On 28 March 2005 Nine Inch Nails released ‘The Hand That Feeds’ as the lead single from their fourth studio album, With Teeth (2005). It is the highest charting song by Nine Inch Nails on all charts except for U.S. Modern Rock Tracks, where it stayed at number one for five weeks, because the single that followed, "Only", stayed at number one for two more weeks (non-consecutively).

It is, to date, Nine Inch Nails' only single to hit the top 10 of the UK Singles Chart, as well as their highest-charting single on the U.S. Mainstream Rock Tracks chart, peaking at number two.

NIN was due to play this song at the 2005 MTV Movie Awards, but dropped out due to conflicts between Trent Reznor and MTV concerning the band's plan to incorporate an image of George W. Bush into the performance. An announcement made by Trent Reznor on the NIN website on 26 May stated:

"Nine Inch Nails will not be performing at the MTV Movie Awards as previously announced. We were set to perform 'The Hand That Feeds' with an unmolested, straightforward image of George W. Bush as the backdrop. Apparently, the image of our president is as offensive to MTV as it is to me. See you on tour this fall when we return to play in America."

The following day, MTV stated:

"While we respect Nine Inch Nails' point of view, we were uncomfortable with their performance being built around a partisan political statement. When we discussed our discomfort with the band, their choice was to unfortunately pull out of the Movie Awards."

The song was nominated for Best Hard Rock Performance for the 48th Annual Grammy Awards in 2006.

The Hand That Feeds (Lyrics)

You're keeping in step
In the line
Got your chin held high and you feel just fine
'cause you do
What you're told
But inside your heart it is black and it's hollow and it's cold
Just how deep do you believe?
Will you bite the hand that feeds?
Will you chew until it bleeds?
Can you get up off your knees?
Are you brave enough to see?
Do you wanna change it?
What if this whole crusade's a charade
And behind it all there's a price to be paid
For the blood on which we dine
Justified in the name of the holy and the divine
Just how deep do you believe?
Will you bite the hand that feeds?
Will you chew until it bleeds?
Can you get up off your knees?
Are you brave enough to see?
Do you wanna change it?
So naive
I keep holding on to what I wanna believe
I can see
But I keep holding on and on and on and on

Will you bite the hand that feeds you?
Will you stay down on your knees?
Will you bite the hand that feeds you?
Will you stay down on your knees?
Will you bite the hand that feeds you?
Will you stay down on your knees?
Will you bite the hand that feeds you?
Will you stay down on your knees?
Will you bite the hand that feeds you?
Will you stay down on your knees?
Will you bite the hand that feeds you?
Will you stay down on your knees?
Will you bite the hand that feeds you?
Will you stay down on your knees?
Will you bite the hand that feeds you?
Will you stay down on your knees?

DISCOGS

This day 24 March 1992, 34 years ago, saw the release of Last Rights, an album that not only further solidified Skinny Puppy’s place at the forefront of industrial music but also marked a critical moment of transition for the band. Over three decades later, the record remains a sonic and emotional monolith, an experience as harrowing as it is transcendent. In remembering Last Rights, we revisit its nightmarish soundscapes, its historical significance, and its lasting impact on the industrial genre and beyond.

At the time of its release, Last Rights was a culmination of tension—both within the band and in the creative process. Skinny Puppy, known for their unflinching exploration of horror, dystopia, and addiction, created an album that reflected the chaos surrounding them. Vocalist Nivek Ogre’s struggles with addiction and inner turmoil were imprinted deeply into the fabric of the music, while cEvin Key’s masterful sonic manipulation and Dwayne Goettel’s eerie, layered synth work created a terrifying, immersive experience. The album was recorded during a time of great distress for the band, and that turbulence seeps into every note.

Musically, Last Rights was one of the most sonically challenging and ambitious works in Skinny Puppy’s catalog. From the opening notes of “Love in Vein” to the shattering climax of “Download,” the album is a relentless journey through distortion, broken rhythms, and tortured vocals. Tracks like “Killing Game” introduced haunting melodies amid the destruction, proving that beauty and brutality could coexist within the same breath. The infamous closing track, “Download,” was a nightmarish descent into chaos, a collage of manipulated voices, erratic beats, and decaying soundscapes that left the listener in an altered state.

Beyond its sonic innovation, Last Rights was prophetic in many ways. The album’s themes—alienation, addiction, technological paranoia—have only grown more relevant with time. It was also a precursor to the growing influence of electronic manipulation in industrial and electronic music. The experimental techniques used in its production, such as heavy sample layering and extreme sound processing, laid the groundwork for countless artists in the electronic and experimental music scenes. In retrospect, one can hear echoes of Last Rights in the works of artists from Nine Inch Nails to modern-day noise and glitch musicians.

Despite its brilliance, Last Rights was also a swan song for Skinny Puppy in their original form. The tensions that built during its creation ultimately led to the band’s dissolution, and they would not release another album together until The Process in 1996. Dwayne Goettel’s tragic passing in 1995 made Last Rights the last fully realized album of the original era, further solidifying its place as a haunting and poignant moment in the band’s history.

Today, 34 years after its release, Last Rights remains a darkly shining beacon in the industrial landscape. It stands as a testament to Skinny Puppy’s willingness to push sonic boundaries, confront the darkest aspects of human existence, and create something truly unforgettable. Whether a longtime fan or a newcomer to its oppressive yet mesmerizing world, revisiting Last Rights is an experience that remains as powerful as ever—an eternal echo from the depths of industrial’s most daring minds.

DISCOGS

Today 47 ago Siouxsie And The Banshees released ‘The Staircase (Mystery)’, it was the band's second single and was released as a stand-alone single on 23 March 1979 (Polydor Records). It also became the band’s second top 40 entry, peaking at number 24 on the UK Singles Chart.

B-side features a cover-version of the 1973 T. Rex song ‘20th Century Boy’.

The song was later added to the singles compilation album Once Upon a Time: The Singles. Also the remastered 2005 version of their debut album The Scream, contained this single as bonus material.

The acknowledged British music Melody Maker hailed the single upon its release and wrote: "The Banshees have been able to come up with a couple of slices of excellent music for their singles. 'The Staircase' hasn't anywhere near the commercial potential or immediacy of 'Hong Kong Garden', but nevertheless it's a great song. A sinister almost mesmerizing tune, dominated by Siouxsie's unorthodox vocals – it grows and matures with each play.

The Staircase (Mystery) (Tracklist)

A. The Staircase (Mystery) 3:06
B. 20th Century Boy 1:57

DISCOGS

Siouxsie and the Banshees (1979 line-up)

Siouxsie Sioux – vocals
Steven Severin – bass guitar
John McKay – guitar
Kenny Morris – drums

The Staircase (Mystery) (Lyrics)

Stare case lying face up
Stare cat on a mat
Looking down
Slide down the banister
Take the escalator
Slide down the banister
Or try the elevator
I was standing on the landing
Now I'm standing in the hall
Looking up
Won't someone assist me
Solve this mystery
Somebody assist me
Arrange the symmetry
Muffled footsteps on the carpet
Spiral steps start spinning
Around me
Which floor which ceiling
You're off balance
Which floor which ceiling
It's all upside down
Stare case lying face up
Stare cat on a mat
Looking down...

Songwriters: Sioux / John Gareth Mckay / Kenneth Ian Morris / Steven Severin

On this day 6 years ago, March 22, 2020, the world lost Gabi Delgado, an influential musician, lyricist, and pioneer of electronic music. As the frontman of Deutsch Amerikanische Freundschaft (DAF), Delgado played a crucial role in shaping the sound and aesthetic of electronic body music (EBM), industrial, and synth-punk, leaving behind a legacy that continues to inspire generations of artists.

Born Gabriel Delgado-López on April 18, 1958, in Córdoba, Spain, he moved to Germany as a child, where he became immersed in the punk and electronic music scenes of the late 1970s. It was in Düsseldorf that he met Robert Görl, with whom he would form DAF. Together, they created a raw, minimalist sound that fused Kraftwerk-inspired electronics with provocative, commanding vocals and relentless rhythms. Their music became the foundation of EBM, influencing acts like Nitzer Ebb, Front 242, and countless others.

DAF’s breakthrough came with albums like Alles ist gut (1981), Gold und Liebe (1981), and Für immer (1982), which introduced anthems such as Der Mussolini and Alle gegen alle. Delgado’s aggressive, yet often playful lyrics, delivered with his signature intensity, cemented his reputation as one of the most charismatic frontmen in alternative electronic music.

After DAF’s initial split, Delgado pursued solo projects and collaborations, experimenting with house, techno, and other electronic genres. His 1986 solo album Mistress showcased his ability to adapt and evolve beyond DAF’s signature style. Later, he continued working with Görl on DAF reunions, proving that their impact had not waned with time.

Beyond music, Delgado was an uncompromising artist, a provocateur who pushed boundaries and defied conventions. His influence on electronic music remains undeniable, and his legacy endures in the beats and rhythms of today’s underground electronic and industrial scenes.

As we remember Gabi Delgado on this day, we celebrate his fearless artistry and the lasting imprint he left on music. His voice, vision, and energy will forever echo through the speakers of those who continue to be moved by his work.

DISCOGS

The voice of the late Scott Walker (born Noel Scott Engel; January 9, 1943 – March 22, 2019) is the sound of the sixties, everything that is free, soulful and beautifully constructed. When he sings the world stops turning and you are transported back to that decade. Visions of Mini Coopers, Mini Skirts, Piccadilly Circus and James Bond Films flood the senses.

Those of you unfamiliar with the sound of Scott Walker can try and imagine that it is the place in the road where Jim Morrison and Brian Wilson meet, think of the song 'God Only Knows' sung by The Doors instead of the Beach Boys, a perfect pop song sung with a dark intensity.
Indeed Walkers influence goes beyond that of a conventional artist, he has been cited as highly influential on songwriters such as-Leonard Cohen, David Bowie, Steve Wilson, Thom Yorke, Jarvis Cocker, Neil Hannon and Julian Cope to name just a few.

For a man who was expected to follow the same path as Andy Williams or Frank Sinatra, falling into the superficial mainstream pop of other such crooners, he diverged his creepy sense of orchestral arrangements and focused his career on creating new paths instead of following ones already laid out.
When it comes to deconstructing Walker you find he is one of those rarities in music whose main instrument is his voice, the focus of every track, capturing the intense mood perfectly. With lush strings, drums, horn sections and guitars are always present but harder to reach as the voice is the vehicle the song rides on, everything else is there to promote it.

His split from The Walker Brothers, a bold step as they were at the top of their game, may have been down to him feeling like he was not doing want he had envisioned. The simple pressures of coming up with songs for The Walker Brothers had stunted his own personal creativity ,at one time it is said they had a larger fan base than The Beatles. In September of 1967 ,a little under six months since the last Walker Brothers album,'Images', Scott released his first solo album simply titled 'Scott'.

A critical and commercial success,reaching as high as no number-three on the UK charts, still on the heels of the Walker Brothers success although it would be the following year before it would see a Stateside release under the title ‘The Loner'. The albums varied material has and can be split into three sections, broadway hits, Walkers own compositions and covers of the infamous Belgian singer-songwriter Jacques Brel and here we have the real triumph for Walker.
Brel, who only recorded songs in his own native language, where as Walker was able to acquire the English translation songs before anyone else.
On Walkers following two albums he included another six songs collectively by Brel, always citing him as one of the greatest songwriters on the planet.

The closing Brel penned track on 'Scott' called 'Amsterdam' was recorded and released by David Bowie during his Ziggy period,it is at this point you understand the full influence and impact of this fearless singer,as he both stirred the fearless musical adventures in so many others and gave them a focal point on which to model themselves on,Walker may not have been the biggest selling male solo artist of that decade but perhaps he was the most important.

DISCOGS

[Kevin Burke]