An early version of the band formed in 1981 under the name From Eden; members included Clint Mansell, Adam Mole, Chris Fradgley, Malcolm Treece and Miles Hunt . Graham Crabb was recruited (Graham being the only respondant to replace the 'piss poor' Miles Hunt on drums). After From Eden splintered into two bands (Treece and Hunt went on to form The Wonder Stuff) Mansell, Crabb & Mole formed Wild and Wandering, recruiting Richard March on bass. They eventually became Pop Will Eat Itself in 1986, taking the name from a quote in an NME article about Pop 'eating itself' suggesting that popular music continues to recycle ideas.
The band honed their songwriting skills with a string of catchy two-minute pop songs released on EPs both as Wild and Wandering and Pop Will Eat Itself. With the help of DJ John Peel, these EPs saw some airplay and enjoyed some popularity among university students. After the band feared they had accomplished all they could with their sound, they found new influences in hip hop acts such as the Beastie Boys, Run DMC and Public Enemy. Graham soon dropped the drum sticks for a mic and was replaced by a drum machine called "Dr. Nightmare." Their style continued to develop with classics such as "There Is No Love Between Us Anymore' and the anthemic "Def Con One". As a result, PWEI were signed to major label RCA and they achieved top 40 hits with "Can U Dig It?" and "Wise Up! Sucker" off the album This Is the Day…This Is the Hour…This Is This!
RCA's larger studio budget allowed the band to develop its potential further, and they released 3 successful albums on that label. The first two (…This is This! and Cure for Sanity) were recorded with the aid of legendary producer Flood, known for his work with Nine Inch Nails, U2 and many other popular 90s groups. Cure for Sanity was perhaps PWEI's most experimental album, with a more electronic sound than previous efforts. RCA, meanwhile, was more interested chart success and so wanted the band to cut the lengthy instrumentals from their songs.
On 1992's The Looks or The Lifestyle, the band recruited a live drummer to complement their standard array of loops and pre-programmed drums and brought back some live guitars. The record was their most commercial and polished work to date, and was arguably the Poppies' high point, featuring top 20 hits like 'Karmadrome' and 'Bulletproof.' The single 'Get the Girl! Kill the Baddies!' registered as the band's biggest hit in January 1993. By this point, RCA had already grown tired of PWEI's stuborness and dropped them before the single was even released (the song went on to peak at 9 in the UK singles chart). Because of this, the band became the first ever to perform on Top of the Pops without being on a record label. The British National Party had recently caused an uproar in Tower Hamlets by winning a council seat, and it looked possible that the UK would see a revival in far right politics. In response to this, The Looks or the Lifestyle introduced a hitherto understated political angle, as the album inlay used the "red arrow" emblem of the Anti Nazi League and offered the organisation's address.
Getting dropped from RCA turned out to be a blessing for the Poppies, as the label agreed to write off the massive debts that the band had accumulated in studio fees in return for PWEI's back catalogue. After a minor bidding war, the Poppies decided to sign to Infectious Records, a label recently started by friend Korda Marshell (who had signed them to RCA in the first place but had since left the label) that offered them the artistic freedom they required.
PWEI maintained their stubbornly "cartoon like" image, despite producing thoughtful and often surprisingly dark tracks (for instance "Wake Up! Time To Die!", "88 Seconds", and "Mother").
PWEI's political stance became more explicit with the release of the single "Ich Bin Ein Auslander." A collaboration with Asian group Fun-Da-Mental, the song was scathing attack on the far right and the apathy that seemed to greet its resurgence. A different version of this song later appeared as the opening track on the 1994 album, Dos Dedos Mis Amigos.
By this time the band had toned down its garish public persona and veered off in a new and more industrial-based direction with the aid of long time fan Trent Reznor. Many fans were upset that the 'Is everybody happy?!' pogoing Poppies were gone and put off by the new direction, but the band found new popularity after signing with Reznor's Nothing Records in the US and touring with Nine Inch Nails, as well as having their songs used on the Playstation game 'Loaded'.
The following year the band released the Dos Dedos remix album Two Fingers My Friends which featured remixes by The Orb, Apollo 440, Renegade Soundwave and many more. It was about this time that Graham Crabb left the band and they recruited 'The Buzzard' of Yeah! God (who had recorded 'wild guitar' on previous albums but was never a full time member) and Clint took over full vocal duties. The band continued down the industrial route and were still recording and touring until 1996, even recording a collaboration with Orbital. Unfortunately, the band took a break before finishing production of their next album with Trent Reznor, and while not officially splitting, failed to complete the work citing boredom and musical differences. One track from this period was released, a cover of Gary Numan's "Friends," and provides some indication of the band's direction at the time.
A reunion of sorts happened in 2005 when the members performed eight gigs in the UK. Demos were also recorded during this time. However, Clint Mansell and Richard March were unable to continue with the reformation, and the remaining members have decided to pursue what the reformed PWEI started under the name Vileevils.
On February 23, 2010, a press release was issued to those on the dPulse Recordings mailing list, stating that Crabb would be discontinuing work on the Vileevils project, to concentrate on reviving Pop Will Eat Itself with a new PWEI album, new band and tour dates to be announced. On 11 May 2010, PWEI released the "Axe of Men 2010" single on a CD/DVD combination, featuring "Axe of Men 2010", a remastered "Sonic Noise Byte", and a DVD with Vileevils material.
In July 2011, a new line-up was announced, featuring Graham Crabb as the only original member, and Mary Byker undertaking co-vocalist duties. On October 3rd 2011 the album, New Noise Designed By A Sadist, was released on Cooking Vinyl, followed by a UK tour.
TBC
Preaching To The Perverted
Pop Will Eat Itself Lyrics
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The lyrics of Pop Will Eat Itself's song "Preaching To The Perverted" are a commentary on society's obsession with cheap entertainment and the glorification of lowbrow culture. The opening lines of the song, "Perverts, on your knees! For what you're about to receive", immediately set the tone for a scathing critique on how mainstream culture panders to the lowest common denominator.
The lyrics reference the "death-deaf undef" and "defheads", depicting a society that is deaf to the consequences of their actions and immune to criticism. There is a mention of Rick Astley being hung for his "crimes", which suggest the shallow nature of pop culture and how it reduces art to a commodity.
The chorus emphasizes the message of the song, that people need to stop accepting the "ugly" and "cheap" aspects of society and start making more noise about the issues that truly matter. The lyrics encourage listeners to "kick a hole in the singer" and reject the status quo.
Overall, the song is a call to arms for listeners to reject the shallow and superficial aspects of society and start demanding more substance and meaning from their entertainment.
Line by Line Meaning
Perverts, on your knees! For what you're about to receive
Addressing the audience as perverts and asking them to pay attention.
It's definitely def F.Def for the Death-Deaf Undef...
Introducing the concept of 'def' as something that is deafening and undefeatable.
That's deffo for Defheads Astley's in the noose (hang loose kid)
Continuing to reference 'def' and alluding to singer Rick Astley being in trouble.
Lift the lid on the crimes he did
Asking for the truth about Rick Astley's alleged crimes to be revealed.
Caught playing safe, All the same and everybody's playing it...
Commenting on Rick Astley's lack of risk-taking and how everyone is following suit.
It's a bored game, Like, laying it down-No! Nobody's saying it like this
Suggesting that conforming to society's norms is boring and that more people should be bold in their actions.
Theyy're brown-nosing, posin' pretty In shitty shit city, It's a tragedy, pure sit-comedy...
Critiquing those who are trying to impress others and live in a city with no redeeming qualities, portraying it as a tragic yet comedic situation.
So we steal, so what, We're Robin Hoods, for the good of the loosers
Justifying stealing as being akin to Robin Hood and for the good of those who are not successful.
So far, so good, The boozers, the ugly, the crazy, The perverts, the lazy... The drunks and the punks,
Listing different groups of people who are not typically considered successful, and implying that they can relate to this message.
The trouble here is that trouble never happens There's bubbles to burst Going for the prime time- So making trouble's a first, Rhythm and rhyme, partners in crime; I'm gonna get mine.
Addressing the fact that there needs to be more disruption in society, since there are only superficial things to fight against. Promising to continue making music with a partner.
This is the law-don't argue This is the law-stop grinnin'! Make some noise-shake what you've got... Go ahead-kick a hole in the speaker
Insisting that this message should be accepted without objection and encouraging everyone to make noise and be disruptive.
This is the law, This is the law-for the ugly, you-you-ugly oh yeah! Yeah that's right kick it... Go ahead-kick a hole the speaker!
Emphasizing that this message is specifically for those who are not considered physically attractive, and encouraging them to join in the chaos.
Very metal riffs polluting the air, Can you dig it? Hell yeah! It's a far far better thing we do now... Can you dig it? Hell yeah! Hell yeah!
Praising the music that is being made and calling attention to the quality of the sound.
Say it loud and say it proud There's no pleasure to treasure in prostitution. What's my solution? Noise pollution!
Encouraging people to speak up and be unashamed in their beliefs. Rejecting prostitution and offering disruptive noise as an alternative.
This isn't love It's just cheap entertainment, The stains on the sheet and the crap on the pavement Rearing our ugly head Say what's got to be said with a sledgehammer, No s-s-stammer...
Commenting on the commodification of love and how it can lead to unsanitary conditions. Addressing societal issues in a direct and forceful way.
Preach to the perverts, teach and convert Rough and sleazy, loose and easy Each little excerpt, a feature of expertise Perverts can you hear me?
Continuing to address the perverted listener, suggesting that they should be receptive to this message and that each element of the music is done with skill.
Lyrics © Universal Music Publishing Group
Written by: GRAHAM CHARLES CRABB
Lyrics Licensed & Provided by LyricFind