Soft Cell's release of "Tainted Love" in July 1981, today 44 years ago, marked a seminal moment in the landscape of synthpop and new wave music. Originally a 1964 soul song by Gloria Jones, Soft Cell's rendition transformed it into a global hit, characterized by its distinctive electronic instrumentation and Marc Almond's emotive vocal delivery. The duo, comprised of Almond and David Ball, infused the track with a dark, edgy energy, capturing the disillusionment and angst of the early 80s youth.

The song's minimalist production, driven by a hypnotic synth riff and a pulsating rhythm, was groundbreaking. It effectively harnessed the emerging technology of synthesizers, which became a defining feature of the era's sound. Soft Cell's version of "Tainted Love" also included a segue into "Where Did Our Love Go" (Originally by The Supremes) in its extended 12-inch format, adding a fresh twist to their cover and showcasing their creative approach to music production.Marc Almond said that this decision was not the duo's, recounting, "If only we'd put our own song on it then we would be considerably richer", while David Ball described the medley as "the most costly idea of our career".

"Tainted Love" received critical acclaim and commercial success, reaching number one on the UK Singles Chart and number eight on the US Billboard Hot 100. Its popularity was further cemented by its extensive airplay on MTV, contributing to the song's international reach. The track's themes of romantic turmoil and betrayal resonated widely, making it an anthem of heartbreak and emotional resilience.

Soft Cell's "Tainted Love" not only elevated the duo to stardom but also influenced the trajectory of electronic music. It paved the way for future synthpop artists and remains an enduring classic, frequently covered and sampled across genres. The song's legacy endures, reflecting its impact on popular culture and its status as a quintessential piece of 80s music history.

One on the most remarkable cover versions is without doubt British experimental band Coil's version of "Tainted Love”, released in 1985, which arrangements are heavily changed in contrary to Soft Cell's version, slowed down to the point when it gives a terrifying impression. “Tainted Love” was drastically re-arranged by Coil to reflect HIV/AIDS epidemic, emerged in the early 1980s and was regarded as the first AIDS benefit release.

In 2001 Marilyn Manson covered "Tainted Love" with an arrangement based on Soft Cell's version. It was released in November 2001 as a single from the Not Another Teen Movie soundtrack.

7" Single (BZS 2)

12" Single (BZS 212)

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This month, 43 years ago, Killing Joke released their third studio album Revelations (July 1982). It was recorded in Cologne, Germany and produced by Conny Plank, making it their first album not to be self-produced. This is also seemed to be their last album with the original line-up, featuring Youth on Bass, until Youth rejoined Killing Joke for their 2010 album Absolute Dissent.

At the time of its release the album got very mixed reviews, while some music critics rated it with 'only' 3 out of 5 stars, others gave it a full 5 out of 5 star rating.

Revelations reached number 12 in the UK Albums Chart.

Two singles were released from the album: 'Empire Song' and 'Chop-Chop'.
Funny fact, 'Empire Song' was performed on Top Of The Pops without singer Jas Coleman, who apparently had fled to Iceland in order to survive a potential nuclear world war

Revelations - LP

A1 The Hum 4:58
A2 Empire Song 3:18
A3 We Have Joy 2:59
A4 Chop-Chop 4:18
A5 The Pandys Are Coming 4:09

B1 Chapter III 3:12
B2 Have A Nice Day 3:13
B3 Land Of Milk And Honey 2:36
B4 Good Samaritan 3:30
B5 Dregs 4:52

2005 CD bonus track
We Have Joy" (Alternate Mix) 4:21

DISCOGS

Killing Joke:

Jaz Coleman – vocals, synthesizer
Kevin "Geordie" Walker – guitar
Martin "Youth" Glover – bass guitar
Paul Ferguson – drums, vocals

On this day, 14 years ago, Belgian Nu-EBM band The Juggernauts made a powerful debut with their track "Phoenix" on the 2011 compilation album Awake The Machines Vol. 7, released by Out Of Line (July 15 2011). Embodying a potent mix of harsh EBM and industrial beats, "Phoenix" stands out with its aggressive rhythm, dark melodies, and commanding vocals. The track's relentless energy and pulsating electronic soundscapes mark it as a standout entry, showcasing The Juggernauts' talent for crafting intense, danceable tracks. This release not only established The Juggernauts as a force within the EBM/industrial scene but also set the stage for their future contributions to the genre. "Phoenix" remains a definitive track, capturing the raw essence of the EBM genre.

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Ministry's "Psalm 69: The Way to Succeed and the Way to Suck Eggs," released 33 years ago, on July 14, 1992, by Sire Records, is a seminal industrial metal album that stands as a defining work in the genre. Also known as "ΚΕΦΑΛΗΞΘ," the album showcases a powerful blend of aggressive guitar riffs, pounding drums, and electronic elements, solidifying Ministry's influence and legacy in industrial metal. Produced by band members Al Jourgensen and Paul Barker, "Psalm 69" features iconic tracks like "Jesus Built My Hotrod," with a memorable guest appearance by Gibby Haynes of the Butthole Surfers, and "N.W.O.," which offers a scathing critique of the Gulf War and U.S. foreign policy.

The title of the album is linked to chapter 69 of The Book of Lies, a written work of Aleister Crowley, where he uses the expression "The way to succeed and the way to suck eggs" as a pun for the 69 sex position ("suck seed" and "suck eggs"). Moreover, Crowley titled the chapter ΚΕΦΑΛΗΞΘ (which translates literally as "shrugged" and contains the sound ΛΗΞ "licks") but has a second meaning as a compound of Greek κεφαλη ("head") and Ξ Θ (an encoded alphabetic reference to "69") which both have slang meanings in English for sexual acts.

"Psalm 69" achieved significant commercial success, reaching No. 27 on the Billboard 200 and earning a platinum certification from the RIAA, marking it as Ministry's most commercially successful album. The album's raw intensity, dark themes, and innovative soundscapes have made it a critical and fan favorite, influencing countless artists in both the industrial and metal scenes. Tracks like "Just One Fix" and the title track "Psalm 69" further demonstrate the band's ability to merge relentless energy with thought-provoking commentary.
The album received a 4 to 5 star ratings by most leading music magazines.

The album's relentless energy, unapologetic political stance, and groundbreaking fusion of metal and electronic music have cemented its place as a powerful statement in Ministry's discography. With "Psalm 69," Ministry not only defined the industrial metal genre but also pushed the boundaries of what heavy music could achieve. Its lasting impact on the industrial and metal scenes underscores its status as a landmark album, continuing to inspire new generations of musicians and fans alike.

Ministry – ΚΕΦΑΛΗΞΘ / Psalm 69

DISCOGS

Something is ending. And something else begins.

This autumn, Ahráyeph returns with The Final Hurt- the fourth and closing chapter of a long-intended cycle. While it is a conclusion of a personal and artistic arc, this is not an ending. This is a reckoning.

Born of scars, shadows, and acceptance, The Final Hurt isn’t a concept album in the traditional sense : it doesn’t tell a single story. There is, however, an overarching thread running through the songs; a loose constellation of ghosts; of trauma faced, of pain confronted; a slow burning purge of grief, rage, and sorrow. It’s the sound of an attempt to lay these ghosts to rest, of final nails being driven into coffins... yet the lids never quite remain sealed.

Darkness runs deep in these songs- but so does defiance. Somewhere beneath the weight, there is acceptance. Of damage done. Of who we become in the aftermath. This is the sound of a long road reaching its end, only to vanish into fog.

Autumn 2025. The hurt ends. Or does it? Because the final hurt is never truly final.

ahrayeph.bandcamp.com