in the sense of looking down and realising you are dripping blood on your shoes. But thank dog it was there or I would never have found this band. (The one Cranes song I would describe as shoegaze is "Pale blue sky".)
Mac E
@faye we're in danger of reviving another 20 year old trope with this discussion - "what is goth" 😁 Some of the 'founder' groups like Bauhaus didn't have what could be described as 'gothic' lyrics, e.g. Scopes, St Vitus' Dance, etc are very silly. Whereas a group like Massive Attack, who could in no way be described as 'goth' have some spectacularly gothic lyrics, e.g. Voodoo in my Blood (which also has a v disturbing video). But that's a very old discussion indeed, which could ramble on for another 2 decades... As for Cocteau twins, loved them but I'd have put them down as prototype shoegazers myself - "wall of sound", incomprehensible lyrics designed more for the noise they make, etc.
faye
@Mac E well, the lyrics are very much gothic… it’s less the punk-goth thing and exactly… darkwave. reminds me of cocteau twins “persephone”
Mac E
@faye Ha ha, that takes me back a few years. Goth? I'm not a goth!
faye
i would rather describe them as an late darkwave curefied vibe…
Karen a cristã!
This song for the first time I heard it was in the anthological compilation Black Sundays Compilation, Volume 2 ...but you can't imagine her in a shoegaze collection...Interesting
Jeff Hansen
What an awesome song! Never heard anyone as unique as Cranes. Brutal and beautiful
Alexis Pérez
One of my cult bands ! Just love Alison's voice .....
Spin'glass Hydra
It's an interesting phenomenon, when a different generation comes along to attempt to rebrand music, into their new social norms.
Those ominous cello's set against Alison's vocal's, always send shivers up my spine. Not everybody has the same appreciation for this band, as I do; but, I'll say in a sarcastically snye manner, "Awww... That's just to bad for you", if, someone wants to give me a negative opinion.
However; I love that the Cranes are getting rediscovered just like the Cocteau Twins have been. Please remember that this is "Goth" music and not some other subset of music genera dream concoction.
Double-0 Diablo
I agree, it seems younger generations are obsessed with defining and fitting into very specific "identities". Back in my Gen-X youth we just followed our muse and rolled with it. I mean, me and most of my friends went from very young "Golden Age of Heavy Metal" fanatics to closet goths in the space of about 2-3 years, '82-'85. We didn't look goth or act goth, or ever even think about if we wanted to "be" goth, but our record collections and concert ticket stubs told the tale. Nowadays a lot of it is referred to as under the umbrella of "post-punk", but the radio stations at the time simply referred to it as "modern rock". And we still had fondness for all those old metal bands, Sabbath, Judas Priest, UFO, etc - while we were going to see the likes of Siouxsie, Love & Rockets, New Order, Sisters of Mercy, the Cocteaus and the Cure on a regular basis. I found out about the Cranes when they opened for the Cure in America, they still sound great to my ears.