On this day, 45 ago (23 October 1980), UK industrial music pioneers Throbbing Gristle released simultaneously two 7” singles, Adrenalin/Distant Dreams (Part Two) and Subhuman/Something Came Over Me. They were both sold in camouflage printed plastic bags.

‘Adrenalin’ and‘ Distant Dreams' might well be some of Throbbing Gristle's more accessible songs but still feature weird tape loops and odd lyrics by Genesis P. Orridge’. So in the musical context of 1980, these songs were still a long way off from mainstream music.

Worth noting, the 7" version of "Distant Dreams (pt. II)" has a different mix comparing it to the one made available as bonus on later Grey Area CD editions of "Mission Of Dead Souls”.

The Subhuman/Something Came Over Me single was everything but accessible for the mainstream music lovers with Subhuman being more of a soundscape of scraping metalics while Genesis screams and shouts his lyrics over them. However ‘Something Came Over Me’ definitely has the most pop/rock song elements and melodies, however they are countered by Genesis P. Orridge undisguised ode to a white sticky substance.

The artwork features the painting Apotheosis of War by Vasili Vasilyevich Vereshchagin on the front cover and a canal bridge underpass.

Both singles entered the UK indie charts peaking at 23rd (Subhuman/Something Came Over Me) and 26th (Adrenalin/Distant Dreams) (Part Two)) position.

Subhuman/Something Came Over Me ( 7" IR 13)

A:Subhuman" – 2:53
B: Something Came Over Me" – 3:43

Adrenalin/Distant Dreams (Part Two) (7" - IR 15)

A: Adrenalin" – 3:59
B: Distant Dreams (Part Two)" – 5:30

On this day XXXYEARSXXX years ago, the electronic music world lost one of its key architects. Dave Ball, sound alchemist, producer, and one half of the legendary duo Soft Cell, passed away on October 22, 2025, at the age of 66.

Ball, who “peacefully passed away in his sleep” at his London home, had been battling serious health issues in recent years. Yet he remained devoted to music until the end — a lifelong drive that carried him from the underground clubs of Leeds to the top of international charts.

Together with Marc Almond, Ball formed Soft Cell in the late 1970s — a project that merged the raw energy of punk with the synthetic melancholy of early electronics. Their version of “Tainted Love” shot to the top of the charts in 1981, becoming one of the most iconic synthpop songs of all time.

Ball was the architect behind that sound: minimalist yet powerful, emotional yet detached — the sound of neon, night, and alienation. After Soft Cell’s initial split, he teamed up with Richard Norris to form The Grid, scoring new success in the early ’90s with club hits like “Swamp Thing.” He also worked as a producer and remixer for artists such as Kylie Minogue, while continuing to explore side projects and collaborations.

A lesser-known but deeply influential chapter in Ball’s career was his collaboration with Strikt Tempo. Their 12-inch release — all cold basslines and hypnotic rhythm — became a cult classic in the underground, still revered by collectors and DJs of early electro and minimal wave.

In later years, Ball reunited once more with Almond. Together they completed Danceteria, Soft Cell’s forthcoming album — now standing as a poignant final statement of their enduring partnership.

Marc Almond wrote on social media: “He was a wonderfully brilliant musical genius… I wouldn’t be where I am without you.”

Dave Ball leaves behind an indelible legacy. His sound — taut, dark, and unmistakably human — continues to resonate in every synth line that followed.

The ripple felt around the globe in 1977 from New York to London, The Ramones to The Sex Pistols, the aggression and angers built in the youth culture could not be contained any longer and the last remnants of the hippy dream was extinguished with a flamethrower of angst.

The Radiators From Space landed at the right time and the right city, cut with a blade of stinging guitar into the right audience. They released their debut album 'TV Tube Heart' on 21 October 1977.

They had inspiration, the 'Troubles' in Northern Ireland, the lack of jobs in the cities, the depressive atmosphere was finally given a voice, an album, suddenly an anthem grew from the littered streets. The album, 'TV Tube Heart' is an unequivocal masterpiece, make no mistake, and they did on this recording, the perfection lies in the imperfect delivery.

Not well honed or soaked with perfection, but then again neither is life. This is what the album mirrored in a time capsule of angst, Dublin- in -1977 and the atmospheric, downtrodden mood of the inner city.

The album opens with the distorted screech of feedback but nobody cared about the delivery as they got caught up in the speeding juggernaut of free speech.

Up until this point we were subject mainly to the lush sounds of progressive rock, organ and keyboard driven music with complex structure and melodies, when this album arrived it dragged away that format from the streets of the capital and replaced it with simplicity, of two guitars, one set of drums, one singer and one bass player, the only organ to be had been held back behind a ripped, dirty pair of jeans.

This was music so basic it could easily be repeated when young kids picked up instruments and so its influence spanned across a generation of musicians, not to put together a punk band but to play an instrument and in turn finding another type of escapism. This was the cause and reaction in its most direct form held together with the glue of; Philip Chevron, Pete Holidai, Steve Rapid, Jimmy Crashe and Mark Megaray.

The signing to the UK Label Chiswick in 1977 was a turning point and meant distribution outside of the island, within the island however the debut single 'Television Screen' became the first and one of the few true punk releases to break the Irish top twenty, proving their arrival was well-received, not just by critics but the actual buying public, heightened by their support of fellow Irish man Phil Lynott and his band Thin Lizzy on their Bad Reputation tour across the UK.

Then there is the follow-up, sometimes they do not match the intensity of the debut album, they lack at times the hunger, in this case however it is the opposite. With the departure of forming member Steve Rapid, which only led to a shortening of the name to simply the Radiators and under the watchful eye of Bowie supremo Tony Visconti the now four piece reconvened to record the staggeringly brilliant 'Ghostown'.

A concept album of sorts, drenched with heavy theme of society, force-fed paranoia and the isolation felt through the working classes; 'Who Are The Strangers', ‘Walking Home Alone Again', every note licked the grime from the streets of Dublin in the 1970s and was immediately hailed as one of the most important releases of the era. An importance not translating In sales and the band dissolved shortly afterwards after a relocation to London in an attempt to heighten the public attitude towards the band.

The following is a brief Question and Answer session we had in 2019 with Pete Holidai, guitarist with The Radiators From Space and The Trouble Pilgrims.

What drove you as a person to the punk style of music? Was there a particular event you witnessed, a band or even a particular song?

PH;”My first real Interest in music was the Glam-Rock era of the early seventies T. Rex, Bowie, Roxy Music in particular-guitar music that was full of energy was always a style I was drawn to although like most 'Punks' we like the occasional tearjerker”.

Do you feel that The Radiators debut album ‘TV Tube Heart’ is more so a result of the environment than any outside musical influences?

“It was recognized by the UK press as an Irish version of Punk where our anger was focused at our reality...the church, the politician, the guard and the other so called pillars of society..we needed to be free from their shackles of emotional oppression”.

What do you think is the high-point in the career of The Radiators?

”All of it. The very fact we created and lead the scene in Ireland before leaving these shores to seek our fortune just like those before us..’TVTH’, ‘Ghostown, ‘Trouble Pilgrim’ and ‘Sound City Beat’ is our legacy”.

Looking back do you feel The Radiators achieved what they set out to do?

”Yes we did, we helped kick this God-forsaken island into the 21st century”.

Why do you think that a band who brought out an album of such a high quality as ‘Ghostown’ did not make it bigger?

”The reality is you need major financial backing to reach the bigger audience via marketing etc...however we were released in all the major territories via licensing deals”.

DISCOGS

[KB]

Musique Non Stop – Kraftwerk’s Pulse of the Machine Age

Released on October 20, 1986, “Musique Non Stop” stands as one of Kraftwerk’s most iconic and forward-thinking singles, a track that perfectly captured the German group’s fascination with the intersection of music, technology, and the human experience. Emerging during a period of transition for the Düsseldorf pioneers, the song was the lead single from their 1986 album Electric Café (later reissued under its original intended title Techno Pop), marking a bold new phase in their electronic evolution.

Built around a hypnotic, loop-driven rhythm and minimal yet infectious synth patterns, “Musique Non Stop” distilled Kraftwerk’s aesthetic to its purest essence. Its robotic vocal samples — chopped, processed, and reassembled — embodied the group’s signature “man-machine” philosophy, while also foreshadowing the sampling and sequencing techniques that would soon dominate electronic dance music. The title phrase, repeated with mechanical precision, served as both a mantra and a prophecy for the endless continuity of electronic sound.

The single’s innovative video, directed by Rebecca Allen using early 3D computer animation, was groundbreaking in its use of digital motion graphics. It featured virtual representations of the band members’ faces, synchronized with the music in an eerie yet mesmerizing display of human-machine fusion. At a time when computer graphics were still in their infancy, the video’s aesthetic was a revelation — a glimpse into the future of audiovisual art and digital identity.

Musically, “Musique Non Stop” bridged the gap between Kraftwerk’s pristine 1970s output and the emerging electronic genres of the late ’80s and early ’90s. Its influence rippled through the burgeoning techno scenes of Detroit and Chicago, inspiring artists such as Juan Atkins, Derrick May, and The Orb. The track’s repetitive precision and synthetic clarity became a blueprint for generations of producers exploring the relationship between rhythm, circuitry, and emotion.

Though Electric Café received mixed reviews upon release, “Musique Non Stop” has endured as one of Kraftwerk’s defining works — a minimalist masterpiece that encapsulates their enduring mission to explore the music of the future. Decades later, its pulse still feels alive, its message as relevant as ever: in the electronic age, music truly never stops.

Die Krupps – “Wahre Arbeit, Wahrer Lohn” (October 1982): A Blueprint for Industrial Resistance

In October 1982, that is 43 years agao, German band Die Krupps released “Wahre Arbeit, Wahrer Lohn” (“True Work, True Pay”), a single that would come to define the early shape of industrial and EBM (Electronic Body Music). Emerging from Düsseldorf’s post-punk and avant-garde underground, Die Krupps — founded by Jürgen Engler and Bernward Malaka — fused metallic percussion, synthesizers, and political critique into a sound that was as mechanical as it was militant.

The title track’s pounding rhythm and relentless metallic clangs evoked the noise of factories and assembly lines, turning industrial labour itself into music. Its lyrics, delivered in German, drew attention to the alienation of modern work and the false promises of productivity and progress. The refrain, “Wahre Arbeit, Wahrer Lohn,” was both a slogan and a provocation — echoing socialist rhetoric while questioning its exploitation under capitalist systems.

Musically, the single marked a decisive shift from the band’s earlier experiments with steel percussion toward a more electronic sound, foreshadowing the emergence of EBM. It shared aesthetic territory with contemporaries like D.A.F. and Einstürzende Neubauten, yet Die Krupps’ approach was more disciplined and anthemic, laying the groundwork for the industrial dance sound that would later influence acts such as Front 242, Nitzer Ebb, and Ministry.

Released on the German label Schneeball, the single also featured a B-side instrumental version that amplified its hypnotic, machine-driven pulse. Over the years, “Wahre Arbeit, Wahrer Lohn” has remained one of Die Krupps’ most iconic works — not only a cornerstone of early industrial music but also a timeless statement on the mechanization of human life. Four decades later, its rhythm still pounds like a factory heart, unrelenting and defiant.

DISCOGS