From the Lions Mouth is the second studio album by English post-punk band The Sound, released in November 1981 on record labelKorova. Following the release of their previous album Jeopardy, keyboardist Belinda "Bi" Marshall left the group and was replaced by Colvin "Max" Mayers. For their new album, The Sound worked with producer Hugh Jones, as well as co-producing the album themselves. The album's sound was more polished than previous efforts. Like Jeopardy, From the Lions Mouth was critically acclaimed but failed to capture the attention of the public, with the band's fanbase limited to a cult following. One single, "Sense of Purpose ", was released.
Content
The albumcover artwork was taken from the 1872 painting Daniel in the Lions Den by Briton Rivière. NME compared the album's bleak nature to Joy Division's Closer. Despite The Sound being posited as a gloomy band, AllMusic wrote, "snake-charming opener 'Winning' is like a dash of cold water in the faces of all the bands that were wallowing and withering away at the weeping well The Sound were not mopes. They had their problems with life, but rather than just vent or escape from them, they confront them and ask questions and attempt to sort it all out."
Release
One single, "Sense of Purpose ", was released in promotion for the album, on 20 September 1981. From the Lions Mouth was released in November by record label Korova. The album was remastered and re-released in 2002 by Renascent, a record label formed specifically for the task of reissuing The Sound's records. This release included the 1982 single "Hothouse", despite frontman Adrian Borland's wishes that the album should have the same track listing as the original. The song was not included as a separate track, but as a continuation of "New Dark Age".
Reception
From the Lions Mouth was well received by critics upon its release. Mike Nicholls of Record Mirror wrote, "The Sound seem set to take up where Joy Division left off and become the saviors of the adolescent grim brigade". Melody Maker's Steve Sutherland commented on the album's lighter, more commercial tone than that of Jeopardy, calling it "Jeopardy-as-palatable-product". In its retrospective article "Unspun Heroes", NME praised the album as "underrated" and a "ferocious, vital document". Uncut described it as "a monumental work of rock 'n' roll angst" and The Sound's greatest album, while Trouser Press cited it as the group's best work. Borland described the album as "the most polished and probably our most commercial album, with some of the greatest songs".
