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The Sound · The Sound · The Sound · The Sound · The Sound · The Sound · The Sound · The Sound · The Sound · The Sound · The Sound · The Sound ·
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The Sound

Photo: Deezer

post-punk · new wave

The Sound

post-punknew wave

8 918

Deezer fans

384 255

Last.fm listeners

Listen on Spotify ↗Listen on Deezer ↗
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The artists whose audience overlaps most with The Sound's.

  • The Chameleons
    The ChameleonsView profile
  • Sad Lovers and Giants
    Sad Lovers and GiantsView profile
  • Lowlife
    LowlifeView profile
  • The Psychedelic Furs
    The Psychedelic FursView profile
  • The Church
    The ChurchView profile
  • Modern English
    Modern EnglishView profile
  • Little Nemo
    Little NemoView profile
  • Wire
    WireView profile
  • TThe Snake CorpsNot in the catalogue yet
  • TThe Comsat AngelsNot in the catalogue yet
  • MMagazineNot in the catalogue yet
  • MModern EonNot in the catalogue yet

Closeness measured from listening data — source: Last.fm

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About

The Sound was formed in South London in 1979, shortly after a band called The Outsiders dissolved. It isn't a very well-distributed fact, but the Outsiders' 1977 LP Calling on Youth was the first self-released British punk LP, issued roughly four months after Buzzcocks' infamous Spiral Scratch 7". Guitarist/vocalist/songwriter Adrian Borland led the Outsiders through a couple of other releases, but the band sputtered out three years after their 1976 formation. Bassist Graham Bailey (aka Graham Green), who had joined the band in time for their final recordings, followed Borland into the new group with a drummer named Michael Dudley and a saxophonist/clarinetist/keyboardist named Bi Marshall. 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.

Source: Last.fm

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8 918

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