Wolfgang Press, The

Profile:
Members: Michael Allen, Mark Cox, and Andrew Gray

British band, formed in 1983. Members Michael Allen and Mark Cox had previously played together in the bands Rema-Rema and Mass (4) whilst Andrew Gray was initially a member of In Camera. Lauded as one of 4AD's longest-tenured acts, the band would go on to record consistently until the mid-nineties, culminating with the release of Funky Little Demons in 1995 and the retrospective Everything Is Beautiful (A Retrospective 1983-1995) in 2001.
Sites:
Members:
Variations:
[a211771]
history / edit

Artist

  • Wolfgang Press, The Discography

    Recent Releases from Wolfgang Press, The
  • Sort By
  • Show

Albums

The Burden Of Mules

(2 versions)
4AD 1983

Standing Up Straight

(5 versions)
4AD 1986

Bird Wood Cage

(7 versions)
4AD 1988

Queer

(13 versions)
4AD 1991

Funky Little Demons

(12 versions)
4AD 1995

Singles & EPs

Scarecrow

(12")
4AD 1984

Water

(2 versions)
4AD 1985

Sweatbox

(12", EP)
4AD 1985

Big Sex

(3 versions)
4AD 1987

King Of Soul

(12")
4AD 1988

Raintime / Bottom Drawer

(2 versions)
4AD 1989

Kansas

(2 versions)
4AD 1989

Mama Told Me Not To Come

(8 versions)
4AD 1991

Time

(6 versions)
4AD 1991

Sucker / Mama

(12", Promo)
4AD 1991

A Girl Like You / Angel

(6 versions)
4AD, 4AD 1992

Remixes Number Two

(12", Promo)
4AD 1994

Remixes Number One

(12", Promo)
4AD 1994

Going South

(8 versions)
4AD 1995

Christianity

(CD, Single, Promo)
4AD, Warner Bros. Records 1995

Compilations

The Legendary Wolfgang Press And Other Tall Stories

(2 versions)
4AD 1985

Everything Is Beautiful (A Retrospective 1983-1995)

(CD, Comp, Album)
4AD 2001
▸ show all 1 review

Reviews & Discussion

Review by Crijevo Mar 03, 2007 (edited over 5 years ago)
Definitely a group that defies any categorisation - The Wolfgang Press rose out of the ashes of their previous two noise-incarnations, Rema-Rema and then Mass, merely couple of recordings each; TWP's early works are to some extent connected to these noise-merchant groups but on the verge of the 90s, they confidentially slided from oblique hermetical sound-renditions to impressive dance music with subversive edge - the key record to make such a twist is undoubtedly 'Queer'; using multiple sampling technique (hence Kraftwerk's 'Europe Endless'), it was still a non-approachable version of 'white funk' (especially if you choose to cover a Tom Jones song the way TWP did). Covering, of course, is not a sole attempt here alone, they already made impressive take on otis Redding's 'Respect' just as effectively. If I can chose my personal favourite out of their constantly excellent discography, then 'Standing Up Straight' is just the one - sentimental and brutal at the same time this album is so rich with emotional impact that it is not recommended to the heart-broken. Its closing number 'I Am the Crime' (also worth a mention for Liz Fraser guesting on vocals), undoubtedly sounds like the truest end of the world everytime I put it on. You take your pick.
edit

Videos

Disclaimer: Videos may not match exact release