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Dos Dedos Mes Amigos


Price: £35.12
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£35.12 Only 1 left in stock. Dispatched from and sold by music-center.

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Biography

Taking their name from an NME feature on the group Jamie Wednesday (later known as Carter the Unstoppable Sex Machine), the archetypal grebo band Pop Will Eat Itself formed in Stourbridge, England in 1986. Comprised of vocalist/guitarist Clint Mansell, keyboardist Adam Mole, drummer Graham Crabb, and bassist Richard March, PWEI began their existence as a Buzzcocks-influenced indie guitar band, ... Read more in Amazon's Pop Will Eat Itself Store

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Frequently Bought Together

Dos Dedos Mes Amigos + This is the day..this is the hour..this is this! + The Looks Or The Lifestyle - Expanded 2011 Edition
Price For All Three: £60.39

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Product details

  • Audio CD (22 Sept. 1994)
  • Number of Discs: 1
  • Label: Infectious
  • ASIN: B000024F4Z
  • Other Editions: Audio CD  |  Audio Cassette
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Bestsellers Rank: 211,587 in Music (See Top 100 in Music)

Customer Reviews

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Most Helpful Customer Reviews

9 of 9 people found the following review helpful By A Customer on 13 Sept. 2003
Format: Audio CD
it's unlikely but just possible that at some long distant point in the future, long-haired bearded musical journo types will sit around tables in the pub debating the question "had rca not dropped pwei, would we have had their finest album?". certainly the question is one that should be answered - was this stunning return to form the result of being unceremoniously dumped or would it have happened anyway?
the poppies had gradually lost their way, both musically and lyrically, thoughout their stay with the major label. they had started as erstwhile documenters of the late 80s from a uniquely west midlander aspect. their humour was earthy, their concerns basic. but they lost the guitars and their sense of humour and didn't really seem to know what to replace them with. then came the dumping and the (what seemed like) never-ending series of retreads that rca released. and then came this album released in the uk on infectious and in the us on nothing.
the first thing that needs to be said is that, while the poppies found their guitars again, the sense of humour has changed. it's bitter, cut throughout with disillusion and bile. it's targets range from "the establishment" to the fashion industry to the rise of the neo-nazi movement in europe in the early 90s. it covers drug abuse and football hooliganism and what it's like to come back to your hometown after 7 hedonistic years on the rock circuit.
the second is that, while it was touted as an "industrial" album, it's not. musically they'd reined back their use of recognisable samples, which has the effect of leaving the music itself less cluttered. this gives it a power that had been missing for all too long.
all told, this album is where the promise that pwei had shown in their "box frenzy" and "this is the day..." albums really came to fruitition. unlike any other in their ouvre, this album hangs together as a coherent piece of work. it is the highest point in their career.
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6 of 6 people found the following review helpful By A Customer on 8 July 2001
Format: Audio CD
I first heard PWEI at college in 94 and was instantly blown away. At a time when evryone was getting over Cobain and there was no real shining musical light it was refreshing to hear a band who were willing to push the envelope a little. This is their finest album with casual nods towards the KLF and Nine Inch Nails (Trent Reznor always cites them as a major influence and there is no greater endorsement than that). They take time for a pop at the royals on Familius Horribulis, sample Annie Lennox on Everything's Cool, and produce one of the definitive ambient songs in Babylon. For those who like dancey industrial music with a touch of sarcasm this is an essential purchase.
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6 of 6 people found the following review helpful By A Customer on 5 Oct. 2000
Format: Audio CD
When I first got this album 6 years ago it just blew my head of, and it still does the same today. Encompassing electronic samples, crunching guitar work and thunping basslines, this is a post industrial masterpiece. No matter who I have played it to, clubber, indie kid, mettaller they have all been interested in it. Everytrack could be a single and it really got me into the band. An unknown classic.
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