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Virgin Prunes
Virgin Prunes
Virgin Prunes
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Virgin Prunes were an Irish post-punk/gothic rock band formed in 1977 in Dublin. They disbanded in 1986 after the departure of singer Gavin Friday. The other members continued under the name The Prunes until they split up in 1991.

Key Information

History

[edit]

The Virgin Prunes were founded in 1977 by vocalists Guggi (né Derek Rowen), Gavin Friday (né Fionan Hanvey) and Dave-iD Busaras, guitarist Dik Evans (brother of U2's The Edge), bassist Strongman (Trevor Rowen, brother of Guggi) and drummer Pod (Anthony Murphy).[2]

Two of the band members, Guggi and Friday, had been part of Lypton Village, a "youthful gang" in early 1970s Dublin, which had also included U2's Bono.

Known for their outrageous and controversial stage performances, led by theatrical singer/songwriter Friday, the band began playing small shows in Dublin, gaining them a cult audience.[2] Pod left the group and was replaced by Haa-Lacka Binttii (né Daniel Figgis). With Binttii on drums, tape loops and keyboards, the band secured a deal with Rough Trade Records.[2] They released their first single, "Twenty Tens"[3] on their own Baby Records label (distributed by Rough Trade) on 8 January 1981, followed by a second single, "Moments and Mine (Despite Straight Lines)", on 27 June 1981.[4][5][6]

Two other tracks recorded with Binttii were released during 1981 before conflicts with other members forced him out of the band.[2] "Red Nettle" was included on NME compilation C81 and "Third Secret" appeared on Cherry Red compilation Perspectives and Distortion. Work had already started on the "A New Form of Beauty" project while Bintti was with the band, but after he was replaced by Mary D'Nellon (né David Kelly) on drums,[2] some of his tracks were rerecorded and his name was not included in the credits. He later formed the project Princess Tinymeat.[7]

"A New Form of Beauty" was a project that originally contained four chapters and was released in various formats: a 7" single, 10" single and 12" EP released in 1981, and a cassette issued in 1982.[2] All four parts were later collected as the A New Form of Beauty Parts 1-4 compilation album.[8] The project also included two additional pieces, the unpublished book A New Form of Beauty 6 and the unreleased film A New Form of Beauty 7.[3][4]

In November 1982, the Virgin Prunes released their debut studio album, ...If I Die, I Die (produced by Colin Newman of Wire), as well as the double 10" EP Hérésie, a French box set.[2] Commissioned by Yann Farcy after seeing them perform at the Rex Club in Paris, Hérésie was based on a loose examination of insanity. In 1984, both Guggi and Dik Evans, unhappy with the music business, left the band.[2] This forced drummer D'Nellon to switch to guitar and allowed Pod to return as the band's drummer.[2] The Virgin Prunes started to record but abandoned the unreleased album Sons Find Devils.

A retrospective video titled Sons Find Devils - A Live Retrospective 1981-1983 was released in 1986 by Ikon; this video had nothing to do with the unreleased album of the same name. In April 1985, rarities compilation Over the Rainbow was released.

In July 1986, the band, now a four-piece, finally released a second studio album, The Moon Looked Down and Laughed (including recordings of music written for Sons Find Devils).[2] Later that year, Friday left the group. His departure was confirmed in the liner notes of the band's 1987 live album The Hidden Lie, which contained a short statement confirming the band's breakup.[2]

After disbanding as Virgin Prunes, D'Nellon, Strongman and Busaras formed an offshoot group called The Prunes, which released three albums between 1988 and 1991 (1988's Lite Fantastik, 1989's Nada, and 1991's Blossoms & Blood ). Dik Evans played on ”Lite Fantastik" while 17-year-old Justin Kavanagh (aka Valley Limberg) from the Dublin hardcore band Mutant Asylum took the helm as guitarist for "Blossoms & Blood".

On 4 October 2009, three original members of the band (Friday, Guggi and Dik Evans) performed two classic Virgin Prunes songs, "Sweethome Under White Clouds" and "Caucasian Walk", at Carnegie Hall as part of "An Evening with Gavin Friday and Friends", to celebrate Friday's 50th birthday. J.G. Thirlwell appeared with them as backing vocalist.[9]

Discography

[edit]

Albums

[edit]

Studio albums

[edit]
Title Album details Peak chart positions
UK
Indie
[10]
...If I Die, I Die 8
The Moon Looked Down and Laughed 5

Live albums

[edit]
Title Album details
The Hidden Lie (Live in Paris 6/6/86)
  • Released: May 1987
  • Label: Baby
  • Formats: CD, LP, MC
  • France-only release
Sons Find Devils
  • Released: 13 January 1998
  • Label: Cleopatra
  • Formats: CD
  • US-only release

Compilation albums

[edit]
Title Album details Peak chart positions
UK
Indie
[10]
A New Form of Beauty Parts 1–4
  • Released: 1983
  • Label: Italian
  • Formats: 2xLP
  • Italy-only release
 —
Over the Rainbow (A Compilation of Rarities 1981–1983)
  • Released: April 1985
  • Label: Baby
  • Formats: CD, LP, MC
  • France-only release
 22
Artfuck: A Compilation of Rarities (1980–1983)
  • Released: 1993
  • Label: New Rose
  • Formats: CD
  • France-only release
 —
Over the Rainbow (A Compilation of Rarities 1980–1984) —
"—" denotes releases that did not chart or were not released in that territory.

Video albums

[edit]
Title Album details
Sons Find Devils – A Live Retrospective 1981–1983

EPs

[edit]
Title Album details Peak chart positions
UK
Indie
[10]
A New Form of Beauty 1
  • Released: October 1981
  • Label: Rough Trade
  • Formats: 7"
 44
A New Form of Beauty 2
  • Released: November 1981
  • Label: Rough Trade
  • Formats: 10"
 47
A New Form of Beauty 3
  • Released: November 1981
  • Label: Rough Trade
  • Formats: 12"
 —
A New Form of Beauty 4
  • Released: February 1982
  • Label: Rough Trade
  • Formats: MC
 —
Heresie
  • Released: November 1982
  • Label: L'invitation au suicide
  • Formats: 2x10"
  • France-only release
 —
An Extended Play
  • Released: 4 October 2004
  • Label: The Grey Area
  • Formats: 12"
 —
"—" denotes releases that did not chart or were not released in that territory.

Singles

[edit]
Title Year Peak chart positions
UK
Indie
[10]
"Twenty Tens (I've Been Smoking All Night)" 1981 25
"Moments and Mine (Despite Straight Lines)" 50
"Pagan Lovesong" 1982 13
"Baby Turns Blue" 15
"Love Lasts Forever" 1986 18
"Don't Look Back" —
"Baby Turns Blue" (Director's Cut) 2004 —
"—" denotes releases that did not chart.

Selected compilation appearances

[edit]
  • "Red Nettle" on C81 (1981, Rough Trade/NME)
  • "Third Secret" on Perspectives and Distortion (1981, Cherry Red)
  • "Jigsaw Mentallama" on Vinyl Magazine #9 flexi disc (1981, Vinyl Magazine)
  • "Mad Bird in the Wood" on Dokument: Ten Highlights in the History of Popular Music 1981>1982 (1982, Roadrunner)

Literature

[edit]
  • Rolf Vasellari: The Faculties of a Broken Heart (1985, Black Sheep Press)

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Virgin Prunes

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from Grokipedia
Virgin Prunes were an experimental band from , , active from 1977 to 1986, renowned for their subversive, theatrical performances and music that fused gothic melancholia, , and Irish folk influences. The band emerged from the 'Lypton Village' collective, a tight-knit group of young artists and musicians in the mid-1970s that also included future members such as (Paul Hewson) and (David Evans). Formed amid the explosion and Ireland's bleak social climate, Virgin Prunes embodied an ethos, channeling raw energy into expressions that challenged norms through provocative live shows often described as . Core members included (Fionán Hanvey) and (Derek Rowen) on lead vocals, (Trevor Rowen) on bass, Dik (Richard Evans) on guitar, Pod (Anthony Murphy) on drums, and Dave-id Busaras (David Watson) contributing vocals and songwriting, with occasional additions like Haa Laacka Binttii (Daniel Figgis) on percussion and keyboards from 1980 to 1981. Their early performances in clubs gained notoriety for their intensity, including a 1979 appearance on state broadcaster RTÉ's The Late Late Show performing "Theme for a Thought," which highlighted their bold, unconventional style. Virgin Prunes signed with and released their debut single "Twenty Tens" in 1981 on Baby Records, followed by "Moments 'N' Mine" later that year. Their discography featured five key albums: the conceptual A New Form of Beauty series (1981–1982), the critically acclaimed ...If I Die, I Die (1982) exploring psychological themes, Hérésie EP (1982), the compilation album of rarities (1985), and their final studio effort The Moon Looked Down and Laughed (1986). Singles like "Pagan Lovesong" (1982) further showcased their evolution from raw to more structured, synth-infused sounds. The band disbanded in 1986 amid creative tensions and the rigors of touring, with Guggi and Dik departing first, followed by Gavin Friday's exit. Despite their short tenure, Virgin Prunes left a lasting impact on , influencing acts like U2's experimental phases and electronic artists such as through their mystical, boundary-pushing approach.

Origins and Formation

Lypton Village Context

Lypton Village emerged in mid-1970s as an imaginary commune-like collective of artistic teenagers rebelling against the conservative, stagnant society of , marked by economic hardship, poverty, and cultural repression. This "virtual psychological community," centered in areas like and Clontarf, served as a for outsiders who rejected mainstream norms, adopting a ethos of fantasy, reinvention, and "weirdness" inspired by ideas and 's mystical past. Members often shared living spaces in abandoned buildings or squats, fostering communal experimentation in , , , and performance as a means of escape and self-expression. The group included key figures who would shape Dublin's scene, such as Fionán Hanvey, Derek Rowen, and Paul Hewson, alongside peripheral connections to David Evans; these youths formed a loose network akin to a youthful gang or , emphasizing individuality and beauty in difference. To embody their rejection of conventional identities, members adopted pseudonyms—Fionán Hanvey became , Derek Rowen became , and Paul Hewson became Bono Vox—creating a private language and tribal conventions that reinforced their insular world. While Hewson and Evans (later central to ) maintained ties, the core Lypton Villagers like and pursued a distinctly trajectory, diverging from rock conventions toward experimental art and performance. Between 1976 and 1977, as punk's "anything is possible" ethos reached , Lypton Village activities intensified with poetry readings, street performances, and busking that blended , Dadaism, and theatrical provocation, often held in informal venues like churches or public spaces to challenge societal taboos. These events, influenced by the arrival of punk records and global , marked a pivotal shift for the group, laying the groundwork for their artistic rebellions without yet formalizing into bands. Such experimentation highlighted Virgin Prunes' future emphasis on confrontational , setting them apart from the more accessible paths taken by associated figures.

Band Assembly and Early Years

Virgin Prunes formed in 1977 in , , as an experimental music outfit emerging from the survivors of the Lypton Village collective, a tight-knit group of young artists and musicians who fostered a shared of anti-establishment creativity. The band's name, "Virgin Prunes," originated from the slang term "virgin prune," used among the group's teenage members to describe societal outsiders or "freaks" possessing an untainted, inner beauty, drawing on punk's rebellious outsider spirit, Catholic religious imagery evoking the Virgin Mary, and psychedelic nods to the band . This reflected their intent to pursue a sound infused with provocation and industrial experimentation, prioritizing artistic disruption over conventional musicianship. The initial lineup consisted of childhood friends from Dublin's northside, including vocalists and performers (real name Fionán Hanvey) and (Derek Rowen), guitarist Dik (Richard Evans), bassist (Trevor Rowen), drummer Pod (Anthony Murphy), and additional vocalist and performer Dave-Id Busaras (David Watson). These members, many of whom had adopted pseudonyms as part of Lypton Village's ritual of self-reinvention, brought a multidisciplinary approach to the band, blending music with visual art and theater. In their pre-debut phase, Virgin Prunes conducted initial rehearsals in abandoned and informal spaces around , often improvising in environments that mirrored the raw, unstructured energy of their surroundings. Their first informal gigs functioned more as theatrical than traditional concerts, emphasizing performance aesthetics—such as provocative costumes, spoken-word elements, and audience confrontations—over polished musical delivery, which frequently resulted in chaotic, boundary-pushing events that tested venues and spectators alike.

Musical Style and Themes

Experimental Influences

Virgin Prunes' experimental sound emerged from a fusion of influences, particularly the theatricality and androgyny of , which informed their subversive aesthetics and elaborate stage personas. This blending extended to gothic elements, incorporating melancholic atmospheres and shadowy introspection that amplified their departure into darker territories. Industrial noise further shaped their approach, emphasizing raw confrontation and sonic disruption over melodic convention. The band's sonic palette relied heavily on dissonance and unconventional , such as treated guitars that warped into eerie textures and percussion manipulated for percussive chaos, creating layers of discomfort and unpredictability. Tape loops and sound collages were integral, allowing them to layer ambient drones and fragmented noises that evoked a sense of and psychological unease, often parodying Irish folk traditions through distorted reinterpretations of cultural motifs. These techniques drew from broader experimental composers and Krautrock's repetitive hypnosis, prioritizing atmospheric immersion over structured song forms. Thematically, Virgin Prunes explored religion, sexuality, decay, and absurdity through surreal lyrics rooted in their Catholic upbringing in 1970s Dublin, channeling existential dread akin to Irish literary giants like Samuel Beckett and James Joyce. This manifested in lyrics that twisted nursery rhymes and fairy tales into commentaries on purity versus corruption, gender fluidity, and spiritual alienation, often delivered with a Dadaist flair that blurred beauty and horror. Their influences fostered a conceptual framework where music served as ritualistic provocation, briefly extending into live performances that embodied these chaotic ideals.

Performance Aesthetics

Virgin Prunes' live performances were renowned for their intense theatricality, serving as a visceral extension of the band's experimental ethos by merging visual shock with conceptual provocation. The group frequently employed elaborate costumes that blurred and religious boundaries, including drag elements such as men in dresses and androgynous attire, often paired with motifs of decay like mud-smeared outfits or tattered robes stolen from to evoke and ritualistic fervor. Props played a central role in amplifying this aesthetic, with raw meat, bloody pigs' heads, ketchup-smeared chicken, and simulated or feces used to confront audiences with themes of primal horror and bodily transgression, creating an atmosphere of deliberate discomfort and surreal decay. Central to their shows were improvisational sets that fused music with poetry and , resulting in chaotic, unpredictable spectacles that defied conventional concert structures. Performances often featured extended free-form segments, such as the "Pig Children" —a Freudian-inspired pagan where band members donned loincloths and pig masks amid fake muck—or mock abortions and primal tea parties, blending Dadaist with raw emotional release to unsettle and engage viewers directly. These elements extended the band's sonic experiments into live contexts, where dissonance and rhythm intertwined with theatrical vignettes like insane candlelit waltzes or decapitated dolls, fostering a sense of communal regression and confrontation that left audiences both alienated and enthralled. Early performances at Dublin's Project Arts Centre provided a formative space for this aesthetic, allowing the band unbridled freedom to experiment with wailing chants, face paint, and tribal stomping in pagan-inspired robes, which shocked conservative Irish crowds and helped cultivate a devoted local following. As they expanded to international tours across the and , including support slots for and appearances at festivals like , the intensity of these shows—marked by onstage , smashed birthday cakes, and raw meat rituals—solidified their cult status among underground scenes, drawing admirers through the sheer audacity and emotional depth of their confrontational artistry.

Career Timeline

1977–1981: Emergence and Debut Releases

Virgin Prunes formed in mid-1977 in , , emerging from the avant-garde collective known as Lypton Village, which included key members such as vocalists and . The band quickly established a presence through underground performances in 's alternative venues, beginning with shows at the Project Arts Centre in May 1978 and continuing through chaotic events like the November 1978 gig at St. Anthony's Hall alongside other local acts. These early gigs from 1978 to 1980, often held at spaces such as McGonagles and the Top Hat, emphasized provocative elements that tested audience limits, fostering a amid 's post-punk scene despite occasional bans and local intolerance. By 1980, the band's experimental sound caught the attention of independent labels, leading to the formation of their own Baby Records imprint, distributed by Rough Trade. This partnership culminated in the February 1981 release of their debut single "Twenty Tens (I've Been Smoking All Night)" as a 7-inch EP, which charted at number 25 on the Indie Chart and showcased their raw, abrasive style. Later that year, Virgin Prunes launched the "A New Form of Beauty" EP series on Rough Trade, starting with Part 1 in November—a 7-inch featuring "Sandpaper Lullabye" and "Sleep (Fantasy)/Fantasy (Sleep)"—followed by subsequent installments in 10-inch and 12-inch formats recorded between July and October. These releases, self-produced by the band, highlighted their thematic exploration of beauty through dissonance and were distributed as a innovative multi-format project, though production delays and the unconventional approach strained relations with distributors. The 1981 releases propelled Virgin Prunes into initial tours, including support slots for in February and appearances at festivals like Futurama 3 in September, where their theatrical sets drew both acclaim and controversy. Media coverage intensified, with features in outlets like Vinyl Magazine and praising their subversive edge, positioning them as a daring force in the landscape. However, the period was marked by challenges, including label logistical issues from their ambitious independent setup and internal tensions arising from the group's insistence on experimental boundaries, which sometimes led to performer burnout and audience confrontations during live outings.

1982–1984: Critical Albums and Tours

In 1982, Virgin Prunes achieved a breakthrough with the release of their debut studio album …If I Die, I Die on November 4 via , produced by Wire's , which explored themes of purity, beauty, and existential fragility through tracks like "Walls of Jericho" and "Ballad of the Man." The album showcased the band's evolving sound, blending experimentation with gothic undertones, and was praised for its adventurous structure that lurked between conventional rock and expression. Shortly after, in late 1982, they issued Hérésie, a limited-edition commissioned by the French label L'Invitation au Suicide, consisting of two 10-inch singles with accompanying booklets on and , featuring raw live recordings from their June performance at Paris's Rex Club and studio tracks like "Caucasian Walk." This release highlighted their fascination with linguistic failure and the voices of the marginalized, such as street preachers and the deranged, recorded during an intense weekend session at Dublin's Windmill Studios. The single "Pagan Lovesong," released in June 1982 on Rough Trade, marked a commercial highlight, becoming an alternative dance-floor staple in clubs and resonating within the burgeoning gothic scene for its rhythmic pulse and lyrical blend of heathen imagery and gentle savagery. Similarly, the single "Baby Turns Blue," drawn from the album, further solidified their presence with its haunting, minimalist arrangement, serving as a precursor to deeper explorations of emotional desolation. These efforts tied Virgin Prunes to the expanding European movement, where their theatricality and subversion of norms found a receptive audience amid post-punk's darker fringes. From 1983 to 1984, undertook extensive European tours to support their growing international , delivering intense performances that emphasized themes of , , and sexuality, though the grueling schedule exacerbated internal tensions and disillusionment with the music industry. Notable appearances included the 1983 Futurama Festival in , , where they performed a set featuring "Pagan Lovesong" and "Deadly Sins," reinforcing their reputation for chaotic, boundary-pushing live shows. Amid creative shifts influenced by industrial elements like abrasive soundscapes and ritualistic intensity, and departed in 1984, citing dissatisfaction with the business and a desire to pursue individual paths, which strained the group's dynamics but allowed for evolving collaborations in visual and . Critically, this period positioned Virgin Prunes as innovative yet niche pioneers in Irish , with …If I Die, I Die hailed as a unique fusion of punk energy, experimentation, and traditional influences like , though their cult status limited mainstream breakthrough. Their releases garnered acclaim for challenging listeners through and emotional depth, fostering a dedicated following in underground circuits despite modest sales reflective of their experimental ethos.

1985–1986: Final Phase and Disbandment

In 1984, Virgin Prunes underwent significant personnel changes as vocalist and guitarist departed the band amid growing creative tensions and exhaustion from years of intensive touring and recording. This left a streamlined lineup featuring on vocals, on bass, Mary d'Nellon switching from drums to guitar, and Pod returning to handle drums. The band shifted to the Italian label Baby Records, releasing the Over the Rainbow (A Compilation of Rarities 1981–1983) in April, which gathered eight tracks of previously unreleased or obscure experimental material, including sound collages and parodies recorded at studios like Windmill Lane in . The collection highlighted the group's side, distinct from their more structured rock output, and served as a bridge during this transitional phase. By 1986, Virgin Prunes entered their final creative push with the release of the single "Love Lasts Forever" in June on Baby Records, a melodic that previewed the thematic melancholy of their impending swansong. This was followed by their second and last studio , The Moon Looked Down and Laughed, issued in July on Baby Records in and Touch and Go Records in the United States; produced by Dave Ball of and recorded by , the record incorporated influences, polyphonic rhythms, and lyrics exploring romance, betrayal, and existential humor across tracks like "I Am God" and "Sons Find Devils." The album marked a stylistic toward stylized narration inspired by traditions encountered during extensive European travels. Amid these releases, the band undertook a final European tour in 1986, performing at venues such as the in on June 14 and capturing a live set in on June 6 that was later issued as The Hidden Lie. Their last concert occurred at the Pukkelpop Festival in Heppen, , on July 21, featuring songs like "Sweethome Under White Clouds" and a cover of Reed's "." However, internal burnout from relentless touring, creative divergences, and the physical toll of their theatrical performances culminated in the band's dissolution later that year, precipitated by Gavin Friday's departure. Following the breakup, Friday pursued solo endeavors, releasing his debut album Each Man Kills the Thing He Loves in 1989, which drew on the experimental ethos of his Prunes work.

Band Members

Founding Lineup

The Virgin Prunes were founded in 1977 in by a core group of performers from the Lypton Village art collective, adopting pseudonyms that reflected their experimental and outsider ethos. This original lineup, active through much of the band's early years until 1984, emphasized theatrical vocals, instrumentation, and collaborative songwriting to create their distinctive sound. The members' roles evolved during chaotic live performances, but the group maintained a fluid yet identifiable structure centered on dual vocalists and a drawn from close-knit Dublin friends and artists. Gavin Friday, born Fionán Hanvey, served as the band's lead vocalist and primary songwriter, channeling dramatic, operatic expressions that became a hallmark of Virgin Prunes' recordings and shows. His contributions shaped the lyrical themes of alienation and , often drawing from personal and collective experiences in the Lypton Village scene. Friday's commanding stage presence helped define the band's reputation for provocative, ritualistic performances. Guggi, whose real name is Derek Rowen, contributed as a co-lead vocalist alongside , delivering raw, emotive harmonies that amplified the band's gothic intensity. As a key collaborator from the inception, Rowen's involvement extended to visual elements in early gigs, though his primary focus remained vocal performance. Brother to bassist , he helped foster the familial bonds within the group. Dave-Id Busaras, born David Watson, provided backing vocals and contributed to the band's songwriting and overall performance aesthetic, adding layers of choral depth to tracks like those on their debut EP Twenty Tens (1981). His role emphasized the collective vocal dynamic, often participating in the theatrical interludes that preceded main sets. Dik, real name Richard Evans (older brother of guitarist ), handled guitar duties, incorporating staccato riffs and electronic textures to underpin the band's noisy, industrial-leaning sound. His technical contributions were evident in early singles such as "Twenty Tens," where he balanced melodic leads with experimental noise. Strongman, born Trevor Rowen (Guggi's brother), played bass, providing a steady, melodic foundation that supported the vocal-forward arrangements without overpowering the chaos. His understated style allowed space for the band's improvisational elements, as heard in live recordings from their 1978–1980 period. Pod, real name Anthony Murphy, served on drums during the band's intermittent early phase, delivering tribal, percussive rhythms that suited their raw punk origins before departing in 1981; he was briefly succeeded by Haa Laacka Binttii (Daniel Figgis) on percussion. Pod's contributions anchored the debut single releases amid the group's evolving lineup.

Personnel Changes

During the early recording sessions from 1981, following the departure of drummer , the band incorporated Haa Laacka Binttii (Daniel Figgis) on keyboards and synthesizers, contributing to their debut releases alongside percussion duties. In 1984, vocalists (Derek Rowen) and guitarist departed the group amid evolving creative directions, prompting a reconfiguration of the lineup. At this juncture, Mary d'Nellon (David Kelly), who had previously handled percussion since 1981, transitioned to guitar to fill the void left by Evans. By 1985, original drummer Pod (Anthony Murphy) rejoined the band, restoring his role on drums and leading to an overall reduction to a core lineup consisting of Gavin Friday on vocals, Dave-Id Busaras (David Watson) on backing vocals, Strongman (Trevor Rowen) on bass, Pod on drums, and Mary d'Nellon on guitar for their final albums. This streamlined lineup influenced the more focused sound of their late-period output, as detailed in the subsequent career phase.

Discography

Studio Albums

Virgin Prunes released their debut studio album, …If I Die, I Die, in 1982 on in LP format. This album saw subsequent reissues in 1991 on Rough Trade as a CD, in 1993 on Records as a CD, in 2004 on as a remastered CD, and a 40th anniversary edition in 2022 featuring remastered transparent vinyl in a limited sleeve along with a 2CD mediabook containing rarities and a photobook. Their second studio album, Heresie, followed later in 1982, originally issued as a 2x10" on L'Invitation au Suicide. Reissues appeared in 1988 on Baby Records as a 2x10" set, in 1993 on Records as a CD, and in 2004 on as a remastered CD. The band's third proper studio album, The Moon Looked Down and Laughed, came out in 1986 on Baby Records in both LP and CD formats. Reissues followed in 1993 on Records as a CD and in 2004 on as a remastered CD.

EPs and Singles

Virgin Prunes' extended plays and singles primarily emerged during their formative years in the early , often through independent labels like Baby Records and Rough Trade, reflecting their aesthetic with limited-edition formats and experimental packaging. These releases served as precursors to their full-length albums, blending elements with influences, and several have seen reissues in recent years to commemorate anniversaries. The EP Twenty Tens marked the band's debut in January 1981, issued as a 7" vinyl on Baby Records (BABY001), featuring raw, chaotic tracks like the title song that captured their punk roots. It was later included in the 2023 The Debut EPs, a limited double 10" set on white and blue vinyl (April 22, 2023, BMG), which compiled early material including Twenty Tens, "The Children Are Crying" (from their 1980 debut single), and Moments and Mine for the first time since their originals, along with additional tracks like "" and "…greylight". Later in 1981, Moments and Mine (Despite Straight Lines) appeared as a 7" single on Rough Trade (RT072), release, showcasing a more structured yet eerie sound with tracks emphasizing emotional tension. This single was also featured in the aforementioned 2023 Debut EPs compilation. A New Form of Beauty, a ambitious four-part EP series, unfolded across 1981–1982 on Rough Trade, starting with Part 1 as a 7" (RT089, August 1981), followed by 10" (RT090), 12" (RT099), and cassette editions, each part delving into thematic explorations of beauty and decay through spoken-word, noise, and . A deluxe reissue in 2024 (March 8, BMG) remastered the full set from original tapes as a 3LP with 16-page photobook, 2CD with new remixes by Apparition and , and digital formats, including sleeve notes and prints. In 1982, Pagan Lovesong was released as a 12" single on Rough Trade (12RT106, February), with a 7" variant (RT106), its hypnotic rhythm and lyrical mysticism becoming a fan favorite from the ...If I Die, I Die era. A 40th anniversary edition followed in 2022 for Drops (June 18, BMG), limited to 140g clear 12" vinyl with remastered audio, new artwork by , and an art card replicating the original. That same year, Baby Turns Blue emerged as a 12" single on Stunn Records (SSP204, October), backed with The Faculties of a Broken Heart, highlighting the band's evolving industrial edge, alongside a 7" on Rough Trade (RT119). The band's final single, Love Lasts Forever, arrived in June 1986 on Baby Records as both 7" (BABY003) and 12" (BABY004) formats, drawing from their swan-song album The Moon Looked Down and Laughed with its melancholic, synth-driven balladry signaling their disbandment.

Compilations and Live Albums

Over the Rainbow (A Compilation of Rarities 1981–1983) was released in 1985 on Baby Records as a 12" vinyl LP (BABY002). It received a 1986 CD reissue on Baby Records bundled with Heresie, and a 2004 expanded remastered edition on as a 2CD set. Posthumously, The Hidden Lie (Live in Paris 6/6/86)—a live album recorded on June 6, 1986—was issued in 1987 on Baby Records in LP, cassette, and CD formats. It was reissued in 1993 on New Rose Records as a CD.

Legacy and Later Developments

Cultural Impact

Virgin Prunes played a significant role in Dublin's post-punk explosion during the late 1970s and early 1980s, emerging as contemporaries of U2 but carving out a niche as avant-garde outliers through their emphasis on performance art, experimental soundscapes, and confrontational aesthetics. While U2 pursued anthemic rock structures, Virgin Prunes prioritized provocation and theatricality, challenging Ireland's conservative Catholic society and broadening the scope of Irish musical identity beyond mainstream rock. Their presence in the scene, including early television appearances and support slots for acts like The Clash, helped foster a rebellious underground that resisted commercial pressures following U2's rise. The band's gothic-infused theater and innovations exerted influence on subsequent generations of musicians, particularly in the realms of industrial and . Their raw attitude, sonic experimentation, and visual style resonated with artists such as . As part of Ireland's milieu, Virgin Prunes also contributed to the environment that nurtured bands like My Bloody Valentine, emphasizing distorted textures and emotional depth over conventional songcraft. This legacy extended to the broader goth scene, where their gender-bending performances prefigured the dramatic personas of later acts. Virgin Prunes' thematic exploration of queer identity, subversion, and societal taboos left enduring ripples in and film, amplifying their impact beyond music. Former frontman appeared as the glam-rock musician Billy Hatchett in the 2005 film adaptation of Patrick McCabe's novel , a seminal queer narrative confronting experiences amid Ireland's . Friday further extended this influence by contributing songs to the 2005 film adaptation directed by , blending subversive art with cinematic storytelling to highlight marginalized voices.

Reissues and Reunions

In 2004, remastered and reissued the core Virgin Prunes discography, a project overseen by founding member that included albums such as ...If I Die, I Die, Hérésie, and , with recreated artwork due to the unavailability of originals. The band's catalog saw renewed attention in the 2020s through a series of 40th anniversary editions. In 2022, for , Mute and BMG released a limited-edition clear vinyl 12" single of "Pagan Lovesong," digitally remastered and replicating the original UK pressing with an art card. That same year, ...If I Die, I Die received a 40th anniversary edition featuring a full on limited-edition transparent vinyl in a special , alongside a 2CD deluxe version with bonus rarities, remixes, demos, a photobook, and new notes. In 2023, as part of , the debut EPs—Twenty Tens and In the Greylight—were reissued for the first time on vinyl since 1981, compiled as a double 10" set on white and blue vinyl with obi-strip packaging and exclusive lyric sheets, including six rare tracks previously unavailable in physical form. The following year, 2024, brought the deluxe edition of A New Form of Beauty (1-4), remastered from the original tapes across a 3LP tri-fold sleeve package with a 16-page photobook of new notes and artwork, plus 2CD and digital formats incorporating brand-new remixes and mashups. No full Virgin Prunes reunions have occurred since the band's 1986 disbandment, though partial performances have taken place, such as a 2009 tribute at Gavin Friday's 50th birthday at , where Friday, , , and JG Thirwell reunited onstage for tracks like "Sweethome Under White Clouds," joined by members and . Former members have remained active individually, with releasing his solo album on October 25, 2024—his first in 13 years—via BMG on limited-edition transparent blue vinyl and deluxe CD formats featuring tracks like the title song and "The Church of Love," plus five bonus tracks. has also maintained ties to , serving as their creative director and collaborating on performances, building on longstanding connections like guitarist being the brother of U2's .

References

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  48. https://thequietus.com/interviews/strange-passion-irish-post-punk-virgin-prunes/
  49. https://www.imdb.com/title/tt0411195/soundtrack/
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  52. https://www.rollingstone.com/music/music-news/u2-join-lady-gaga-scarlett-johansson-and-more-for-gavin-friday-benefit-at-carnegie-hall-101457/
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