Today it is exactly 37 years since the Belgian Goth-fathers of the EBM (Electronic Body Music) released their fourth studio album Front By Front (PIAS / 28.10.1988). An album that came only one year after Official Version (1987) and with which these gentlemen managed to refine the EBM recipe almost to perfection. Front 242 was clearly on the roll and Front By Front contained, just as its predecessor, a lot of dance floor fillers and also classic tracks, like Until Death (Us Do Part), Circling Overland, Im Rhythmus Bleiben, Welcome to Paradise. And of course maybe one of their most famous and successful singles / songs until this day, Headhunter. Front By Front is therefore considered one of the best Electro / Industrial albums ever made, not only by fans but also by critics around the world. Headhunter's remarkable video, filmed and directed by the well-known Dutch director / home photographer of Depeche Mode, U2 and Joy Division, Anton Corbijn, received heavy rotation on MTV and other music channels of that time. Due to the remarkable presence of eggs in this video clip, the song soon acquired the nickname 'Egg Hunter'. Despite these seemingly successful releases, Front 242’s home label and distribution partner Red Rhino Europe went bankrupt the same year and was taken over by PIAS (Play It again Sam). After the release of Front By Front, it would be a 3 year long wait for the fans until the follow-up album Tyranny> For was released. In 1992, the Front By Front album was remastered and was put in a new jacket for the re-release on the American major label Sony / Epic.
On this day, exactly 36 years ago, Nitzer Ebb released ‘Control I’m Here’ (MUTE71). It was the first single taken from their second and upcoming studio album ‘Belief’ (STUMM 61- release date: 09.01.1989).
It reached position 100 in the UK Single Chart and position 14 the US Dance chart.
Control I’m Here (CD) - Tracklist
Control Im Here (Zero Option Mix)
Control Im Here (Instrumental Club Mix)
K.I.A.
Control Im Here (Hardcore Mix)
Control i'm Here - Lyrics
we close our eyes
close them in your dreams
close them in your home
i'm here to stay
i won't go away
you don't need me i'll slip away
you can there me i'm not to say
you'll hopin that i'll buy you
i'll slip into your open mouth
shut the door
control i'm here
Songwriters: McCarthy / Halford
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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”.
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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.
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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
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Dave Ball (1959–2025): Synthpop Visionary and One Half of Soft Cell Has Died
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.
Dave Ball (1959–2025): Synthpop-visionair en helft van Soft Cell overleden
De elektronische muziekscene verliest een van haar sleutelfiguren: Dave Ball, klanktovenaar, producer en helft van het legendarische duo Soft Cell, is op 22 oktober 2025 overleden. Hij werd 66 jaar.
Ball, die “vreedzaam in zijn slaap” overleed in zijn Londense woning, had de laatste jaren af te rekenen met ernstige gezondheidsproblemen. Toch bleef hij tot het einde bezig met muziek – een levenslange drijfveer die hem van de undergroundclubs van Leeds naar de wereldwijde hitlijsten bracht.
Samen met Marc Almond vormde Ball eind jaren zeventig Soft Cell, een project dat de ruwe energie van de punk koppelde aan de kilte en romantiek van de synthesizer. Hun versie van “Tainted Love” katapulteerde hen in 1981 naar de top van de hitparades en werd een van de meest herkenbare synthpopklassiekers aller tijden.
Ball was de architect achter die klanken: minimalistisch maar krachtig, emotioneel maar afstandelijk — het geluid van neon, nacht en vervreemding. Na de eerste breuk van Soft Cell richtte hij samen met Richard Norris The Grid op, waarmee hij begin jaren negentig opnieuw succes kende dankzij tracks als “Swamp Thing”. Daarnaast werkte hij als producer en remixer voor artiesten als Kylie Minogue, en bleef hij actief in talloze zijprojecten.
Een minder bekend, maar bijzonder invloedrijk moment in zijn carrière was zijn samenwerking met Strikt Tempo. Hun 12-inch release, met zijn koele baslijnen en hypnotische ritmes, groeide uit tot een cultklassieker in de underground, een plaat die nog steeds opduikt in dj-sets van liefhebbers van vroege elektro en minimal wave.
In de laatste jaren herenigde Ball zich opnieuw met Almond. Samen werkten ze aan Danceteria, het nieuwe Soft Cell-album dat nu als een muzikaal testament voelt.
Marc Almond schreef op sociale media: “He was a wonderfully brilliant musical genius… I wouldn’t be where I am without you.”
Dave Ball laat een onuitwisbare erfenis na. Zijn klanken — strak, donker en onmiskenbaar menselijk — blijven nagalmen in elke synthlijn die sindsdien werd gespeeld.
The Ignition Of Irish Punk | 48 years ago, Radiators From Space released their debut album 'TV Tube Heart'
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”.
[KB]
