#echothebunnymen — Public Fediverse posts

The bit that you skip #204: Echo & The Bunnymen – The Killing Moon

A song that has had many lives, The Killing Moon by Echo & The Bunnymen truly is a song no one else but them could make. Brooding but still uplifting, solemn but with an infectious hook. Ian McCulloch’s beautiful voice floats on a psychedelic goth atmosphere.

A hit single in 1984, it’s easily their most recognisable song, at least on this side of the Atlantic, where British music always had an abode. Blame it generations fed The Beatles and The Rolling Stones on a daily basis, blame it on our penchant for the overtly dramatic lyrics. British music always seems to be a larger hit in Mexico than in the USA. Just look at the sales of Oasis and Blur. Or how big The Smiths are in Mexico in contrast to the US. Even Chuck Klosterman dedicated one of his navelgazing essays to the topic.

A staple of classic radio, The Killing Moon is about the inevitability of death. A fate set on us, against our will. No wonder it worked so well in Donnie Darko, a movie that rattles the cages of too many cinephiles, while still confounding the general public. I personally like it, but prefer The Box. Takes all kinds, I guess.

Although I love Echo & The Bunnymen’s version, it was Grant Lee Phillips beautiful, understated cover what truly galvanised this love. The folksy cover shines a light on the lyrical work. McCulloch’s words, supposedly arriving to him after waking up from a dream, benefit from Phillips’ vulnerable approach.

I’ll delve longer into Grant Lee Phillips tomorrow, because I’ve got plenty to write about the fella. For the time being, hope you have good memories of this song, and if not, why not make new memories? After all, we’re just wearing stupid man suits.

-Sam J. Valdés López

https://www.youtube.com/watch?v=LWz0JC7afNQ

The bit that you skip #204: Echo & The Bunnymen – The Killing Moon

A song that has had many lives, The Killing Moon by Echo & The Bunnymen truly is a song no one else but them could make. Brooding but still uplifting, solemn but with an infectious hook. Ian McCulloch’s beautiful voice floats on a psychedelic goth atmosphere.

A hit single in 1984, it’s easily their most recognisable song, at least on this side of the Atlantic, where British music always had an abode. Blame it generations fed The Beatles and The Rolling Stones on a daily basis, blame it on our penchant for the overtly dramatic lyrics. British music always seems to be a larger hit in Mexico than in the USA. Just look at the sales of Oasis and Blur. Or how big The Smiths are in Mexico in contrast to the US. Even Chuck Klosterman dedicated one of his navelgazing essays to the topic.

A staple of classic radio, The Killing Moon is about the inevitability of death. A fate set on us, against our will. No wonder it worked so well in Donnie Darko, a movie that rattles the cages of too many cinephiles, while still confounding the general public. I personally like it, but prefer The Box. Takes all kinds, I guess.

Although I love Echo & The Bunnymen’s version, it was Grant Lee Phillips beautiful, understated cover what truly galvanised this love. The folksy cover shines a light on the lyrical work. McCulloch’s words, supposedly arriving to him after waking up from a dream, benefit from Phillips’ vulnerable approach.

I’ll delve longer into Grant Lee Phillips tomorrow, because I’ve got plenty to write about the fella. For the time being, hope you have good memories of this song, and if not, why not make new memories? After all, we’re just wearing stupid man suits.

-Sam J. Valdés López

https://www.youtube.com/watch?v=LWz0JC7afNQ

The bit that you skip #204: Echo & The Bunnymen – The Killing Moon

A song that has had many lives, The Killing Moon by Echo & The Bunnymen truly is a song no one else but them could make. Brooding but still uplifting, solemn but with an infectious hook. Ian McCulloch’s beautiful voice floats on a psychedelic goth atmosphere.

A hit single in 1984, it’s easily their most recognisable song, at least on this side of the Atlantic, where British music always had an abode. Blame it generations fed The Beatles and The Rolling Stones on a daily basis, blame it on our penchant for the overtly dramatic lyrics. British music always seems to be a larger hit in Mexico than in the USA. Just look at the sales of Oasis and Blur. Or how big The Smiths are in Mexico in contrast to the US. Even Chuck Klosterman dedicated one of his navelgazing essays to the topic.

A staple of classic radio, The Killing Moon is about the inevitability of death. A fate set on us, against our will. No wonder it worked so well in Donnie Darko, a movie that rattles the cages of too many cinephiles, while still confounding the general public. I personally like it, but prefer The Box. Takes all kinds, I guess.

Although I love Echo & The Bunnymen’s version, it was Grant Lee Phillips beautiful, understated cover what truly galvanised this love. The folksy cover shines a light on the lyrical work. McCulloch’s words, supposedly arriving to him after waking up from a dream, benefit from Phillips’ vulnerable approach.

I’ll delve longer into Grant Lee Phillips tomorrow, because I’ve got plenty to write about the fella. For the time being, hope you have good memories of this song, and if not, why not make new memories? After all, we’re just wearing stupid man suits.

-Sam J. Valdés López

https://www.youtube.com/watch?v=LWz0JC7afNQ

The bit that you skip #204: Echo & The Bunnymen – The Killing Moon

A song that has had many lives, The Killing Moon by Echo & The Bunnymen truly is a song no one else but them could make. Brooding but still uplifting, solemn but with an infectious hook. Ian McCulloch’s beautiful voice floats on a psychedelic goth atmosphere.

A hit single in 1984, it’s easily their most recognisable song, at least on this side of the Atlantic, where British music always had an abode. Blame it generations fed The Beatles and The Rolling Stones on a daily basis, blame it on our penchant for the overtly dramatic lyrics. British music always seems to be a larger hit in Mexico than in the USA. Just look at the sales of Oasis and Blur. Or how big The Smiths are in Mexico in contrast to the US. Even Chuck Klosterman dedicated one of his navelgazing essays to the topic.

A staple of classic radio, The Killing Moon is about the inevitability of death. A fate set on us, against our will. No wonder it worked so well in Donnie Darko, a movie that rattles the cages of too many cinephiles, while still confounding the general public. I personally like it, but prefer The Box. Takes all kinds, I guess.

Although I love Echo & The Bunnymen’s version, it was Grant Lee Phillips beautiful, understated cover what truly galvanised this love. The folksy cover shines a light on the lyrical work. McCulloch’s words, supposedly arriving to him after waking up from a dream, benefit from Phillips’ vulnerable approach.

I’ll delve longer into Grant Lee Phillips tomorrow, because I’ve got plenty to write about the fella. For the time being, hope you have good memories of this song, and if not, why not make new memories? After all, we’re just wearing stupid man suits.

-Sam J. Valdés López

https://www.youtube.com/watch?v=LWz0JC7afNQ

The bit that you skip #204: Echo & The Bunnymen – The Killing Moon

A song that has had many lives, The Killing Moon by Echo & The Bunnymen truly is a song no one else but them could make. Brooding but still uplifting, solemn but with an infectious hook. Ian McCulloch’s beautiful voice floats on a psychedelic goth atmosphere.

A hit single in 1984, it’s easily their most recognisable song, at least on this side of the Atlantic, where British music always had an abode. Blame it generations fed The Beatles and The Rolling Stones on a daily basis, blame it on our penchant for the overtly dramatic lyrics. British music always seems to be a larger hit in Mexico than in the USA. Just look at the sales of Oasis and Blur. Or how big The Smiths are in Mexico in contrast to the US. Even Chuck Klosterman dedicated one of his navelgazing essays to the topic.

A staple of classic radio, The Killing Moon is about the inevitability of death. A fate set on us, against our will. No wonder it worked so well in Donnie Darko, a movie that rattles the cages of too many cinephiles, while still confounding the general public. I personally like it, but prefer The Box. Takes all kinds, I guess.

Although I love Echo & The Bunnymen’s version, it was Grant Lee Phillips beautiful, understated cover what truly galvanised this love. The folksy cover shines a light on the lyrical work. McCulloch’s words, supposedly arriving to him after waking up from a dream, benefit from Phillips’ vulnerable approach.

I’ll delve longer into Grant Lee Phillips tomorrow, because I’ve got plenty to write about the fella. For the time being, hope you have good memories of this song, and if not, why not make new memories? After all, we’re just wearing stupid man suits.

-Sam J. Valdés López

https://www.youtube.com/watch?v=LWz0JC7afNQ

DiscogsDienstag: Echo & the Bunnymen – Heaven Up Here

Echo & the Bunnymen gehören zu den prägendsten und erfolgreichsten Bands des Post-Punk und New Wave – und sind bis heute aktiv. Doch wenden wir uns den Anfängen zu. Echo & the Bunnymen wurden 1978 in Liverpool gegründet. Ian McCulloch (Gesang, Gitarren), Will Sergeant (Gitarre) und Les Pattinson am Bass bildeten die erste Besetzung. Zunächst nutzte die Band einen Drumcomputer, der scherzhaft „Echo“ genannt wurde – ein Name, der später fälschlich als Ursprung des Bandnamens interpretiert wurde. „Echo“ wurde 1980 durch den Schlagzeuger Pete de Freitas ersetzt. Auf das Debütalbum „Crocodiles“ (1980) folgte „Heaven Up Here“ (1981), das von der britischen Musikzeitung NME (New Musical Express) mit dem NME-Award für das „Bestes Album“ und das „Best Dressed Album“ ausgezeichnet wurde. Außerdem erreichte „Heaven Up Here“ Platz 10 in den britischen Album-Charts.

Als Produzent wurde Hugh Jones gewonnen, der im selben Jahr auch mit The Sound deren Album „From The Lions Mouth“ produzierte. Musikalisch waren sich beide Bands zu dem Zeitpunkt recht ähnlich. Während The Sound sich stärker am düsteren, rhythmischen Post-Punk orientierten, integrierten Echo & the Bunnymen bereits auf ‚Heaven Up Here‘ psychedelische Gitarrenklänge und epische Arrangements – ein Markenzeichen ihres späteren Stils. Auch wenn es sehr erfolgreich war, fehlen Hit-Songs. Die einzige Singleauskopplung „A Promise“ schaffte es immerhin auf Platz 49 der britischen Singlecharts, blieb damit allerdings hinter den späteren Klassikern „The Killing Moon“ (1984, Platz 9), „Bring On The Dancing Horses“ (1985, Platz 21) und „Lips Like Sugar“ (1987, Platz 36) zurück.

Mit „Heaven Up Here“ schufen Echo & the Bunnymen ein zeitloses Meisterwerk: ein Album, das durch seine düstere, atmosphärische Klangwelt und die Verbindung von Post-Punk, Psychedelic und epischer Melancholie bis heute fasziniert.

Und bis heute sind Echo & the Bunnymen, wie eingangs bereits erwähnt, aktiv. Ihr bisher letztes Album „The Stars, the Oceans & the Moon“ ist 2018 erschienen. 2026 sind die Gründungsmitglieder Ian McCulloch und Will Sergeant mit neuen Musikern in England, Brasilien und Nordamerika auf ihrer „The Very Best Of Echo & The Bunnymen 1978–2026“-Tour. Für Deutschland sind noch keine Termine bekannt.

DiscogsDienstag: Echo & the Bunnymen – Heaven Up Here

Echo & the Bunnymen gehören zu den prägendsten und erfolgreichsten Bands des Post-Punk und New Wave – und sind bis heute aktiv. Doch wenden wir uns den Anfängen zu. Echo & the Bunnymen wurden 1978 in Liverpool gegründet. Ian McCulloch (Gesang, Gitarren), Will Sergeant (Gitarre) und Les Pattinson am Bass bildeten die erste Besetzung. Zunächst nutzte die Band einen Drumcomputer, der scherzhaft „Echo“ genannt wurde – ein Name, der später fälschlich als Ursprung des Bandnamens interpretiert wurde. „Echo“ wurde 1980 durch den Schlagzeuger Pete de Freitas ersetzt. Auf das Debütalbum „Crocodiles“ (1980) folgte „Heaven Up Here“ (1981), das von der britischen Musikzeitung NME (New Musical Express) mit dem NME-Award für das „Bestes Album“ und das „Best Dressed Album“ ausgezeichnet wurde. Außerdem erreichte „Heaven Up Here“ Platz 10 in den britischen Album-Charts.

Als Produzent wurde Hugh Jones gewonnen, der im selben Jahr auch mit The Sound deren Album „From The Lions Mouth“ produzierte. Musikalisch waren sich beide Bands zu dem Zeitpunkt recht ähnlich. Während The Sound sich stärker am düsteren, rhythmischen Post-Punk orientierten, integrierten Echo & the Bunnymen bereits auf ‚Heaven Up Here‘ psychedelische Gitarrenklänge und epische Arrangements – ein Markenzeichen ihres späteren Stils. Auch wenn es sehr erfolgreich war, fehlen Hit-Songs. Die einzige Singleauskopplung „A Promise“ schaffte es immerhin auf Platz 49 der britischen Singlecharts, blieb damit allerdings hinter den späteren Klassikern „The Killing Moon“ (1984, Platz 9), „Bring On The Dancing Horses“ (1985, Platz 21) und „Lips Like Sugar“ (1987, Platz 36) zurück.

Mit „Heaven Up Here“ schufen Echo & the Bunnymen ein zeitloses Meisterwerk: ein Album, das durch seine düstere, atmosphärische Klangwelt und die Verbindung von Post-Punk, Psychedelic und epischer Melancholie bis heute fasziniert.

Und bis heute sind Echo & the Bunnymen, wie eingangs bereits erwähnt, aktiv. Ihr bisher letztes Album „The Stars, the Oceans & the Moon“ ist 2018 erschienen. 2026 sind die Gründungsmitglieder Ian McCulloch und Will Sergeant mit neuen Musikern in England, Brasilien und Nordamerika auf ihrer „The Very Best Of Echo & The Bunnymen 1978–2026“-Tour. Für Deutschland sind noch keine Termine bekannt.

Check out the lyrics for the song “Nothing Lasts Forever” by Echo & The Bunnymen
#EchoTheBunnymen #NothingLastsForever
https://daletra.com/echo-e-the-bunnymen/lyrics/nothing-lasts-forever.html

Lyrics for the song “Lips Like Sugar” by Echo & The Bunnymen
#EchoTheBunnymen #LipsLikeSugar
https://daletra.com/echo-e-the-bunnymen/lyrics/lips-like-sugar.html

See the lyrics for the song “People Are Strange” by Echo & The Bunnymen
#EchoTheBunnymen #PeopleAreStrange
https://daletra.com/echo-e-the-bunnymen/lyrics/people-are-strange.html