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Pop Will Eat Itself
This is a review for their debut album “box frenzy”If you think many of these reviews give them a bad image or make them look crap it’s because PWEI were ahead of their time and back then everyone used to think they were crap. Look at everything PWEI has achieved you can see that these reviews don’t actually make sense.
Box Frenzy
Like the Beasties before them, PWEI have been condemned for the attitudes of songs like the single, Beaver Patrol, and their dynamite version of Sigue Sigue Sputnik's Love Missile F1–11. But you would have to be very profaced indeed to miss the off the wall humour of raps like Get Ugly or She's Surreal, and the whole album is powered by an energetic musical finesse that conveys a great deal more than a simple expression of obnoxiousness. - David Sinclair (Issue #15)(December 1987) four stars
Song list
Box frenzy
This Is The Day...This Is The Hour...This Is This!
- Peter Kane (Issue #33)(June 1989) three stars
After this album they released “Cure for sanity”
Song list
This Is The Day...This Is The Hour...This Is This!
Cure For Sanity
- David Roberts (Issue #51)(December 1990) three stars
Song list
Cure For Sanity
The Looks Or The Lifestyle
THE LOOKS OR THE LIFESTYLE, their fourth album but the first to feature a real drummer, finds them sneakily shedding dance and nodding once more towards their vaguely grunge-based attack of yore. Thus, Always Been A Coward Baby and I Was A Teenage Grandad balance a somewhat forced self-deprecating English humour with still heavy beats and new, squally guitar; Eat Me, Drink Me, Love Me, Kill Me, describes a different kind of "hell", Mother gets all pretend-incestuous, Token Drug Song winks at the right moments and Bullet proof closes things in suitably grand style. Their time may never really have come, but Pop Will Eat Itself still sound like no other group. - John Aizlewood (Issue #73)(October 1992) Four stars
Song list
The Looks Or The Lifestyle
DOS DEDOS MIS AMIGOS
Then you are blown away by the second track “kick to kill” a heavy rock tune that I give a five thumbs up to. I recommend this song and some other tracks to those sad skater dudes, put this song when you’re skating.
The third track “familus horribilus” is about the queen’s speech in 1993 when her castle burnt down and the embarrassing problems that were occurring. E.g. Princess Diana’s divorce to prince Charles because of his affair. She called it “Annus horribilus” which meant horrible year. So PWEI came and used all of the occurrences to poke fun at her in an immature manner. Track four “Underbelly” was a personal attack at the media and how they portray people in a nasty way. They speak about how the world has turned ugly and how the media misleads everyone.
In track Five “Fatman” they attack the media again and how you’re supposed to look, how the media tells you to look. They talk about how the media makes you jealous of other woman and always put pressure on you to look thin just to sell their products. “Late news just arrived, the grass is greener on the other side, you’re the target in the plan…” The Fatman is meant to symbolise a false idol that he can make them what they want, its not a song that pulls fun at fat people it’s a serious song that makes good statements. Track six “Home” takes you to their home city Stourbridge where it appears they have come back from abroad and they feel strangers in their own home place.
They talk about how everything seems weird and meaningless in a sarcastic way. I was coming back from abroad this summer and after listening to this song back at home the emotions in this song really made me miserable. “Good to be back home in the clubs with the people that you love who are round the corner of the club getting high, good to be back home when your running up the phone bill trying to raise a cent for the rent…” If this song made you a bit sad as the album is designed in a way that the first three tracks make you jumpy while the next three make you sad, the next four make you happy and the last song is a sort of sad farewell song.
Track seven “cape connection” is one of those songs where you have to listen to quite a number of times to realise what a great song it is. The lyrics I haven’t understood much but I think it’s just a song when they are describing themselves as sex gods. Track eight “Menofearthereaper” is a song that Graham Crabb wrote as a reply to the song “mother” which is in “the looks or the lifestyle” album. Track nine “everything’s cool” takes you to the day of reckoning but it’s probably like “Menofearthereaper” which gets boring after a while. Track ten “R.S.V.P” is one of the best tracks its one of the best rap songs I have ever heard and the lyrics are really upbeat. The song is about a former gangster who is trying to fit in with society.
The last song “Babylon is one of the most saddest songs I have heard the lyrics are really moving, the emotions and vibes are sort of dreamy. The music is a bit like final fantasy and something you would probably hear in Atlantis. I think this is an album that everyone in the world should have, the review below is what someone else thought it’s not such a brilliant review I definitely don’t agree with it.
Dos Dedos Mis Amigos review
Pop Will Eat Itself: Sixth album from the cartoon rock-rappers and the first since a less than amicable split with RCA. If at this point anyone is still unconvinced by the Stourbridgians' sampled, sound bite snarls, it's unlikely Dos Dedos (Two Fingers) will change minds. The recent single, Auslander, sets a familiar, growling tone with its angry guitars, angry drums, angry tape loops and angry vocals—conjuring up apocalyptic demons that haunt every track. In the past, the infectious grooves of Touched By The Hand Of Cicciolina or X Y & Zee might have tempered these metallic aspirations, but 1994's PWEI —a long way from their Beaver Patrol days—seem far too hot under the digital collar to dally with the dance floor. A shame, really, as it was these club land excursions that were responsible for many of their finer moments. - Danny Scott (Issue #97)(October 1994) Three stars
Song list
Dos Dedos Mis Amigos
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Musical Express. Having
previously rehearsed and gigged under the names From Eden and Wild And
Wondering, the group emerged as Pop Will Eat Itself in 1986 with a line-up
comprising Clint Mansell (b. 7 November 1963, Coventry, England; vocals/guitar),
Adam Mole (b. 1962, Stourbridge, England; keyboards), Graham Crabb (b. 10
October 1964, Streetly, West Midlands, England; drums, later vocals) and Richard
Marsh (b. 4 March 1965, York, Yorkshire, England; bass). Making their live debut
at the Mere, Stourbridge Art College, their first recording was the privately
issued EP, THE POPPIES SAY GRR, which was nominated as Single Of The Week in the
New Musical Express. 'BBC Radio' sessions followed and the group appeared in the
independent charts with the follow-up EPs POPPIECOCK and THE COVERS. Already
known for their hard pop and vulgarisms, they ran into trouble with the release
of Beaver Patrol, which was criticized for its puerile sexism. Their debut
album, BOX FRENZY, followed in late 1987 and displayed their odd mix of guitar pop with
sampling. The insistent There Is No Love Between Us Anymore was their most
impressive single to date and augured well for the future, as did Def Con One in
1988. During that year they were i
nvited to play in the USSR, and soon
afterwards signed to the major, RCA Records. Can U Dig It and Wise Up Sucker
were minor successes, as was their second album. A world tour sharpened their
approach and during 1990 they achieved mainstream acclaim with Touched By The
Hand Of Cicciolina, a paean addressed to the Italian porn star turned
politician. Two further hit singles, X,Y & Zee and 92 Degrees, followed in 1991.
The group recruited a full-time (human) drummer in 1992 when Fuzz (b. Robert
Townshend, 31 July 1964, Birmingham, England; ex-Pig Bros, General Public,
Ranking Roger) joined, but following WEIRD'S BAR & GRILL a year later RCA
dropped the band. Now effectively despised by the media, Pop Will Eat Itself
continued despite expectations that this might signify the end of the band,
forging a new contract with Infectious Records. The results of which have hardly
endeared them to critics, though the title of the 1995 collection, TWO FINGERS
MY FRIENDS, did at least underline their tenacity and self-sufficiency.
Pop Will Eat Itself: Black
Country brats Pop Will Eat Itself find themselves riding the crest of the wave
of a full-blown, media-reinforced cult. As an English response to American hip
hop metal mania the group is just about perfect, and this album debut is, in its
own rather more considered way, every bit as good as LICENSED TO III. Imagine
BIG AUDIO DYNAMITE being produced by Rick Rubin or Richard Butler singing with
the Jesus And Mary Chain. 
Pop Will
Eat Itself: The Poppies—as they are affectionately known—catapulted themselves
to something approaching eminence as gurus of grebo's anti-style and yob
attitudinising a couple of seasons back. Yet we should have known better: they
were looking for a career after all. So allegiances have been switched to a
major label for their second album, which sees them just about consigning their
instruments to the scrap heap and opting for some cost-efficient sampling
instead. In single doses, particularly Wise Up Sucker and Def Con 1, their
sneering, snotty, schoolboy howls matched with a magpie's readiness to pilfer
whatever takes their fancy occasionally hits the mark and a fetching groove. But
like being caught sober in a room of boisterous drunks, the jokes soon wear
pretty thin. 
Pop Will Eat Itself: One might have
expected black country pop bandits PWEL to have been annoyed and invigorated by
the appropriation and exploitation in recent months of their pioneering blend of
dance beats and 
Pop
Will Eat Itself: Although their career hasn't quite edged out of first gear, Pop
Will Eat Itself's game plugging away surely deserves more reward than simply to
lumber around in semi-obscurity. Not least because they were virtually the first
white British band to whole-heartedly embrace the potential of hip-hop. 
The
final PWEI album “Dos Dedos Mis Amigos” (two fingers my friend) was one of my
favourite albums it was very political and mature and everything in that album
made sense. The album took you on a ride from one place to the next. The first
song “Ich bin ein auslander” takes you back to the days of the Second World War
where racism existed and ethnic cleansing was part of world domination.
