On this day, 52 years ago, Kraftwerk released their self-titled debut studio album (1 December 1970). The album was produced by Konrad "Conny" Plank and is often refered to as 'Kraftwerk 1'.

On this album Ralf Hütter and Florian Schneider used two drummers, Andreas Hohmann and Klaus Dinger. Their drumming provides the album a rock-ish edge, making it sound quite distinctive from Hütter and Schneider's previous work. The album contains instrumentals only.

The cover design, credited to Ralf Hütter, is a curious nod to the influence of Andy Warhol and the then contemporary pop art movement, featuring a fluorescent-coloured traffic cone drawn in a Warhol-esque manner.

No material from this album has been performed in the band's live set since the Autobahn tour of 1975 and, to date, the album has not been officially reissued. The band is seemingly reluctant to consider the album a part of its canon and in later interviews, Schneider referred to the first three Kraftwerk albums as "archaeology".

In 1971 the album peaked in the German album charts at position 30.

KRAFTWERK

All tracks are written by Ralf Hütter and Florian Schneider-Esleben.

Kraftwerk (1970)

• Ralf Hütter – organ, guitar, tubon, cover design
• Florian Schneider-Esleben – flute, violin, percussion
• Andreas Hohmann – drums on "Ruckzuck" and "Stratovarius"
• Klaus Dinger – drums on "Vom Himmel hoch"

DISCOGS

Gothic/occult wave duo Raven Said has just unveiled their new EP, Chants To Dissolve.

Chants To Dissolve is about the spiritual essence that represents a certain alchemical phase of Solve (a transitional process between the Nigredo and Albedo phases in basic Alchemy).

On the abstract, the EP represents the invisible and inaudible fluttering of a butterfly's wing to the deafening roar of the inescapable wave of the coming future. Physically, it's an effort aimed at changing the composition, without an exact result in a philosophical context. This means that the future is not defined and there is only the possibility of one or another existence; a certain point of polyfurcation, a set of evolution.

With pulsing vibrations of guitar and synths transformed into elegant canvases in cold tones, Raven Said is the flexible fusion of darkwave / goth rock / post-punk; the musical expression of symbolic mysticism and psychology.

Chants To Dissolve is available NOW on CD and digital formats via Bandcamp.

www.facebook.com/RavenSaidBand

Ohio-based industrial band, Silence Embrace has just dropped their new EP, Meta Queer Dolls. Cyberpunk soundscapes for a dystopian future. That's Meta Queer Dolls.

Dead hardware, obsolete programs & formats (VHS) summarize the album's themes. Even the cover is based on dead media and video games.

Individual tracks, however, have stories of their own. "The House Awaits" is a darkwave trance track that takes inspiration from pop culture characters. The album outro, "Pandemic" is an instrumental witch-house track that starts with haunting chants, thick soundscapes and summarizes the journey taken throughout the EP."

Meta Queer Dolls is available NOW on digital platforms including Bandcamp.

www.facebook.com/SilenceEmbrace23

Today it's exactly 42 years since Siouxsie and the Banshees released 'Israel' (28.11.1980 / Polydor Records) as a stand-alone single in between the albums Kaleidoscope (1980) and Juju (1981). The track was written by the band while touring in Europe in the autumn of 1980. The band wanted to write a Christmas song to be released in time for December of that year.

It peaked at No. 41 on the UK Singles Chart and it was the band's first single to also be released on a 12-inch, although the tracks are identical on both releases.

Even though it reached No. 73 on the US National Disco Action Top 100 chart as an import, 'Israel' did not appear on a Siouxsie and the Banshees album until the release of the Once Upon a Time: The Singles compilation (1981).

In 2002 the song was remastered for the The Best of Siouxsie and the Banshees compilation CD album and in 2006 it was also featured as a bonus track on the Kaleidoscope reissue.

Israel (Track listing)

A. Israel
B. Red Over White

DISCOGS

Israel (Lyrics)

Little orphans in the snow
With nowhere to call a home
Start their singing, singing
Waiting through the summertime
To thaw your hearts in wintertime
That's why they're singing, singing
Waiting for a sign to turn blood into wine
The sweet taste in your mouth, turned bitter in its glass

Israel, in Israel
Israel, in Israel

Shattered fragments of the past
Meet in veins on the stained glass
Like the lifeline in your palm
Red and green reflects the scene
Of a long forgotten dream
There were princes and there were kings
Now hidden in disguise, cheap wrappings of lies
Keep your hearts alive with a song from inside
Even though we're all alone
We are never on our own when we're singing, singing

Home, home
There's a man who's looking in
And he smiles a toothless grin
Because he's singing, singing
See some people shine with glee
But their song is jealousy
Their hate is clanging, maddening

In Israel, will they sing Happy Noel
In Israel, in Israel
Israel, in Israel

In Israel, will they sing Happy Noel

Songwriters: Susan Ballion / Steven Severin / Peter Clarke / John McGeoch

© BMG Rights Management, Domino Publishing Company

On this day, 41 years ago, The Human League released probably one of their most iconic and commercially successful singles ‘Don't You Want Me’. It was released on 27 November 1981 as the fourth single from their third studio album Dare which was released just one month earlier. It became the Christmas number one in the UK, where it has since then sold over 1,560,000 copies, making it the 23rd-most successful single in the UK Singles Chart history.

Apparently head and voice Philip Oakey was inspired after reading a photo-story in a teen-girl's magazine. Initially they recorded and composed the song with only Oakey singing. Inspired by the film A Star Is Born Oakey decided to turn the song into a conflicting duet with one of the band's two teenage female vocalists. Susan Ann Sulley was then asked to take on the role. Until then, she and the other female vocalist, Joanne Catherall, had only been assigned backing vocals. The initial versions sounded harsher than the version that was actually released, but Virgin Records assigned producer was unhappy with them. They remixed the track, giving it a softer, and in Oakey's opinion, "poppy" sound. Oakey hated the new version and thought it would be the weakest track on Dare. In fact he disliked it so much that the track was placed as last track on the album.

The album Dare had already three of its tracks preliminary released. Each of them, ‘The Sound of the Crowd’ (April 1981), ‘Love Action (I Believe in Love)’ (July 1981), and ‘Open Your Heart’(September 1981), being relative successful singles. Virgin decided to release one more single from the album ‘Don't You Want Me. Much to the dislike of Oakey, who did not want another single to be released because he was convinced that "the public were now sick of hearing The Human League”. Oakey is also at pains to point out another misconception; “It is not a love song, but "a nasty song about sexual power politics."

Interesting tech fact, according to its creator, Roger Linn, this was the first hit song to use the LM-1 drum machine. Introduced in 1980, the LM-1 was the first programable unit that sampled real drums rather than creating them synthetically.

The promotional video, was like the song, loosely inspired on the film A Star Is Born, making Oakey, Sulley and Catherall visual icons of the early 1980s.

Don't You Want Me (Lyrics)

You were working as a waitress in a cocktail bar
When I met you
I picked you out, I shook you up
And turned you around
Turned you into someone new
Now five years later on you've got the world at your feet
Success has been so easy for you
But don't forget it's me who put you where you are now
And I can put you back down too.

Don't. Don't you want me?
You know I can't believe it when I hear that you won't see me
Don't. Don't you want me?
You know I don't believe you when you say that you don't need me

It's much too late to find
When you think you've changed your mind
You'd better change it back or we will both be sorry

Don't you want me, baby?
Don't you want me? Oh!
Don't you want me, baby?
Don't you want me? Oh!

I was working as a waitress in a cocktail bar
That much is true
But even then I knew I'd find a much better place
Either with or without you
The five years we have had have been such good at times
I still love you
But now I think it's time I lived my life on my own
I guess it's just what I must do

Don't. Don't you want me?
You know I can't believe it when I hear that you won't see me
Don't. Don't you want me?
You know I don't believe you when you say that you don't need me

It's much too late find
When you think you've changed your mind
You'd better change it back or we will both be sorry

Don't you want me, baby?
Don't you want me? Oh!
Don't you want me, baby?
Don't you want me? Oh!

Don't you want me, baby?
Don't you want me? Oh!
Don't you want me, baby?
Don't you want me? Oh!

Don't you want me, baby?
Don't you want me? Oh!
Don't you want me, baby?
Don't you want me? Oh

Don't you want me, baby?
Don't you want me? Oh!
Don't you want me, baby?
Don't you want me? Oh!

Don't You Want Me (7")

1. "Don't You Want Me" – 3:57
2. "Seconds" – 4:59

Don't You Want Me (12")

1. "Don't You Want Me" – 3:57
2. "Seconds" – 4:59
3. "Don't You Want Me (Extended Dance Mix)" – 7:30

DISCOGS