Since 1980, Icehouse has released seven albums, several compilations, and music from collaborations with other artists including dance companies. Their 1987 album 'Man of Colours' was released at the apex of their fame and international success. It is considered by many to be the band's magnum opus.
As 'Flowers', Icehouse built up a strong following as a live act around Sydney, Australia, noted for their distinctive cover versions of songs by a wide range of acts including T-Rex and Brian Eno. After signing to the independent Regular Festival Records label, they released their debut single, "Can't Help Myself", which hit the Australian Top 10 in June 1980. This was followed by their first album 'Icehouse', which also made the Top 10 and became one of year's biggest selling albums in Australia. The album made use of synthesisers, especially the Sequential Circuits Prophet 5.
Further singles "We Can Get Together" and "Walls" both hit the Top 20. A European single from this album, "Icehouse", created some interest in the U.K., partly because of a memorable music video. Sensing the possibility of international success, the band decided to change their name in early 1981 to avoid confusion with Scottish group The Flowers. As Icehouse, they spent most of 1981 touring the UK, Canada and US, where "We Can Get Together" hit #62. A single release, "Love In Motion", recorded by Davies alone but the first to be credited to the band's new name, duly hit the Australian Top 10 in November 1981.
In January 1982, the band's original line up split, resulting in Davies recording Icehouse's much-anticipated second album, 'Primitive Man', on his own, with assistance from Keith Forsey, who later worked with Simple Minds. Released in August 1982, Primitive Man was another huge Australian hit and became Icehouse's international breakthrough. The hit single "Hey Little Girl" reached the UK Top 20 and has remained their most regularly played song. Another strong track from this album was "Great Southern Land", which made the Australian Top 5 and was later featured in the late 1980s film 'Young Einstein'.
In 1985, Davies' musical standing was further enhanced when he was commissioned to compose and record the score for the acclaimed Sydney Dance Company production of Graeme Murphy's dance work 'Boxes'. Icehouse's third album, 'Sidewalk', was far more sombre and reflective, featuring the tracks "I Don't Believe Anymore" and "Someone Like You". After this album the band made further inroads into the U.S. market with their 1986 release 'Measure for Measure', which featured none other than Brian Eno as a listed band member.
Icehouse's next work, 'Man of Colours', was their best-selling album. It contained the hit singles "Crazy" and "Electric Blue" (a song co-written by John Oates from the band Hall and Oates). Both singles reached the US Top 20, with "Electric Blue" hitting the #7 slot. With this album, the band reached an international zenith, never surpassing this level of popularity and exposure again.
In 1995, Davies was again involved with the Sydney Dance Company's production of Berlin. The musical score is a collection of cover versions of songs by David Bowie, Brian Eno, Simple Minds, The Psychedelic Furs, Frank Sinatra, Lou Reed, Roxy Music, XTC, Talking Heads, The Velvet Underground, PiL, The Cure and Killing Joke, which saw him collaborating with pianist Max Lambert in the development of the music.
As well as recording the score to the ballet, Davies performed these songs live with Icehouse at each show. He was an intrinsic part of the ballet, in a role similar to the one in Boxes. Iva was extremely successful in creating a translation from the dancers to the audience. Berlin was an instant success and ran for two seasons. Both shows were the most commercially successful that The Sydney Dance Company have had to date.
On 16 August 2006, Icehouse were inducted into the ARIA Hall of Fame along side acts such as Midnight Oil, Divinyls and Rose Tattoo. Also in 2006, Icehouse featured prominently on the Triple M Essential 2006 Countdown with 14 songs selected including:
*"Man Of Colours"
*"Electric Blue"
*"We Can Get Together"
*"Don't Believe Any More"
*"Great Southern Land" (which came in at number 12)
Sunrise
Icehouse Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A day just like the next
They gather their nets
And face their boats around
Over the rooftops
Hear the hum of wings
In seventeen seconds
The world explodes
And it buries the night a brave new sunrise
With a sweep of the sword, a blood red sunrise
You'll never see the faces
Of the fishermen
But you may see their shadows
Burned against the wall
And in the temple grounds
New bamboo grows again
As if the heat of the flame
Had left no trace at all
And there's a light in the eastern sky, sunrise
And there's no place a man can hide, the sunrise
Well, it buries the night, a brave new sunrise
With a sweep of the sword, a blood red sunrise
But in the cool of the evening
When the children sleep
The old mountain remembers
And hangs his head in clouds
And there's a light in the eastern sky, yeah, sunrise
And there's no place a man can hide, the sunrise
Well, it buries the night, a brave new sunrise
With a sweep of the sword, a blood red sunrise
In the song Sunrise by Icehouse, the lyrics paint a picture of fishermen preparing their boats for the day's work on the edge of the bay. The dawning of a new day brings hope with it, as represented by the 'brave new sunrise,' but also the possibility of destruction, as portrayed by 'a blood red sunrise.' The fear of natural disasters that may rob people of their livelihoods is reflected in the lines, 'In seventeen seconds, the world explodes.' The song also hints at the impermanence of life and the continuity of nature, suggesting a cycle of destruction and rebirth, as represented by the 'new bamboo grows again.'
The lyrics reveal the cyclical nature of life, a constant rhythm of the new rising from the ashes of the old. The verses encourage people to keep hope in the face of inevitable destruction and then end with a vivid description of the beauty of the sunrise. The bridge, on the other hand, reflects the nostalgia that comes with age, as the old mountain remembers, but the use of metaphors makes the imagery impactful.
Line by Line Meaning
On the edge of the bay
The scene is set by describing the location where the story takes place.
A day just like the next
There is nothing particularly unusual about the day being described.
They gather their nets
Some people are preparing to go fishing.
And face their boats around
The fishermen are positioning their vessels.
Over the rooftops
A view of the town is shown.
Hear the hum of wings
The sound of birds is audible.
In seventeen seconds
Something is about to happen, and it will only take a short time to occur.
The world explodes
There is a sudden and violent event.
And it buries the night a brave new sunrise
The event that occurred was the sunrise, which replaces the darkness of night with a new day.
With a sweep of the sword, a blood red sunrise
The sunrise is described as if it were a violent act, like a sword being used to inflict a wound.
You'll never see the faces
The people who were fishing will remain anonymous and unknown to the observer.
Of the fishermen
The anonymous people are identified as fishermen.
But you may see their shadows
Although their faces are hidden, you may be able to see shadows cast by the fishermen.
Burned against the wall
The shadows are described as being burnt into the wall, perhaps by the light of a fire or the sun.
And in the temple grounds
The focus shifts to a different location - a temple.
New bamboo grows again
New plants are growing, despite something destructive having occurred.
As if the heat of the flame
The growth of the bamboo is described as if it were caused by the heat of a fire or some other destructive event.
Had left no trace at all
Despite the growth of the bamboo being described as if it were a result of something destructive, there is no visible evidence of anything having happened.
And there's a light in the eastern sky, sunrise
The focus returns to the sunrise, which is visible in the east.
And there's no place a man can hide, the sunrise
The sunrise is described as all-encompassing and impossible to avoid or escape.
Well, it buries the night, a brave new sunrise
The sunrise is once again described as a powerful force that replaces the darkness of night with a new day.
With a sweep of the sword, a blood red sunrise
The description of the sunrise being like a violent act is repeated, emphasizing its power and impact.
But in the cool of the evening
The scene shifts again to a different time of day.
When the children sleep
The time of day is described as if it were nighttime and the children are sleeping.
The old mountain remembers
The mountain is personified and described as having memories.
And hangs his head in clouds
The mountain is described as if it were a person, and is hanging its head in sadness or mourning.
And there's a light in the eastern sky, yeah, sunrise
The sunrise is once again mentioned, but it is not the main focus of this verse.
And there's no place a man can hide, the sunrise
Again, the sunrise is described as all-encompassing and impossible to avoid or escape.
Well, it buries the night, a brave new sunrise
The power and impact of the sunrise are once again emphasized.
With a sweep of the sword, a blood red sunrise
The violent description of the sunrise is repeated one final time, perhaps to leave a lasting impression on the listener.
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.
Written by: IVOR ARTHUR DAVIES, ROBERT GRANT KRETSCHMER
Lyrics Licensed & Provided by LyricFind