Artist bio

The Sundays made an immediate splash in the British pop scene with the release of Reading, Writing, and Arithmetic in 1990. Though initially likened to Cocteau Twins or Everything But The Girl, the band resisted such labels, endearing audiences with the one-two kiss of Harriet Wheeler’s beautiful voice and David Gavurin’s Smiths-ian acoustic melodies.

Songs such as the jubilant, bouncing pop of “Hideous Towns” and the heart-melting hit “Here’s Where The Story Ends,” helped attract a sizeable following in the U.S. Much awaited follow-up Blind arrived in 1992 and did little to tinker with the recipe. “Love” was a U.S. hit, and a cover of the Rolling Stones’ “Wild Horses” wound up in a television commercial.

After successful tours in Europe and America, the Sundays virtually disappeared and little-to-no information was circulated about the group’s future, or lack thereof.

After a five-year absence that saw the Cranberries ride the band’s formula straight to the bank, the Sundays resurfaced in the summer of 1997 with Static And Silence. Static, marked by the haunting “Folk Song” and the absolutely sensational “Shy,” balanced the trademark pop sensibilities of the first two records with a mature narrative voice informed by years out of the spotlight (Wheeler and Gavurin had a child together during the long break and built a home studio, where Static was recorded).

A short U.S. tour that Fall drew sell-out crowds, but the band quickly faded into the background again upon its completion.

Albums by this artist

Static And Silence (1997)

Blind (1992)

Reading, Writing And Arithmetic (Recommended) (1990)

The Sundays

Reading, Writing And Arithmetic

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» BEN FRENCH | CO-DIRECTOR

NATN Recommended The Sundays Reading, Writing And Arithmetic DGC, 1990 RiYL: Cocteau Twins, The Smiths, The Cranberries, The Innocence Mission

Harriet Wheeler wants you to put your head close to the stereo speakers so you can feel the warmth of her quiet English voice. Then she wants you to stand across the room to hear the echo of her magnificent wail. She wants you to spelunk through her soul and surf along her emotions.

With the help of her outstanding band, the Sundays, she pulls you into her world of British melodrama and leaves you with one of the '90s' most beautifully perfect albums. Even just a lone listen to Reading, Writing And Arithmetic's first single "Here's Where The Story Ends," illustrates Wheeler's incredible dynamic. Her innocent tone, guilty conscience and oddly alluring sad thoughts instantly capture the listener.

"The only thing I really ever wanted say was wrong, was wrong, was wrong," she admits at one point. "So I cynically, cynically say, the world is that way. Surprise, surprise, surprise, surprise, surprise."

The singing begs for attention. Wheeler's accent and unique phrasing makes it hard to decipher out the exact words, but no translation is really necessary. Be it the proud proclamations of "I Kicked A Boy," the triumphant cries of "Can't Be Sure" or the lovely, haunting shrieks of "A Certain Someone," her meaning resonates in the listener's mind long after the tracks end.

Behind her stand the rest of the Sundays, an outstanding and highly underrated group of musicians that are able to provide a light, ethereal presence behind Wheeler's voice. Patrick Hannan's calculated drums, the slight pluckings of guitarist David Gavurin and Paul Brindley's barely-there bass form a cohesive, unique amalgam: It's a frail sound that vaguely resembles the rhythmic economy and precision of the Police crossed with the affection of the Cure's more upbeat work.

A close examination of the songwriting on Reading, Writing And Arithmetic reveals a labyrinth of carefully crafted compositions. In the simple build-up to the thundering close of "Can't Be Sure," or in the furtive bass-guided movements of "Joy," the Sundays never seem to let the listeners know how hard they are working.

Further examination will only bring deeper respect. Reading, Writing And Arithmetic is an album of rare distinction, in the sense that it only gets better with each listen. A masterpiece, by any standard.

BEN FRENCH | Ben founded NATN in the winter of 1998-1999 with fellow IU alums Troy Carpenter and Jonathan Cohen. During the day time, he's working for Nielsen Business Media, publisher of Billboard. Ben's favorite acts include Bruce Springsteen, The Clash, Sonic Youth, Elvis Costello, Talking Heads, Rolling Stones, and the Beach Boys.