44 ago, In March 1982, Ministry's Cold Life 12-inch single was released in the UK through Situation Two, marking a significant moment in the band's early career. This release showcased a different sound from the industrial metal style that Ministry would later be known for, highlighting their early explorations into synth-pop and funk-infused electronic music.
The single features "Cold Life" as the A-side, a track that blends elements of funk and synth-pop, reflecting influences from 1970s funk and soul acts. The song was inspired by Al Jourgensen's experiences living in a predominantly African-American neighborhood in Chicago. The B-side includes "I'm Falling," a synth-pop song influenced by British post-punk acts such as The Sisters of Mercy and Killing Joke.
The single was initially released in late 1981 in the United States by Wax Trax! Records, featuring "I'm Falling" as the A-side and "Cold Life" as the B-side.
This track bears influences from British post-punk acts, with Jourgensen admitting that it was heavily inspired by bands like Joy Division and The Cure.
The Cold Life 12” single also includes a dub version of the title track, offering an extended, danceable rhythm with groovy basslines and syncopated beats. This release was an important milestone for Ministry, as it demonstrated Jourgensen's early musical explorations before the band fully embraced the industrial genre.
Over the years, Cold Life has been revisited as a curiosity in Ministry’s discography, offering a glimpse into the band’s transformation from a synth-heavy new wave act into one of the most influential industrial metal bands of all time.
Cold Life (12") Tracklist (Situation Two – SIT17T)
| Cold Life | 6:11 | ||
| I'm Falling | 4:04 | ||
| Cold Life Dub | 6:53 |
Cold Life - Lyrics:
Cold Cold Cold
You know the yolk it's spreading from You laugh as people scatter 'bout Surrounded by a veil of stars You realize that your life is dark Earth gets colder every day If scientists could have their way They'd study us from far away And watch as people's minds decay
Cold Cold Cold
Your body's in the hands of fools With swimming pools and low IQs There's nothing to see, nothing to do Buy your stocks and sell your jewels Bill collectors stole my mail My wife and kids are all for sale I hope to god I go to jail And no one can come up with bail
Cold life Cold life Cold life Cold
Cold Cold Cold
I can't control my buried thoughts The slightest thing makes me distraught I'm like the people I once fought My every action's being bought Robot trainers earn their pay As mutant kids go out to play It's such a pretty, pretty day With orange nights and days of grey
Cold Cold Cold
I've now become a nervous wreck I'm getting closer to my death I keep expecting my last breath As all my friends just laugh and jest The earth is such a filthy place And human, such an awful race And I'd rather live in outer space Where death goes at a slower pace
Cold life Cold life Cold life Cold
Cold life Cold life Cold life Cold
Cold Cold Cold Cold Cold
| [DISCOGS] |
Through The Looking Glass | The Siouxsie & The Banshees Masterpiece Released 39 Years Ago Today!
By 1987, Siouxsie And The Banshees became more than a band, they were an almost institution. Their previous seven-albums had created a momentum of spectacular success, within a short few years Siouxsie And The Banshees were already cited as legendary.
The album the band released in 1987 must have came as a shock at first, Through The Looking Glass is an album of cover versions.
From the creative well that had thrown forth a back catalogue as strong as they had, this release on the surface may have seemed strange. Though they had successfully covered The Beatles Dear Prudence and even Helter Skelter in the past so they were no strangers to cover versions. In the end the album has become regarded as one of their finest works, a testimonial to the strength within the band.
Through The Looking Glass acts as a homage to their influences, songs carefully chosen to reflect the band members own childhood and teenage years, these had to ring true for Siouxsie Sioux to sing them and to believe in them. The album however transcends the normal tribute album,
Ralf Hütter of Kraftwerk hailed the version of 'Hall of Mirrors' stating-“In general, we consider cover versions as an appreciation of our work. The version of 'Hall of Mirrors' by Siouxsie and the Banshees is extraordinary'. Iggy Pop also highly praised The Banshees cover of 'The Passenger'. The mix of tracks from The Band’s “This Wheels On Fire”(The first single released), the Billie Holiday Civil Rights statement-“Strange Fruit. The Doors -“You're Lost Little Girl” and even the early Sparks classic “This Town Ain't Big Enough For The Both Of Us”.
Through The Looking Glass separates the two classics Tinderbox and Peepshow, it displays an extra dimension to the what the band can achieve. The tracks covered were honed, stylishly built and molded into The Banshees instantly identifiable style.
Through The Looking Glass (Original Track List)
This Town Ain't Big Enough For The Both Of Us
Hall Of Mirrors
Trust In Me
This Wheel's On Fire
Strange Fruit
You're Lost Little Girl
The Passenger
Gun
Sea Breezes
Little Johnny Jewel
46 yeares ago, On March 1, 1980, Deutsch-Amerikanische Freundschaft (DAF) released their very first 7” single Kebabträume / Gewalt, marking a pivotal moment in the evolution of electronic and industrial music. This single, released via Mute Records (Catalogue number MUTE 005), encapsulated the band's early raw and aggressive style, blending minimalist electronics with politically charged themes.
Kebabträume (translated as Kebab Dreams) was originally written by Robert Görl and Gabi Delgado-López during their early days in the German underground scene. The song reflects on themes of immigration, surveillance, and the lingering impact of post-war Germany, particularly the fear of Stasi and totalitarian control. Its repetitive, pulsating rhythms and harsh electronic textures embodied the nascent EBM (Electronic Body Music) sound, later influencing bands such as Front 242 and Nitzer Ebb.
On the B-side, Gewalt (Violence) delivers an even more intense experience, with its pounding beats and stark, almost militaristic vocal delivery. The song captures the band's fascination with themes of authority, power, and rebellion, aligning with the provocative aesthetics of the post-punk and industrial movements of the time.
This release was one of DAF’s last recordings as a full five-member band before they transitioned into their iconic duo format. Shortly after, they would refine their sound into the more streamlined, danceable yet still confrontational style heard on their seminal Alles ist gut album (1981).
Though Kebabträume was later re-recorded in a more polished form, this 1980 single remains a raw and essential artifact of DAF’s early years, solidifying their reputation as pioneers of electronic avant-garde music.
On this day 42 years ago, the legendary Fad Gadget performed at the Hacienda Club in Manchester, UK.
On February 28, 1984, 42 years ago, the legendary Frank Tovey, better known as Fad Gadget, delivered an unforgettable performance at The Haçienda in Manchester. At the time, The Haçienda was rapidly establishing itself as a mecca for alternative and electronic music, and Fad Gadget’s set that night cemented his status as one of the most compelling live performers of the era. His mix of raw energy, industrial sounds, and theatrical stage presence made for a night that those in attendance would not soon forget.
By early 1984, The Haçienda, founded by Factory Records and New Order, had become a pivotal venue in the underground music scene. Although its legendary Manchester rave era was still a few years away, it had already hosted groundbreaking acts from post-punk, new wave, and electronic circles. This made it the perfect venue for Fad Gadget, whose sound blended elements of synth-pop, industrial, and avant-garde performance art.
The club’s industrial design, with its vast open space and exposed steelwork, provided the ideal backdrop for Tovey’s mechanical beats and provocative stage antics. The audience was a mix of devoted fans and curious club-goers eager to witness the cult electronic pioneer in action.
Fad Gadget’s Performance: A Visceral Experience
From the moment he took the stage, Frank Tovey commanded attention. Dressed in his signature disheveled yet stylish attire, he immediately engaged the audience, not just with his music but with his intense physical performance. Known for his unpredictable live shows—where he often climbed on equipment, dived into the crowd, and covered himself in shaving cream or tar and feathers—this night at The Haçienda was no exception.
Opening with “State Of The Nation” quickly followed by “Coitus Interruptus,” Tovey set the tone with its pounding drums, basses and eerie synth melodies. His voice, simultaneously robotic and filled with raw emotion, cut through the club’s booming sound system. Tracks like “Collapsing New People” and “For Whom the Bells Toll” followed, their hypnotic, mechanical rhythms perfectly fitting the venue’s industrial aesthetic.
One of the highlights of the night was his performance of “Ricky’s Hand,” a cautionary tale of reckless behavior told through jittery synth lines and unsettlingly distorted vocals. As the song reached its climax, Tovey flailed wildly, knocking over a mic stand and nearly toppling into the crowd—a signature moment in his chaotic stage presence.
The performance at The Haçienda reaffirmed Fad Gadget’s role as an innovator in electronic music. While he never reached mainstream superstardom, his influence on Depeche Mode, Nine Inch Nails, and the EBM/industrial scene is undeniable. His blend of music and performance art laid the groundwork for future generations of artists pushing the boundaries of live electronic music.
Fad Gadget Live @ The Hacienda, Manchester (UK) - 28.02.1984
01 State Of The Nation
02 Coitus Interruptus
03 King Of The Flies
04 I Discover Love
05 Ideal World
06 Collapsing New People
07 One Man's Meat
08 The Ring
09 Jump
10 Ad Nauseam
11 Lemmings On Lover's Rock
12 Love Parasite
13 For Whom The Bells Toll
14 Ricky's Hand
15 Back To Nature
For those lucky enough to be at The Haçienda on February 28, 1984, the night was a visceral, high-energy experience—a perfect fusion of experimental music and performance art. It remains a defining moment in both Fad Gadget’s career and the history of one of the world’s most influential clubs.
For those who missed out or weren’t born yet … Well, you are in luck as the complete show was filmed & recorded! Check it out below!
Today it’s been exactly 40 years since Siouxsie and The Banshees released their second single from their seventh studio album Tinderbox. The single Candyman was released as 7” and 12” on 28 February 1986 and is about child abuse. At the age of 9, she was sexually assaulted by a man, who apparently owned a candy shop. The most damaging aspect was that the assault was ignored by her parents.The episode became an unspoken item. From that moment on, she started to acquire disrespect for adulthood. Years later, she stated: "I grew up having no faith in adults as responsible people. And being the youngest in the family I was isolated – I had no-one to confide in. So I invented my own world, my own reality. It was my own way of defending myself – protecting myself from the outside world. The only way I could deal with how to survive was to get some strong armour".
It became Siouxsie and the Banshees' 13th top 40 hit, peaking at number 34 in the UK single charts.
The 7” has the track Lullaby on the b-side, the 12” also featured Umbrella on the b-side.
Candyman Lyrics
Sickly sweet, his poison seeks
For the young ones who don't understand
The danger in his hands
With a jaundiced wink see his cunning slink
Oh trust in me my pretty one
Come walk with me my helpless one
Candyman
Syrup lies upon your tongue
Ge latine saliva spills
The flash of a guillotine a smile
Candyman - oh candyman
No pity for him, their misery screams
Unspeakable things
A cool missile, yes it's in his smile
With open arms to welcome you
Beware the masked pretender
He always lies, this candyman
Those lips conspire in treachery
To strike in cloak and dagger, see!
Candyman - oh candyman
And all the children, he warns ''don't tell, ''
Those threats are sold
With their guilt and shame they think they're to blane
For candyman - oh candyman
Songwriters: Matthew David Clayden / Mark Williams
