Fittingly enough, Borland's motivation to cut ties to the punk movement mirrored that of original Buzzcocks member Howard Devoto, who left his own band after Spiral Scratch. Like Devoto, who had gone on to pioneer yet another field called post-punk with Magazine, Borland looked around, saw all the bands who played straight-ahead chug-chug-chug rock & roll, and decided that the tired blueprint was in need of a little more depth and variation; atmospheres, tensions, and unfamiliar twists on the interplay between the instruments would be needed. Lyrics were another thing. Not content with simply railing against the government or grunting and yelping about trivial matters to merely keep a song moving, Borland became one of the few post-punk songwriters whose lyric sheets were truly worth ingesting and analyzing. Former Outsider Adrian Janes aided the cause, remaining involved with Borland in a behind-the-scenes manner, writing some of the band's lyrics with his former band mate.
The Sound made their first recordings in the living room of the Borland family home, with Adrian's supportive father Bob acting as recording engineer. As demonstrated on Propaganda, a posthumous release from 1999 that collects these sessions, the band was gradually -- not so drastically and suddenly -- leaving the Stooges/Velvets axis and applying touches that would be developed into something all their own. They received their first break of sorts from Stephen Budd, an early supporter since the Outsiders days, who had recorded and released some material by Bailey and Borland's electronically inclined side project, Second Layer. Budd's label, Tortch Records, made a small profit from a Second Layer release, so he opted to put it right back into the Sound's first release. Budd also became the band's manager, booking studio time for them with Nick Robbins in Elephant Studios and finding places for the band to gig.
The first release made a humble impression. Physical World was reviewed positively in the NME by Paul Morley, and DJ John Peel took minor interest, playing it a couple times during his influential BBC program. Though the Sound hadn't the will to pine for a major label deal, the WEA-affiliated Korova label (home of Echo & the Bunnymen) came knocking when they found out the band was going back into the studio to make a full album. Korova heard the rough mixes of the album and a deal was made. Regardless of the label's involvement, Jeopardy was recorded cheaply, and upon its release was reviewed extremely favourably by all the important outlets. Reviews in the NME, Sounds, and Melody Maker gave it five stars. Rightfully likened to the Bunnymen, the Teardrop Explodes, and Joy Division in those reviews, one only needs to hear the weakest song from the record to realize that the Sound -- from the very beginning -- belonged in that high class.
Bi Marshall left the band and was replaced by Max Mayers (aka Colvin Mayers) before the Sound went in to work with master producer Hugh Jones, who had previously worked with the Teardrops and the Bunnymen, for the follow-up. From the Lion's Mouth took full advantage of the band's atmospheric, mind-bending capabilities by coating their songs -- accessible and economical as ever -- with richly layered productions that didn't hide the rock-solid foundation the songs were built on. Another round of positive reviews and another round of general indifference from the public ensued, though a cult following was festering. Korova became a little anxious with the band and wanted some hits. Surely, the next one would break them.
It wouldn't happen. Working again with Nick Robbins, the band was pressured by the label to compromise and play the pop game. Not only that, but the band was shifted to WEA proper, a move that probably had more to do with taxes than music. The heat from the label and the climate it spawned resulted in All Fall Down, one of those historically troubled third albums (i.e., the one that super-diehard fans defend to their grave). The Sound responded to the situation with their least penetrable record by a couple brick walls. And WEA responded to the response with no promotion. Criticized for being too wilfully distant, for cannibalizing the back catalog, and for lacking immediacy (i.e., "tunes"), the record still has much to give the listener. Although it's not the band's best moment by a long shot, it's hardly something the band would feel ashamed of later on. To little surprise, the band wound up without a label and decided to reconsider their direction.
The period of dormancy involved a collective realization that the enthusiasm for making music and playing it, despite being a little drained from their experiences with WEA, had never really waned. Several major labels expressed interest in signing them, but in the end Statik won out; the band decided it would be better to go with the small independent. (Surprisingly enough, the band worked out a short-term deal with A&M to release material in the States, but it was pretty pointless.) Shock of Daylight, a six-song EP, was released in 1984. The time off served them well, resulting in some of the band's most fiery and uplifting material. This carried through to the following year's glassy/classy Heads and Hearts, the band's fourth studio album. Two dates at the Marquee during August were recorded for the double live album In the Hothouse, which was released in 1986.
For their final album, 1987's Thunder Up (released on Play It Again Sam in Belgium and Nettwerk in Canada), the band allowed the darkness from All Fall Down and the shivering, plaintive desolation of Shock of Daylight's "Winter" to creep back in. Few were still paying attention, but the Sound released a swan song that most of the members considered to be their finest work, with plenty of variety that hangs together. Nearly a decade of empty wallets and minor personality clashes had eroded the band's resilience, so the band decided to stop shortly after its release.
Borland continued in music throughout the next two decades, producing other acts and releasing another batch of under-appreciated records as a solo artist and as a member of a couple side projects (the Honolulu Mountain Daffodils, White Rose Transmission). Bailey, Dudley, and Mayers left music for the most part. Mayers passed away in the early '90s, a victim of AIDS. And on April 26, 1999, Borland took his own life. Thanks to the Renascent label's reissuing program in the late '90s and early 2000s, the Sound's discography has been restored and revitalized. "From the Lion's Mouth" is still regarded as a mark in new wave.
Desire
The Sound Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Near the heart
Close to real
Desire.
In my words
In my eyes
Can't you feel
We will wait
For the night
We will wait
For desire.
Bittersweet
Laugh and cry
Tears that taste
Of desire.
Hunted down
Through the days
Caught in nets
Of desire.
Feel the loss
As it fades
Can't forget
Desire.
Keep in touch
Keep in track
Of this thing
Called desire.
There'll be times
When we'll do
Anything
For desire.
Keep in touch
Keep in track
Keep within the reach
Of desire.
There'll be times
When we'll do
Anything
For desire.
We will wait
For the night.
We will wait...
The Sound's song Desire is a poignant ballad that explores the intense and sometimes overwhelming nature of desire, both in terms of its emotional impact and its physical manifestation. Throughout the song, the singer expresses his longing for connection, the raw and unbridled desire that consumes him from within. The opening verse, "In the dark/Near the heart/Close to real/Desire," suggests the intensity of this feeling, the way it can come to the forefront of our lived experience and become all-consuming.
As the song progresses, the singer speaks directly to his beloved, imploring her to recognize the depth of his desire: "In my words/In my eyes/Can't you feel/The desire?" The repetition of the phrase "we will wait/for the night/for desire" speaks to the impatiences and restless energy felt by the singer, as he longs to be with his lover, to experience the fullness of their desire. The song concludes with a sense of both pain and acceptance: "Feel the loss/As it fades/Can't forget/Desire," suggesting that even as desire ebbs and dissipates, it remains a powerful force in our lives, shaping our memories and leaving an indelible mark on our hearts.
Overall, The Sound's Desire is a stirring meditation on the nature of desire, capturing its complex and multifaceted aspects with an uncommon poignancy and grace.
Line by Line Meaning
In the dark
Even in darkness, desire is present and felt.
Near the heart
Desire is a deep, passionate feeling that comes from within the heart.
Close to real
Desire is almost tangible and feels like it is part of reality.
Desire.
The single word is powerful in itself, representing an intense longing for something.
In my words
Desire is expressed through personal language and communication.
In my eyes
Desire can clearly be seen in the eyes, which are often described as the window to the soul.
Can't you feel
Desire is so strong that it can be felt by others.
The desire?
The question is posed to emphasize the importance and intensity of the feeling.
We will wait
Patience is required for desire to be fulfilled.
For the night
The night represents a time of darkness and secrets, making it ideal for desire to be explored.
Bittersweet
Desire can bring both pleasure and pain, creating a complex and layered emotion.
Laugh and cry
Desire can bring joy and sadness, reflecting the highs and lows of life.
Tears that taste
Desire can be so strong that it evokes tears, which symbolize the depth of the emotion.
Of desire.
Again, the power of desire is emphasized by ending with a single, impactful word.
Hunted down
Desire can take over and lead to a sense of being pursued or even hunted.
Through the days
Desire can be all-consuming and persist throughout the day, making it difficult to focus on anything else.
Caught in nets
Desire can feel like a trap or a web, capturing and ensnaring the individual.
Of desire.
Desire continues to be the all-encompassing force that is being explored.
Feel the loss
Desire can also bring a sense of loss or sadness when it is not fulfilled.
As it fades
Desire can be fleeting and fade away quickly, leaving behind a sense of emptiness.
Can't forget
Desire can leave a lasting impression and be difficult to forget or move on from.
Desire.
The final line once again highlights the enduring power and impact of desire.
Keep in touch
Desire should be nurtured and kept close, rather than forgotten or ignored.
Keep in track
Desire should be monitored and tracked, so that it can be explored and fulfilled in a healthy way.
Of this thing
Desire is being described as a nebulous, mysterious force that needs careful attention.
Called desire.
Once again, the importance and intensity of desire is highlighted in the final words of the stanza.
There'll be times
Desire is not consistent and can come and go in waves.
When we'll do
Desire can be so strong that it leads to impulsive actions or decisions.
Anything
Desire can push people to their limits and make them act in uncharacteristic ways.
For desire.
The final line echoes the repeated emphasis on the power and impact of desire.
Keep within the reach
Once again, desire is something that needs to be nurtured and kept close, rather than ignored or forgotten.
Contributed by Kylie L. Suggest a correction in the comments below.