"Echogenetic," released 11 years ago, on July 9, 2013, marks a significant evolution in Front Line Assembly's sound, blending their industrial roots with modern electronic elements. This album, produced by Bill Leeb and Jeremy Inkel, represents a departure from the guitar-heavy approach of previous works, focusing instead on intricate synths, pulsating beats, and cutting-edge production techniques.

Tracks like "Killing Grounds" and "Exhale" showcase the band's ability to fuse aggressive rhythms with melodic hooks, while "Blood" and "Deadened" highlight a darker, more atmospheric side. The use of contemporary electronic influences, including dubstep and electro-industrial, provides a fresh, dynamic listening experience.

As opposed to the band's earlier output, guitars were absent from Echogenetic. Intravenous Magazine commented on this, saying "Instead the band assimilate the sound into their arsenal so effectively that it fits quite comfortable and even manages to mask the pronounced lack of guitars on the album."

"Echogenetic" received critical acclaim for its innovation and cohesive sound, solidifying Front Line Assembly's position as pioneers in the industrial genre. The album's meticulous production and forward-thinking approach have left a lasting impact, making it a standout release in the band's extensive discography.

The album received in general a 9/10 rating from the specialized music press, reached the 19th position in the US Top Dance/Electronic albums Billboard and even a first place in the German Alternative Charts (DAC).

Front Line Assembly - Echogenetic (MET 885/Mind 209)

01. Resonance 2:46
02. Leveled 5:17
03. Killing Grounds 5:58
04. Blood 5:25
05. Deadened 5:48
06. Ghosts 4:43
07. Echogenetic 4:35
08. Exhale 5:27
09. Exo 7:09
10. Prototype 5:36
11. Heartquake 5:42

DISCOGS

The Butthole Surfers' debut EP, self-titled but often referred to as "Brown Reason to Live," was released 41 years ago, in July 1983, and stands as a significant milestone in the alternative and punk rock genres. This EP marked the beginning of the band's influential and chaotic journey, characterized by their raw, experimental sound and provocative, often surreal, lyrics. The band's lineup at the time included Gibby Haynes on vocals, Paul Leary on guitar, and King Coffey on drums, with contributions from Teresa Nervosa.

Comprised of seven tracks, the EP offers a glimpse into the band's unique style, which blends abrasive guitars, psychedelic elements, and an irreverent sense of humor. Opening with "The Shah Sleeps in Lee Harvey's Grave," the EP immediately sets a tone of anarchic energy and satirical commentary. This track, like many others on the EP, showcases the band's penchant for distortion and chaotic soundscapes, a hallmark that would come to define their music.

Other notable tracks include "Hey," "Something," and "Butthole Surfer," each contributing to the EP's overall sense of unpredictability and defiance of mainstream music norms. "Hey" features a relentless, driving rhythm paired with Haynes' distorted vocals, creating an unsettling yet captivating listening experience. "Something" takes a slightly more melodic approach but maintains the band's characteristic edge and unconventional structure.

"Butthole Surfer," another standout track, encapsulates the band's eclectic influences and refusal to conform. Its erratic shifts in tempo and tone, along with bizarre lyrical content, highlight the band's commitment to pushing boundaries and challenging listeners' expectations. The EP closes with "Bar-B-Q Pope," a track that epitomizes the band's absurdist and subversive ethos.

"Brown Reason to Live" established the Butthole Surfers as pioneers in the underground music scene, gaining them a cult following and setting the stage for their later work. The EP's lo-fi production quality, characterized by its gritty and unpolished sound, adds to its raw appeal and authenticity. It captures a moment of creative freedom and experimentation that would influence countless other artists in the punk and alternative rock genres.

In summary, the Butthole Surfers' debut EP is a seminal work that encapsulates the band's early sound and vision. Its blend of abrasive, experimental music and provocative, often humorous lyrics set the Butthole Surfers apart from their contemporaries and solidified their place in the annals of alternative music history. This EP not only introduced the world to the Butthole Surfers' distinctive style but also laid the groundwork for their future innovations and contributions to the music world.

Buttholes Surfers - Butthole surfers (Alternative Tentacles – VIRUS 32)

A1. The Shah Sleeps In Lee Harvey's Grave

A2. Hey

A3. Something

B1. Bar-B-Q Pope

B2. Wichita Cathedral

B3. Suicide

B4. The Revenge Of Anus Presley

DISCOGS

After releasing their very first release/12" I'm Faling/ Cold Life on Wax Trax! Records in 1981, Ministry was picked up by Arista and a number of singles were issued to promote the upcoming debut album With Sympathy. One of those singles is 'I Wanted To Tell Her', and it was released as the second and preliminary single. The song features guest vocals from American singer Shay Jones. "I Wanted to Tell Her" became one of the most popular songs from With Sympathy, charting on both the US Dance and New Zealand charts.
It was released 41 years ago, in July 1983 as both 7" and 12"

7" Vinyl (US)
"I Wanted to Tell Her" (edit) – 3:55
"A Walk In the Park" – 4:58

7" Vinyl (US promo)
"I Wanted to Tell Her" (edit) – 3:55
"I Wanted to Tell Her" (mono) – 3:55

12" Maxi-single (US)
"I Wanted to Tell Her" (remix) – 6:57
"I Wanted to Tell Her" (dub) – 4:45
"Effigy" – 3:51
"Revenge" – 3:48

7" Vinyl (UK)
"I Wanted to Tell Her" (remix edit) – 3:57
"I Wanted to Tell Her" (Tongue-Tied remix) – 4:45

12" Vinyl (EU)
"I Wanted to Tell Her" (remix) – 6:57
"I Wanted to Tell Her" (Tongue-Tied remix) – 4:45

12" Maxi-single (EU)
"I Wanted to Tell Her" (remix) – 6:57
"I Wanted to Tell Her" (Tongue-Tied remix) – 4:45
"A Walk In the Park" – 4:58

Although not listed as such on the sleeves, all 12" versions (as well as the UK 7") use an alternate performance of the song that differs from the one on With Sympathy. The Tongue-Tied Mix and Dub version are the same.

I Wanted To Tell Her - Lyrics

I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her
I needed to tell her
Just like the wind you blew away your happy lover's touch
You bring the blues into my heart just like a rush
I cannot bear the way my heart has helped to keep you close
Of you my babe I cannot get enough you touch me baby
I loved you to the lines of lies you told when I asked her name
I knew the perfume in your hair just wasn't mine
Did you ever think to notice me when you wasn't home?
I noticed every time
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
Thought you noticed every time but you didn't notice a thing
I'd have to cover up my calls when the telephone would ring
I'm tired of you and the things you do and all the things you say
No more babysitting for neurotic girls today
I'm thinking that the pain I'm going through just to keep you babe
Is something that I should bear
Did you ever stop to notice me when you had nothing?
And I never cared?
Just like the wind you blew away your happy lover's touch
You bring the blues into my life just like a rush
I cannot bear the way my heart has helped to keep you close
Of you my babe I cannot get enough
You touch me baby, don't be mean to me!
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her but I stuck to my lies
I wanted to tell her till I looked in her eyes
I wanted to tell her
I needed to tell her

Songwriters: Al Jourgensen / Shay Jones

During this month, 42 years ago, "Bleed for Me", the seminal single by the American punk rock band Dead Kennedys, was released (July 1982). It was their sixth single and reached the 3rd position in the UK chartsKnown for their politically charged lyrics and aggressive sound. It was also preliminary single for their second and upcoming album Plastic Surgery Disasters which was released in November that same year.

Dead Kennedys were fronted by the acerbic Jello Biafra, with East Bay Ray on guitar, Klaus Flouride on bass, and D.H. Peligro on drums. This track, recorded during the sessions for their second studio album, Plastic Surgery Disasters, stands out for its intense critique of American foreign policy and government corruption.

The song "Bleed for Me" delivers a powerful message wrapped in the band's trademark hardcore punk style. Biafra's snarling vocal delivery is matched by Ray's sharp, piercing guitar riffs and a relentless rhythm section. The lyrics vividly portray scenes of brutality and oppression, both domestically and internationally, addressing themes such as state violence, manipulation, and the consequences of blind patriotism.

"Bleed for Me" was not just a musical release but a political statement. It exemplified the Dead Kennedys' commitment to using their music as a vehicle for social commentary. The single's B-side, "Life Sentence," further amplifies the band's critique of societal norms and the pressures to conform.

"Life Sentence," the B-side this single, critiques societal conformity and the oppressive nature of conventional life paths. Its aggressive sound and biting lyrics emphasize the band's anti-establishment stance.

Upon its release, "Bleed for Me" received critical acclaim for its raw energy and unapologetic message. It became a staple in the Dead Kennedys' live performances and remains one of their most enduring songs. The single's impact extended beyond the punk scene, influencing numerous bands and contributing to the broader discourse on political issues within music.

"Bleed for Me" also plays in the background of the Dead Kennedys' song "Kinky Sex (Makes the World Go 'Round)", in which former US president Reagan arranges World War III on the phone with Margaret Thatcher, who moans erotically at every new atrocity; this track may be a reference to the Thatchergate tape.

The Dead Kennedys, through releases like "Bleed for Me," cemented their legacy as pioneers of politically charged punk rock. Their fearless approach to addressing controversial topics continues to resonate, highlighting the enduring power of music as a tool for activism and change.

The song has also been covered by many bands, most notably Pearl Jam, substituting the more at that time-appropriate lyric "cowboy Georgie (Referring to former president George Bush)“ for "cowboy Ronnie (Reagan)”.

Bleed For Me (7" tracklist - STAT 22/ VIRUS 23)
A. Bleed For Me 3:26

B. Life Sentence 2:38

DISCOGS

On July 1st 1991, 33 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