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.
Kinetic
The Sound Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Stuck in the same feet for twenty seven summers long
I've faced the facts I've faced the facts
But I just won't keep starring
I'll keep it in mind and to come on strong
It's always time to break out
It's always time to move
You hit upon the need for some proof
Let's connect it make it kinetic
You kiss me, you touch me
You don't know where I ve been
But I remember and it's all too clear
The spur of the moment, the spur of the moment
Digs in my side, is that my price
Well it's too high, let's get out of here
It's always time to break out
It's always time to move
But when you run out of excuses
You hit upon the need for some truth
Let's connect it make it kinetic
Doo be-doo-doo etc
You take what you take
You take all you can
To feel how I feel
Well I'm who I want to be
We're not thinking, this is not thinking, this is up on high
With some not quite natural energy
There's no time like now
Just no time like now
You want to waste this moment, yeah
You want to waste your time
You want to waste your life away
But you won't be wasting mine
I can't see any holes in my feet
You won't need to be corrupting me
I can't see any nails in my hands
To stop me reaching for something I don't quite understand Make it kinetic
Make it kinetic
The Sound's song Kinetic is a powerful anthem about breaking free from the mundanity of life and constantly striving to evolve and grow. The lyrics evoke a sense of restlessness and wanting to escape the monotony of routine, encapsulated by the lines "Stuck in the same feet for twenty seven summers long." The singer acknowledges the need for change and growth, but also the fear and uncertainty that comes with it. They won't "keep staring" at their problems, but will face them head-on, determined to come out stronger.
The chorus emphasizes the importance of action and movement, stating that it's always "time to break out" and "time to move." The line "Let's connect it make it kinetic" seems to indicate that the singer wants to harness their energy and potential to push themselves to new heights. The second verse introduces a love interest, and although their relationship is passionate and intense, there's a sense of longing and regret, as indicated by the line "You kiss me, you touch me, you don't know where I've been, but I remember and it's all too clear."
The song ends with a call to action to make things happen, to not waste time or let fear hold you back. The final lines "I can't see any holes in my feet, you won't need to be corrupting me. I can't see any nails in my hands, to stop me reaching for something I don't quite understand. Make it kinetic" express a sense of empowerment and determination to move forward and grasp what they want out of life.
Line by Line Meaning
What would you do, what would you do
What actions would you take if you were in my position?
Stuck in the same feet for twenty seven summers long
I have been in the same situation, with no progress, for 27 years.
I've faced the facts I've faced the facts
I have come to accept the reality of the situation.
But I just won't keep starring
I will not remain idle and let things continue as they are.
I'll keep it in mind and to come on strong
I will use this knowledge to be assertive and proactive.
It's always time to break out
There is never a bad time to make a change.
It's always time to move
There is always an opportunity for progress and growth.
But when you run out of potential
When you no longer have the ability to progress or improve.
You hit upon the need for some proof
You realize you need evidence or validation for further progress.
Let's connect it make it kinetic
Let's make it happen and turn it into something tangible and real.
You kiss me, you touch me
You engage with me physically and intimately.
You don't know where I ve been
You are unaware of my past experiences and struggles.
But I remember and it's all too clear
I remember my past experiences very vividly.
The spur of the moment, the spur of the moment
This sudden impulse or decision is causing me distress.
Digs in my side, is that my price
This impulse or decision is causing me pain or hardship.
Well it's too high, let's get out of here
The cost of this impulse or decision is too much, and I want to leave this situation.
But when you run out of excuses
When you can no longer justify or rationalize your actions.
You hit upon the need for some truth
You realize you need to confront the reality of the situation.
You take what you take
You will do what you need to do for yourself.
You take all you can
You will take as much as you can to achieve your goals.
To feel how I feel
To experience the emotions and satisfaction I have found.
Well I'm who I want to be
I have achieved my desired self-image.
We're not thinking, this is not thinking, this is up on high
We are not considering the consequences or logic of our actions, and are acting impulsively.
With some not quite natural energy
This energy and motivation is not completely natural or organic.
There's no time like now
There is no better time to take action than the present.
You want to waste this moment, yeah
You are willing to squander this opportunity for progress.
You want to waste your time
You are willing to waste your time without achieving anything meaningful.
You want to waste your life away
You are willing to waste your entire life without achieving anything meaningful.
But you won't be wasting mine
Your inaction or failure to progress will not hold me back.
I can't see any holes in my feet
I do not have any flaws or shortcomings holding me back.
You won't need to be corrupting me
You will not be able to influence me negatively.
I can't see any nails in my hands
I do not have any obstacles preventing me from achieving my goals.
To stop me reaching for something I don't quite understand
Nothing can stop me from pursuing my goals, even if I do not fully understand them.
Make it kinetic
Let's make this happen and turn it into something tangible and real.
Contributed by Grayson T. Suggest a correction in the comments below.