The Shamen

Founded in Aberdeen, Scotland in 1985 by Colin Angus, Derek McKenzie, & Keith McKenzie with the band name Alone Again Or. The group changed its name to The Shamen in late 1985. Early Alone Again Or and The Shamen material was primarily psychedelic indie rock. The group's first album under the name The Shamen was 1987's "Drop".

By 1987, Colin was inspired by M/A/R/R/S and similar new groups that used sampling and beats. As he delved into exploring new technology and dance sounds, the new direction caused the Shamen lineup to shift: Derek McKenzie, unimpressed with the changes, left the fold to return to school in 1987. Colin added energetic new bass player Will Sin (a.k.a. Will Sinnott) in October 1987 and he himself moved to concentrate on vocals and guitar. At this point, the pieces were in place for the group to become what they would eventually be remembered for: one of the early pioneers of what became known as "indie-dance", inspiring a glut of late-'80s pop bands like EMF and Jesus Jones and also paving the way for more influential groups like Saint Etienne.

The Shamen single "Jesus Loves Amerika" (1988) was both a politically-charged release and an advancement of their sonic aesthetic, showcasing the group's adventurous new electronic-rock hybrid sound with the newly-added Will Sin. After 1989's "In Gorbachev We Trust" album, the group relocated to London. They fell in with Paul Oakenfold, Orbital, Mixmaster Morris, Evil Eddie Richards, and the Synergy tour. Soon they released the drastic sea change that was their mini-album "Phorward", which embraced electronic completely and was the final stepping stone into the group's most successful and influential era.

With the release of 1990's wide-eyed "En-Tact", with its all-embracing, psychedelic utopian worldview embodied by its accompanying singles ("Pro>gen", "Hyperreal", "Omega Amigo", "Make It Mine", "Possible Worlds"), the group became an internationally charting electronic act. Mr. C (raps, vocals) and Plavka (vocals) were added to increase the group's vocal presence (Plavka, who provided the enthusiastic lead vocal on single "Hyperreal", only stayed in the lineup until 1991). Tragically, Will Sin drowned on May 23, 1991, immediately after the filming of a Shamen promotional video in Tenerife for the song "Move Any Mountain" (the popularized title of "Pro>Gen"). His untimely death lent the otherwise hugely optimistic and ebullient song a subcurrent of strangely contrasting sadness and mortality.

After a necessary break to deal with the death of friend and bandmate Will, The Shamen reconvened and released the album "Boss Drum", a massive hit with multiple singles. It charted worldwide, going platinum in the UK. After the success of this era, the group's popularity waned: underground dance and electronic circles felt the success Colin et al had achieved made them a pop act, and therefore to be perceived as less substantial. Two albums were released in the mid 1990s, 1995's "Axis Mutatis" and 1996's "Hempton Manor". The group continued on until 1998, when their final album, "UV", was released.

The Shamen had fifteen hits in the British singles chart, five of which made the top ten. Standout hits included "Ebeneezer Goode" (which went to number one despite — and likely because of — its transparent drug content: "E's are good - Ebeneezer Goode") and the widescreen rave sounds of "Pro>gen" (later renamed "Move Any Mountain" after its infectious chorus) (which went to number four).
Verlas todas | The Shamen


COMM 1 The Shamen - Drop diseño del album The Shamen Drop (Album) Moksha Recordings COMM 1 US 1987 Vender esta versión
MASO CD 90003, Maso CD 90003 The Shamen - Strange Day Dreams diseño del album The Shamen Strange Day Dreams (Album) Materiali Sonori MASO CD 90003, Maso CD 90003 Italy 1988 Vender esta versión
fiend cass 666, FIEND CASS 666 The Shamen - In Gorbachev We Trust diseño del album The Shamen In Gorbachev We Trust (Album) Demon Records, Demon Records fiend cass 666, FIEND CASS 666 UK & Ireland 1989 Vender esta versión
somac 3 The Shamen - Phorward diseño del album The Shamen Phorward (MiniAlbum) Moksha Recordings somac 3 UK 1989 Vender esta versión
none The Shamen - En-Tact diseño del album The Shamen En-Tact (Album) One Little Indian none UK 1990 Vender esta versión
TPLP22L The Shamen - En-Tek diseño del album The Shamen En-Tek(LP, Smplr, W/Lbl) One Little Indian TPLP22L 1990 Vender esta versión
none The Shamen - Barrowlands Glasgow 18.4.91 / Stirling 14.7.90 diseño del album The Shamen Barrowlands Glasgow 18.4.91 / Stirling 14.7.90(Cass) Not On Label (The Shamen) none UK 1991 Vender esta versión
920 505-4 The Shamen - Boss Drum diseño del album The Shamen Boss Drum (Album) One Little Indian 920 505-4 Turkey 1992 Vender esta versión
EAT 4815 The Shamen - A Taste Of: Boss Drum / E’nergique / Void Dweller diseño del album Shamen* / Bizarre Inc / Eon Shamen* / Bizarre Inc / Eon - A Taste Of: Boss Drum / E’nergique / Void Dweller(Cass, Promo, Smplr) Epic Records Group EAT 4815 US 1992 Vender esta versión
BOJCD 006 The Shamen - On Air • The BBC Sessions diseño del album The Shamen On Air • The BBC Sessions (Album) Band Of Joy BOJCD 006 UK 1993 Vender esta versión
rtd 130.1733.2, RTD 130.1733.2, TPLP42CDR The Shamen - Different Drum diseño del album The Shamen Different Drum (Album) One Little Indian rtd 130.1733.2, RTD 130.1733.2, TPLP42CDR Germany 1993 Vender esta versión
TPLP52C The Shamen - Axis Mutatis / Arbor Bona Arbor Mala diseño del album The Shamen Axis Mutatis / Arbor Bona Arbor Mala (Album) One Little Indian TPLP52C UK 1995 Vender esta versión
TPLP62c The Shamen - Hempton Manor diseño del album The Shamen Hempton Manor (Album) One Little Indian TPLP62c UK 1996 Vender esta versión
842643 2, 7243 8 42643 2 1 The Shamen - Remix Collection (Stars On 25) diseño del album Shamen* Remix Collection (Stars On 25) (Comp) One Little Indian 842643 2, 7243 8 42643 2 1 Europe 1996 Vender esta versión
MOKSHA LP01CD The Shamen - UV diseño del album The Shamen UV (Album) Moksha Recordings MOKSHA LP01CD UK 1998 Vender esta versión

Singles & EPs

OBG 003T The Shamen - They May Be Right...But They're Certainly Wrong E.P. diseño del album The Shamen They May Be Right...But They're Certainly Wrong E.P. (EP) One Big Guitar, One Big Guitar OBG 003T UK 1986 Vender esta versión
SOMA 1T The Shamen - Young Till Yesterday / World Theatre diseño del album The Shamen Young Till Yesterday / World Theatre (EP) Moksha Recordings, Moksha Recordings SOMA 1T UK 1986 Vender esta versión
WRY 002, SKIT-1 The Shamen - Wayward Wednesday In May Affair diseño del album The Shamen Wayward Wednesday In May Affair(Flexi, 7", S/Sided) Skipping Kitten, Skipping Kitten WRY 002, SKIT-1 UK 1986 Vender esta versión
SOMA 3T The Shamen - Christopher Mayhew Says diseño del album The Shamen Christopher Mayhew Says (Single) Moksha Recordings SOMA 3T UK 1987 Vender esta versión
Soma 2T The Shamen - Something About You diseño del album The Shamen Something About You Moksha Recordings, Moksha Recordings Soma 2T UK 1987 Vender esta versión
COMM 4 The Shamen - What's Going Down? diseño del album The Shamen What's Going Down? Communion Label COMM 4 US 1988 Vender esta versión
CALC069 The Shamen - Jesus Loves Amerika diseño del album The Shamen Jesus Loves Amerika (Single) Ediesta Records CALC069 UK 1988 Vender esta versión
SOMA 4T The Shamen - Knature Of A Girl diseño del album The Shamen Knature Of A Girl (Single) Moksha Recordings SOMA 4T UK 1988 Vender esta versión
WANTX 10 The Shamen - Transcendental diseño del album Shamen* vs Bam Bam Shamen* vs Bam Bam - Transcendental (Single) Desire Records WANTX 10 UK 1988 Vender esta versión
D 1063 P The Shamen - Synergy diseño del album The Shamen Synergy(7", Promo, Smplr, W/Lbl) Demon Records D 1063 P UK 1988 Vender esta versión

Críticas Mostrar las 15 críticas

Añadir reseña



3 de julio de 2021
Attention Shamen fans! I originally put this comment on the UV album page but thought it might reach more of you on the main band page!

Do you remember the final Nemeton website update about several tracks, samples and mixes being released online when the band 'shifted to the net' back at the end of 1998? Sadly it never happened but, very excitingly, I recently discovered that the following release contains one of those very tracks, the 12” Mr C Mix of I Do! Enjoy!


23 de mayo de 2021
Today marks 30 years since the tragic death of Will Sin.
Sun Dancer, Dream Warrior, Shaman.1960-1991.


1 de marzo de 2021
anything they have release, absolutely p`s all over the horrors of future dance music like ultrabeat, cascada, flip nfill... ughh


31 de octubre de 2018
I love their first records made of morbid, brit, electro, psychedelic rock played with dreaming keyboards, fuzz guitars, soft but nervous bass and an electronic drum kit (the only element to foretell the future techno turn that will be the distinguish mark of the band). To say something granted, I think they were largely undervalued: 'Drop' is still a fantastic album, with its opening track 'Something About You' that remains one of the greatest songs written durin' the end of the eighties..


26 de junio de 2009
editado over 9 years ago
The Shamen, hounded as they were at the time by the UK press for the infamous Ebeneezer Goode with THAT chorus and along with the general rave culture backlash, never stood a chance at surviving. Between the anti-drugs campaigns, illegal rave crackdowns, they were seen to be exemplars of a dying fad. Techno, rave, house. Gone, bring on the boy bands, girl bands, and manufactured hip-hop, R&B and all that shit.

But despite this, they deserve to go down in history as something far, far more than just a relic of a bygone age. Some comparisons with some electronic bands that are often "more recognised":

Kraftwerk were hugely influential, but not comparable. They stuck firmly to their stately, gothic electro-pop and rarely deviated. Very little diversity, and only the merest hints of "dance" genres.

The Orb may have been diverse, but only within their distinctly ambient sphere, despite bringing in elements of reggae, dub, techno, house and only much later on, pop. With mixed results.

The Prodigy were hardcore through and through. They explored many aspects of the genre, but rarely sought to bring a pop side to it, until their dodgy newer singles in the noughties.

The Beloved, perhaps, but too short-lived. New Order? New Wave, rock and pop, but they were never really "techno". Bjork? Well there might be something there, but she is one individual.

The Shamen were possibly the most diverse electronic dance BAND to that point, and perhaps still are. Combining many modern electronic genres - done before by others sometimes, certainly - and married them consistently to pop. What is Prince Of Popocatapetl if not ambient pop? It only has two vocal lines, but it is still a pop hook in what is otherwise an ambient song. I Do switches between big-beat and techno as Colin and Victoria sing about Shamanising, to yet more glorious pop hooks. Human NRG is a pop song set to a breaksy/big-beat (in 1990!) type rhythm. Transamazonia and Destination Eschaton are their takes on trance, set to pop vocal hooks. Obviously their main strides were in techno and rave, but they really were diverse.

They have numerous outstanding instrumental achievements as well, as far back as the experimental techno (for the time) piece Evil Is Eden, its lilting, shuffled rhythm predating Schaffel by a decade! Steve Hillage lent support on two beautiful ambient gliss pieces, Scientas and Agua Azul, but crucially they were not pure ambient, they had very memorable little hooks, flute and guitar on Scientas, and Agua Azul awash with a billion synths.

And Hempton Manor? How did Colin Angus and Richard West manage to compose such utterly beautiful, truly unique and unmatched melodic techno, house, trance, drum & bass, breaks and ambient all on the same album? There were other groups in the 90s that would dare to be as diverse (FSOL come to mind), but this much? And nowadays? Nope, it is all niches and subgenres, all the way.

I think it is also worth mentioning the massive "culture" of remixes that came about around these guys. Every single is worth picking up, because many producers brought their own talents to Shamen songs and created some superb alternate versions. Including names such as Richie Hawtin, Moby, LTJ Bukem, Frank De Wulf, even Graham Massey! I do not believe any band had been so remixed before, on such a huge scale.

The Shamen should be bigger than they are. They should have more influence, greater recognition, for their work merging techno, house, electronica and pop in the 90s. They had a distinct identity - all their music was Shamen Music - but they did not pigeonhole themselves to one genre. They were pop, but they were many modern dance genres as well, and whenever they WANTED to be.

And that takes talent. So, no wonder dance music sucks now, eh?


22 de junio de 2007
editado over 14 years ago
In terms of commercial success, it's fair enough to say The Shamen released two fine techno-albums of their time - 'En-Tact' and 'Boss Drum'. Sadly, in favour of Mr. C's irritating raps, this thing basically repeats itself from that (turning) point on. However, many aren't aware of the group's early strengths based on socio-political issues and hard psychedelic fusion of rock and electronics (with samples all over).

The Shamen's 'phase one' counts one hell of a subversive collection; albums 'Drop' (1986), 'Strange Day Dreams' (1988), 'In Gorbachev We Trust' plus remixed effort called 'Phorward' (both 1989)... When it comes to religion and its questioning in terms of propaganda destroying much of its spiritual dignity, The Shamen (besides Depeche Mode's 'Blasphemous Rumours') recorded one of the most dangerous pop-songs ever - 'Jesus Loves Amerika' has a killer refrain, it spits out to the ears of hypocrits and with all of its anthemic power.

One side of this early phase of the band is as interestingly poppy on acid rock while the other side remains confusingly EBM-ish in its fundamental recognition. Brilliant early years these were...


17 de marzo de 2006
editado over 16 years ago
Ah, the Shamen. Made a bold move for a guitar-based band by (slowly) casting off their 60s-influenced psychedelic pop in favour of a more clubland feel, years before Primal Scream et al jumped aboard the bandwagon. Then tragedy struck when Will Sinnott drowned, and their music began to lose its depth as they chased the pop dream. For a while this seemed to work, but the mainstream audience is fickle and when they no longer had the hits, they'd already alienated their more undergound fans and disintegrated rapidly. I suspect that if Sinnott hadn't died, although they would still have had the hits (they were filming the video for "Progen 91" when he died), the Shamen might have kept a better balance between making truly psychedelic and tribal music (as was their stated aim) and simply talking about it while they churned out 3-minute pop songs. Anyone listening to Sinnott's tracks on En-Tact ("Lightspan" and "Evil is Even") can't fail to notice that they're among the best tracks the band ever did.


28 de julio de 2005
editado over 16 years ago
Before becoming a successful - and then cheesy - and then forgetable - rave band, The Shamen were a indie electronic act with political points of views. Forget about the politics (how naive and misinformed we were then!), but what they did on the musical side was rather interesting, in fact much more than the rest of their career, IMO.
Of course, "Move any Moutain" truly fitted the spirit of 1990, but their previous semi-hit "Trancendental" (a collaboration with acid House pionneer Bam Bam) was better, in fact, and an EP like "Phorward" was really innovative.

With En-tact, things got a bit too cheesy, but some track were still interesting. But with their Boss Drum Lp, The Shamen became really a hit-machine, with fee strikes of creativity ; a kind of KLF without the cynical humor. Lots of production tricks, dull lyrics and top of the pop attitude, it was sad to see them sinking when other acts like Orbital, departing from similar 1990 roots, managed to remain innovative for a whole decade. Not to mentions groundbreaking people like Lfo or AFX, for example.

In fact you can draw a parallel with some others industrial and pre-techno acts that got taken by the techno turmoil, like Greater Than One for instance. But while Lee Newman (RIP) and Michael Wells, at least, remained creative and fun, The Shamen seemed to got "corrupted", and lost it on the way. Maybe it has to do with the death of their first leaded, replaced by Mr C, around that same time ? Maybe it was the ecstasy-goa-gaïa-consciousness bullshit ?
Maybe it was simply bad luck.
Anyway, their remain the records : Phorward Ep and En-tact are still quite soulful and enjoyable, and, in a way still hold the "naive" spirit of the era.


28 de julio de 2005
editado over 16 years ago
Unfortunately for The Shamen, their early history as a credible indie-rave band and their apparently sincere belief in the transformative power of dance music was utterly obliterated by their short reign as Britain's most infamous chart rave band. After the success of 'Move any Mountain' and 'LSI', both of which were used a lot on television football, the group had a four-week stay at number one with 'Ebeneezer Goode', which became a tabloid sensation when it was pointed out to journalists that the chorus - 'eezer goode, eezer goode, he's Ebeneezer Goode' - was about ecstacy, the popular rave drug. From that point onwards the group were synonymous with naffness, and along with all the other dances acts of the period they faded away to nothing, with a little comeback in 1995 with 'Destination Eschaton'.

Just goes to show that if you're on a sinking ship in the freezing waters of the Atlantic, you're going to drown even if you barge your way to the front of the lifeboat. Might as well go down with dignity. Mr C's vocal delivery was very different to that of the late Will Sinott; the latter was low-key and sincere, whereas Mr C was brash and cock-er-nee. Nothing wrong with that, but it didn't seem right for a band which emphasised the contemplative, spiritual side of dance music. He is now a successful DJ, which is nice to know.

'Boss Drum' remains a decent summary of the state of popular dance music in Britain in 1992, and 'Phorever People' is a lovely ballad. 'En-Tact' sounds quite spartan, but it has a nice remix of 'Hear Me' by Orbital, which has a similar vocal effect to their later 'Halcyon'.


8 de diciembre de 2003
I first heard The Shamen back in 2000 when they had already "disappeared into cyberspace" two years ago they completely changed my mind about music. Since that I'm a fan for life!. They played lots of quality electronic stuff in lots of different styles and if you are looking for something REAL good, take a look at their discography.
Recommended 100%!!!

Videos (121) Editar