Today 6 year ago, we received the sad news of the death of Rüdiger Frank ((° 17. Juni 1967, Ludwigsburg; † 12. Juli 2019, Markgröningen, Germany), singer of German gothic rock band The Tors Of Dartmoor. Rüdiger Frank left Printed At Bismarck's Death in 1989 with keyboard player Heiko Muter (who died in 2001) to form a new gothic rock band: The Tors Of Dartmoor, named after an English rock formation in a mystical landscape.

I got to know The Tors Of Dartmoor in 1991, shortly after the release of their grand debut "The Obvious Darkness". I remember very well taking this CD in the store, intrigued as I was by the band's name as wel as the cover-artwork with a photo of a ruin. The seller told me that this was the latest gothic sensation from Germany. Sold! I absolutely loved this album with classics such as "Waterking" and "Meet Moshe Dayan" (a song they wrote still with Printed At Bismarck's Death). Since then The Tors Of Dartmoor has been number 3 in the list of my favorite gothic rock bands, after The Sisters Of Mercy and Fields Of The Nephilim and just before Love Like Blood.

I was delighted when The Tors Of Dartmoor came to play in my hometown of Antwerp in 1992 at the Phantom Festival in the Limelight (the poster also included The Lance Of Allotment, Dive and Die Krupps). I will never forget the performance of The Tors Of Dartmoor and I still remember perfectly how it began. A tall guitarist and bass player came on stage and started to play the first song. When, after a few minutes, everyone started to wonder where the singer was, a small jerk suddenly came out of the backstage door, a kind of troll king who controlled the entire performance. What a voice and what a presence! Rüdiger Frank suffered from dwarf growth and never grew taller than 1.34 meters. But as small as he was in stature, as big was his act and his stage presence!

And this not only with his gothic rock bands, because in Germany Rüdiger Frank was also a well-known and celebrated actor. He played numerous roles there, including that of God in the piece "Mefistofele" and of Riff Raff in the musical "Rocky Horror Show". In later years he was known for his double role in the world's first steampunk opera "Klein Zaches, genannt Zinnober" and until very recently as Herod in the rock opera "Jesus Christ Superstar".

After the unparalleled debut "The Obvious Darkness" (1991) the albums "House Of Sounds" (1993, tip: "Welcome To The House"), "Third Second" (1996, tip: "Gypsy") and“ Chapter VI ”(2004) which still had a bunch of strong songs but which, as an album, unfortunately could not match the level of their debut.

Recently Rüdiger Frank was also active in the Romeo Is Bleeding formation, which made music inspired by Tom Waits. Unfortunately he could not finish a long-planned solo album. Rüdiger Frank had had health problems for a long time and was only 52 years old. I will cherish my copy of "The Obvious Darkness", signed by the four band members at the Phantom Festival in 1992, forever. [Henk Vereecken / Dark Entries]

Memorial-Site on Facebook

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This month it’s 33 years ago (July 1992) Ministry released the first single, N.W.O. (New World Order) taken from their fifth studio album ΚΕΦΑΛΗΞΘ better known as Psalm 69. The single is considered Ministry's biggest hit, topping out on the Billboard Modern Rock chart at no. 11. The song was nominated for the Grammy Award for Best Metal Performance in 1993.
The song is widely regarded as a protest against then-President George H. W. Bush. The song features audio samples of his voice, with him repeating "A new world order" over and over again at the end of the song. At this point of the song in the music video, Bush is portrayed by an actor with an enormous papier-mâché head, grabbing his crotch and waving his arms. Samples from Apocalypse Now are included in this track: Dennis Hopper's character exclaiming "It's alright!" as the patrol boat is approaching the colonel's fort, as well as the siren that was used during the scene. There is also a loop of the guitar solo coming from a transistor radio in the grenade launcher's bunker.
Next to the album version and the over eight minute long Extended Dance Mix of the title track, there's also the non-album bonus track Fucked writen by Paul Barker and Howard Beno.The cover artwork was designed by Paul Elledge.

N.W.O
Track listing

1. N.W.O. (Album Edit)
2. Fucked
3. N.W.O. (Extended Dance mix)

Lyrics

All the locals hide their tears of regret
Open fire 'cause I love you to death
Sky high, with a heartache of stone
You'll never see me 'cause I'm always alone

How to love without a trace of dissent
I'll buy the torture 'cause you pay for the rent
Tied high with a broken command
You're all alone to the promised land

I'm in love with this malicious intent
You've been taken but you don't know it yet
What you will know must never live to be found
'Cause it's the subject of the eyes of the clown

writen by: Al Jourgensen / Paul G. Barker

"Echogenetic," released 12 years ago, on July 9, 2013, marks a significant evolution in Front Line Assembly's sound, blending their industrial roots with modern electronic elements. This album, produced by Bill Leeb and Jeremy Inkel, represents a departure from the guitar-heavy approach of previous works, focusing instead on intricate synths, pulsating beats, and cutting-edge production techniques.

Tracks like "Killing Grounds" and "Exhale" showcase the band's ability to fuse aggressive rhythms with melodic hooks, while "Blood" and "Deadened" highlight a darker, more atmospheric side. The use of contemporary electronic influences, including dubstep and electro-industrial, provides a fresh, dynamic listening experience.

As opposed to the band's earlier output, guitars were absent from Echogenetic. Intravenous Magazine commented on this, saying "Instead the band assimilate the sound into their arsenal so effectively that it fits quite comfortable and even manages to mask the pronounced lack of guitars on the album."

"Echogenetic" received critical acclaim for its innovation and cohesive sound, solidifying Front Line Assembly's position as pioneers in the industrial genre. The album's meticulous production and forward-thinking approach have left a lasting impact, making it a standout release in the band's extensive discography.

The album received in general a 9/10 rating from the specialized music press, reached the 19th position in the US Top Dance/Electronic albums Billboard and even a first place in the German Alternative Charts (DAC).

Front Line Assembly - Echogenetic (MET 885/Mind 209)

01. Resonance 2:46
02. Leveled 5:17
03. Killing Grounds 5:58
04. Blood 5:25
05. Deadened 5:48
06. Ghosts 4:43
07. Echogenetic 4:35
08. Exhale 5:27
09. Exo 7:09
10. Prototype 5:36
11. Heartquake 5:42

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The Butthole Surfers' debut EP, self-titled but often referred to as "Brown Reason to Live," was released 42 years ago, in July 1983, and stands as a significant milestone in the alternative and punk rock genres. This EP marked the beginning of the band's influential and chaotic journey, characterized by their raw, experimental sound and provocative, often surreal, lyrics. The band's lineup at the time included Gibby Haynes on vocals, Paul Leary on guitar, and King Coffey on drums, with contributions from Teresa Nervosa.

Comprised of seven tracks, the EP offers a glimpse into the band's unique style, which blends abrasive guitars, psychedelic elements, and an irreverent sense of humor. Opening with "The Shah Sleeps in Lee Harvey's Grave," the EP immediately sets a tone of anarchic energy and satirical commentary. This track, like many others on the EP, showcases the band's penchant for distortion and chaotic soundscapes, a hallmark that would come to define their music.

Other notable tracks include "Hey," "Something," and "Butthole Surfer," each contributing to the EP's overall sense of unpredictability and defiance of mainstream music norms. "Hey" features a relentless, driving rhythm paired with Haynes' distorted vocals, creating an unsettling yet captivating listening experience. "Something" takes a slightly more melodic approach but maintains the band's characteristic edge and unconventional structure.

"Butthole Surfer," another standout track, encapsulates the band's eclectic influences and refusal to conform. Its erratic shifts in tempo and tone, along with bizarre lyrical content, highlight the band's commitment to pushing boundaries and challenging listeners' expectations. The EP closes with "Bar-B-Q Pope," a track that epitomizes the band's absurdist and subversive ethos.

"Brown Reason to Live" established the Butthole Surfers as pioneers in the underground music scene, gaining them a cult following and setting the stage for their later work. The EP's lo-fi production quality, characterized by its gritty and unpolished sound, adds to its raw appeal and authenticity. It captures a moment of creative freedom and experimentation that would influence countless other artists in the punk and alternative rock genres.

In summary, the Butthole Surfers' debut EP is a seminal work that encapsulates the band's early sound and vision. Its blend of abrasive, experimental music and provocative, often humorous lyrics set the Butthole Surfers apart from their contemporaries and solidified their place in the annals of alternative music history. This EP not only introduced the world to the Butthole Surfers' distinctive style but also laid the groundwork for their future innovations and contributions to the music world.

Buttholes Surfers - Butthole surfers (Alternative Tentacles – VIRUS 32)

A1. The Shah Sleeps In Lee Harvey's Grave

A2. Hey

A3. Something

B1. Bar-B-Q Pope

B2. Wichita Cathedral

B3. Suicide

B4. The Revenge Of Anus Presley

DISCOGS

44 years ago, American new wave band The B52’s released their 12” Party Mix! (July 1981). Party Mix! is a remix album, that came out in between their second album Wild Planet (August 1980) and their Mesopotamia EP (October 1981). Since most of the band’s bouncy songs were already dance-ready to begin with, one can see these remixed tracks more as great alternative versions, rather than real ‘dance’ tracks.

The original 12” featured six songs taken from their first two albums, all remixed and sequenced to form two long tracks, one on each side. On the CD version however, all the songs feature their own track.

The B52's - Part Mix! (12" - 1981)

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