Today it’s exactly 37 years since Siouxsie & The Banshees released their single Peek-a-Boo. It was released on 18th July 1988 as the first single from the band's ninth studio album, Peepshow. Peek-a-Boo was rated "Single of the Week" in both Sounds and NME.

The song's peculiar sound is due to its experimental recording which was based on a sample. The song was built on a loop in reverse of a brass part with drums which the group previously arranged a year before for a cover of John Cale's 'Gun'. The band selected different parts of that tape when played backwards, editing them and re-recording on top of it, adding a different melody plus accordion, a one-note bass and discordant guitar. Drummer Budgie also added another beat. Once the instrumental parts were finished, Siouxsie sang her lyrics over it. The lyric track was further manipulated by Siouxsie's use of a different microphone for each line of the song. It took the band a year to arrive at this result.

Peek-a-Boo was one of Siouxsie and the Banshees' most recognizable and popular singles; it was also the group's first to chart in the U.S. Billboard Hot 100, reaching No. 53 in the week of 3rd December. The song was very popular on alternative rock radios and received heavy play on MTV. In September 1988, Billboard magazine premiered a new Modern Rock Tracks chart, which measured radio airplay on US modern rock stations; "Peek-a-Boo" was the chart's first No. 1 song. In the UK, "Peek-a-Boo" became their fifth Top 20 UK hit, peaking at number 16 in the Singles Chart.

The music video was chosen by The Chart Show to be their "Best Video of the Year" for 1988. On the Beavis & Butt-Head episode "Sperm Bank," Beavis noted while watching the video that "this is music for people who don't have any friends”.

Peek-a-Boo (CDS/7”)
a. Peek-a-Boo
b. False Face

Peek-a-Boo (CD Maxi-single)
1. Peek-A-Boo
2. Catwalk
3. Peek-A-Boo (Big Spender Mix)
4. False Face
5. Peek-A-Boo (Silver Dollar Mix)

Peek-a-Boo (Lyrics)

Creeping up the backstairs
Slinking into dark stalls
Shapeless and slumped in bath chairs
Furtive eyes peep out of holes
She has many guises
She'll do what you want her to
Playing dead and sweet submission
Cracks the whip deadpan on cue

Peek-a-boo
Peek-a-boo
Peek-a-boo
Peek-a-boo

Reeking like a pigsty
Peeling back and gagging free
Flaccid ego in your hand
Chokes on dry tears, can you understand?
She's jeering at the shadows
Sneering behind a smile
Lunge and thrust to pout and pucker
Into the face of the beguiled

Peek-a-boo
Peek-a-boo
Peek-a-boo (Golly jeepers)
Peek-a-boo (Where'd you get those peepers?)
Peek-a-boo (Peepshow, creepshow)
Peek-a-boo (Where did you get those eyes?)

Strobe lights pump and flicker
Dry lips crack out for more
"Come bite on this rag doll, baby!
That's right now hit the floor"
They're sneaking out the back door
She gets up from all fours
Rhinestone fools and silver dollars
Curdle into bitter tears

Peek-a-boo
Peek-a-boo
Peek-a-boo
Peek-a-boo
Peek-a-boo (Golly jeepers)
Peek-a-boo (Where'd you get those peepers?)
Peek-a-boo (Peepshow, creepshow)
Peek-a-boo (Where did you get those eyes?)
Peek-a-boo (Golly jeepers)
Peek-a-boo (Where'd you get those peepers?)
Peek-a-boo (Peepshow, creepshow)
Peek-a-boo (Where did you get those eyes?)
Peek-a-boo (Golly jeepers)
Peek-a-boo (Where'd you get those peepers?)
Peek-a-boo (Peepshow, creepshow)
Peek-a-boo (Where did you get those eyes?)

Where did you get those eyes?
Where did you get those eyes?

(Songwriters: N Sioux / Steven Severin / Johnny Mercer / N Budgie / Harry Warren)

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)

DISCOGS

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