On July 1st 1991, 34 years ago, "Shadowtime," a notable song by the influential English rock band Siouxsie and the Banshees, marked an important moment in their discography. Written by the band and produced by Stephen Hague, the track was the second single from their 10th studio album, "Superstition." This release followed the lead single, "Kiss Them for Me," and continued to showcase the band's evolving sound and continued relevance in the music scene.

Siouxsie and the Banshees, formed in 1976, were known for their innovative approach to post-punk, goth rock, and new wave music. By the time they released "Superstition," they had established themselves as pioneers in the alternative rock genre, influencing numerous bands and musicians. The band's lineup at this time included Siouxsie Sioux on vocals, Steven Severin on bass, Budgie on drums, and Martin McCarrick on keyboards and cello, with Jon Klein on guitar.

"Shadowtime" is a quintessential track that captures the essence of Siouxsie and the Banshees' sound during the early 1990s. The song features an intricate blend of atmospheric melodies, driving rhythms, and Siouxsie Sioux's distinctive, ethereal vocals. Its production, under the guidance of Stephen Hague, who was known for his work with acts like New Order and Pet Shop Boys, introduced a polished, radio-friendly sheen to the band's darker, more experimental roots.

The single's release was accompanied by a music video that enhanced the song's mystical and enigmatic qualities. Directed with a keen eye for visual storytelling, the video complemented the track's lyrical themes of introspection and temporal disorientation. It received rotation on music television channels, helping to bolster the band's presence in the burgeoning alternative music scene of the early '90s.

"Shadowtime" received positive reviews from critics, who praised its lush production and hauntingly beautiful composition. The song demonstrated the band's ability to evolve and adapt to contemporary musical trends while retaining their unique artistic identity. It showcased their skill in blending catchy hooks with complex, layered soundscapes, a hallmark of their later work.

Commercially, "Shadowtime" enjoyed moderate success. It charted in the UK Singles Chart and garnered airplay on alternative and college radio stations in the United States. While it did not achieve the same level of mainstream success as some of their earlier hits, it solidified Siouxsie and the Banshees' reputation as enduring and influential artists in the alternative rock landscape.

The release of "Shadowtime" and the "Superstition" album marked a significant phase in Siouxsie and the Banshees' career. It was a period of artistic refinement and exploration, balancing mainstream appeal with their avant-garde sensibilities. The song remains a favorite among fans and a testament to the band's lasting impact on the music world.

In summary, "Shadowtime" is a standout track from Siouxsie and the Banshees' 10th studio album, "Superstition." Released in 1991 and produced by Stephen Hague, the song encapsulates the band's ability to blend their post-punk and gothic roots with a polished, contemporary sound. With its intricate melodies, compelling lyrics, and Siouxsie Sioux's captivating vocals, "Shadowtime" remains an enduring piece of the band's rich musical legacy.

In 1991 the single reached the 57th position in the "UK Single Chart" and 13th position in the US "Modern Rock Track" chart.

DISCOGS

On this day, 44 years ago Frank Tovey released the album Incontinent as second Fad Gadget album. Incontinent sounds less “industrial” as his debut album Fireside Favorites relying less on drum machines and sampled (industrial) sounds. Most songs are inspired by Frank Tovey’s impression during his first US tour in 1980.

"Blind Eyes”, with lines such as "Send a few pounds to a charity / Now we're feeling so much better" and a chorus intoning "Hear no, see no, speak no evil" is clearly about people trying to easy their consciousness and ignore global problems.

While "Swallow It" is about the feed of news and propaganda our society, our leaders and media are feeding us day after day.

"Saturday Night Special" is inspired by America's 'Second Amendment', one of the ten amendments to the Constitution comprising the Bill of Rights, states: “A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed... "

The title tracks "Incontinent" and "Manual Dexterity", both instrumental, respectively featured Mute Records founder Daniel Miller and Robert Gotobed of the band Wire.

"King of the Flies" was released as a flexi-single on 2 October 1981. "Saturday Night Special" backed with "Swallow It Live" was issued on 5 January 1982. A rerecorded version of "King of the Flies" backed with "Plain Clothes" was released on 6 April 1982. None of these singles made it into the mainstream charts.

The album was recorded and mixed during Summer '81 at Blackwing Studios, All Hallows Church, London and features Frank Tovey

The album's artwork featured a picture of Tovey made up as the puppet Punch and was taken by Anthon Corbijn.

Fad Gadget ‎– Incontinent (STUMM6)

Blind Eyes 4:56

Swallow It 5:35

Saturday Night Special 6:29

Incontinent 3:24

Manual Dexterity 3:31

Innocent Bystander 6:28

King Of The Flies 4:22

Diminished Responsibility 5:55

Plain Clothes 4:40

DISCOGS

On June 30th 1978, that's 47 years ago now, The Human league released their debut single "Being Boiled". The track was released through the independent label Fast Product and marked a significant departure from the traditional rock and disco sounds of the late 1970s, embracing a minimalist and futuristic approach to music production.

The song is characterized by its raw, minimalistic electronic sound, featuring dark, brooding synthesizer lines and a steady, hypnotic beat. Oakey's deep, resonant vocals deliver cryptic and socially conscious lyrics, critiquing the silk industry and its impact on silkworms, which adds a unique, avant-garde edge to the track.

The B-side of The Human League's "Being Boiled" single is "Circus of Death." This track complements the A-side with its dark, atmospheric synth work and haunting vocals. It tells a dystopian narrative, featuring eerie melodies and introspective lyrics, further showcasing the band's innovative approach to electronic music and thematic storytelling.

"Being Boiled" received critical acclaim for its innovative sound and is considered a landmark in the development of electronic music. It helped to establish The Human League as a key figure in the genre and paved the way for future synth-pop acts. Despite its modest commercial success at the time, the song has since gained a cult following and is recognized as an influential piece in the evolution of electronic music. Due to its enduring popularity, "Being Boiled" has been reissued multiple times, with notable versions appearing in 1980 and 1982. It has also been remixed and covered by various artists, further cementing its status as a classic in the genre.

Contemporary reviews praised the single for its originality and daring sound. It was described as "disturbing, compelling, and utterly ahead of its time," highlighting The Human League's willingness to push musical boundaries.

"Being Boiled" is not only significant for its musical innovation but also for its thematic content, which brought attention to animal rights issues in an era when such topics were rarely addressed in popular music.

As the debut single from The Human League, "Being Boiled" stands as a testament to the band's pioneering spirit and lasting influence on the electronic music landscape. Its unique sound and thought-provoking lyrics continue to resonate with listeners and inspire new generations of musicians.

Key Personnel:

• Philip Oakey: Vocals

• Martyn Ware: Synthesizers

• Ian Craig Marsh: Synthesizers

DISCOGS

"Computer Love" (or "Computerliebe" in German) was released on 29 June 1981 as a single of the studio album Computer World, which was released that same year. The song, released on a double A-sided single along with "The Model", went on to become number one in the UK Singles Chart and reached the 13th position in the U.S.Hot Dance Club Play Billboard.

Besides the shorter original 7” single version, the original 12” version of "Computer Love" is a different version than the one originally found on the 1981 Computer World album.

The song was re-arranged and re-recorded for the band's 1991 studio album The Mix.

The melody of "Computer Love" was used in 2005 by Coldplay for their single "Talk". Apparently, Coldplay singer Chris Martin asked Kraftwerk for approval prior to its release.

Computer Love (Lyrics)

Another lonely night, lonely night
Stare at the TV screen, the TV screen
I don't know what to do, what to do
I need a rendezvous, rendezvous
I call this number, call this number
For a data date, data date
I don't know what to do, what to do
I need a rendezvous, rendezvous

Computer love
Computer love
Computer love
Computer love

Songwriters: Karl Bartos / Ralf Hütter / Emil Schult

Computer Love (1981 - 12")

A. Computer Love 7:20
B. The Model 3:37

Computer Love (1981 - 7")

A. Computer Love 3:45
B. The Model 3:37

DISCOGS

On this day, June 27, 1981, now 44 ago, the Irish post-punk band Virgin Prunes released their evocative 7" single "Moments and Mine (Despite Straight Lines)". This seminal release stands as a testament to the band’s avant-garde approach and their significant influence in the post-punk and gothic rock scenes of the early 1980s.

Virgin Prunes, formed in 1977 in Dublin, were renowned for their theatrical performances and boundary-pushing music. The band consisted of members Gavin Friday, Guggi, Dave-id Busaras, Dik Evans, Strongman, and Pod. Their music often explored themes of chaos, existentialism, and the human condition, blending abrasive sounds with performance art to create a unique and immersive experience.

The single "Moments and Mine/In the Greylight/War" encapsulates the band’s experimental essence. The three tracks each offer a distinct sonic and emotional experience, reflective of the band's ability to traverse a wide array of moods and styles. On the A-side, the title track "Moments and Mine", is a hauntingly beautiful piece that showcases the band’s ability to blend melodic elements with dark, brooding undertones. Gavin Friday’s emotive vocals, combined with the intricate guitar work and atmospheric production, create a song that is both melancholic and mesmerizing. On the B-side we discover "In the Greylight", whereon the Virgin Prunes dive deeper into their gothic influences, producing a track that is both eerie and ethereal. The use of sparse instrumentation and haunting soundscapes evokes a sense of otherworldliness, making it a standout piece in their discography. The second B-side track and thrird track on this 7" is "War", a stark and powerful commentary on conflict and human strife. With its aggressive rhythms and confrontational lyrics, the song captures the band’s ability to convey intense emotions and social commentary through their music. The track’s raw energy and urgency reflect the chaotic nature of its subject matter.

The release of "Moments and Mine (Despite Straight Lines)" came at a time when the post-punk movement was gaining momentum, with bands experimenting with new sounds and challenging the norms of popular music. Virgin Prunes were at the forefront of this movement, and this single is a prime example of their innovative spirit.

The impact of Virgin Prunes' work extends beyond their immediate discography. They were pioneers in the incorporation of performance art into music, influencing countless bands and artists who followed. Their willingness to explore dark and complex themes set them apart from many of their contemporaries, cementing their place in the annals of alternative music history.

Today, we celebrate the release of "Moments and Mine (Despite Straight Lines)" recognizing it as a crucial moment in the evolution of post-punk music. The Virgin Prunes’ fearless exploration of sound and performance continues to inspire and challenge, making their work as relevant today as it was over four decades ago.

As we look back on this release, we are reminded of the power of music to push boundaries and provoke thought. "Moments and Mine (Despite Straight Lines)" is more than just a single; it is a piece of art that encapsulates the spirit of innovation and the quest for deeper understanding that defines the best of post-punk music.

UK 7" single (RT 072)

1. "Moments and Mine (Despite Straight Lines)" – 4:27
2. "In the Greylight" – 2:50
3. "War" – 2:06

DISCOGS