![]() ![]() Royal Trux member Jennifer Herrema has also cited Come Away with ESG as an influence. Kathleen Hanna stated that it influenced her work with Le Tigre. The album became influential for post-punk, dance, and hip hop acts. It was named the 84th greatest album of the 1980s by Pitchfork. ![]() ĭecades after its release, Come Away with ESG saw a critical resurgence. Shortly after the release of Come Away with ESG, the band became inactive for several years, in part because of the closure of 99 Records. The songs that do include vocals focus on danceable chants. Around half of the tracks on the album are instrumentals. The band's first performance after the release was at Danceteria. VINYL ME PLEASE PROFESSIONALRelease and legacy Professional ratings Review scoresĮSG recorded the rest of Come Away with ESG at Radio City Music Hall in 1983 and released the album through 99 Records later that year. Resident Advisor said it fused disco, funk, and punk with avant-garde's flair. Paste called its sound dub disco with punk's edge. Composition Ĭome Away has been stylistically aligned with the avant-funk, no wave, and post-punk movements. As several of its post-punk contemporaries were breaking up, the band continued to keep some amount of distance from the music business. ![]() The EP placed ninth on that year's Pazz & Jop list. It includes "Dance" and "The Beat", which reappear on Come Away with ESG. Problems playing this file? See media help.ĮSG released a second EP titled ESG Says Dance to the Beat of Moody in 1982. It became a foundational track for the emerging house music scene. Paradise Garage listed the song in its top 50 all-time tracks. Because of the single's release through Factory, many New York DJs assumed ESG was a London-based act. A 12-inch remix single followed, and both versions found popularity at clubs in New York and London. "Moody" was released off of ESG as the band's debut single. The New York Times placed ESG second on its list of the best EPs and cassettes of 1981, and The Village Voice placed the EP third on its Pazz & Jop critics' poll. ĮSG was a minimalist take on funk music, removing brass, saxophone, and synthesizers to leave vocals, bass, and percussion. He formed a partnership with Factory so that his 99 Records label could release ESG's eponymous debut EP in 1981. The recordings helped bring Bahlman's focus to the band. Tony Wilson from Factory Records approached the band after a performance at Hurrah in the Upper West Side of Manhattan, and three days later they began recording with Martin Hannett. Ed Bahlman discovered ESG while serving as the judge for a talent show and became the band's unofficial manager. ![]()
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