Against the capitulation of art, curiosity, equality, solidarity, mischief, diversity, wonder, empathy, sympathy, nonconformism, spontaneity, civil society, utopia, doubt, dreams, freedom, passion, revolt and critical thinking...

Slovenian electronic music pioneers and video art trailblazers Borghesia return with the new full-length album ‘Proti Kapitulaciji’ (‘Against Capitulation’) based on the timeless Pan-European poetry of Slovenian visionary Srečko Kosovel (1904-1926). During the eighties, the duo formed by AldoIvančič and Dario Seraval contributed to the blossoming of the European electronic body musicscene. Their releases for the cult indie label PIAS are considered as one of the heights of dark electronic sounds of the period. The band went on a hiatus just before the new millennium. A new Borghesia was formed and its membership expanded in 2009. Their comeback album ‘And Man Created God’(Metropolis Records, 2014) opted for a more orchestrated sound that crossed genre boundaries. A similar mindset governed the creation of the new LP.

‘Proti Kapitulaciji’ fuses erratic new wave and haunting industrial sounds with their trademark morbidly sexy ambience. The main novelty is a newfound soft spot for bowiesque arrangements. As the free-floating opener “Odprite muzeje” sets the pace, the air is permeated with fear of unrestrained nationalism. While primordial and rough, songs like “Kons” and “Moj črni tintnik” boast with their signature libidinal grooves. On tracks like “Destrukcije” or “Evropa umira”, the band’s experimental tendencies break loose, culminating in cinematic synth-driven soundtracks for the dying Europe. There is also the club-ready “Jaz protestiram”, an off-kilter industrial stomper worthy of Helena Hauff’s DJ set. The drowsy, hypnotic and chilling tones from singers Dario Seraval, Irena Tomažin Zagoričnik, Jelena Rusjan and Ivo Poderžaj provide the perfect foil for the groovy and paranoid instrumentals by guitarists Andraž Mazi and Sašo Benko. This multi-layered sonic collage of rhythm machines, samples, field and instrumental recordings, Stravinsky, volksmusik, cut-up sonic fragments and vocals, inspired by Luigi Russolo’s The Art of Noises (1913), was attentively crystalized and put together by Aldo Ivančič.

The album revolves around the striking poetic language of Srečko Kosovel. During his short but fruitful life as an adherent of unrestricted technological change, “the Nikola Tesla of modernist poetry” grew into an ardent critic of European politics. Years before Burroughs and Bowie, he invented the cut-up technique and wrote a poem called “Heroes”. His verbal explosives calling against sterile politics and petit bourgeois provinciality are now resurrected by Borghesia.

The album was recorded, produced, mixed and mastered by Aldo Ivančič. The cover comes from the talented artist Matej Stupica. Live visuals are provided by Boštjan Čadež and Lina Rica. “Proti kapitulaciji” will be released on October 23rd, 2018 on Moonlee Records in digital, CD and double 12” formats.

While in 2018 young producers opt for a rehash of the original EBM / industrial tropes, Borghesia aim for fresh explorations in sound. The result is an uncanny sonic examination of the European heart. It sounds murky and psychedelic, evoking a macabre feeling of emergency – as any urgent call against capitulation does. Borghesia loudly declares: It’s high time we put Europe on the shrink’s couch!

Tracklist:
1. Odprite muzeje 2. Kons
3. Na Piramidi
4. Ljubljana spi
5. Razočaranje
6. Jaz protestiram 7. Evropa umira 8. Razočaranja I 9. Moj črni tintnik10. Destrukcije 11. Rodovnik
12. Blizu polnoči

Borghesia will present their new album on two promotional concerts brought to you by Moonlee Records, Layerjeva hiša and Dvocikel:

30.10.2018 (Tuesday) at 21h – Kranj, Prešernovo gledališče Kranj
FB event // tickets

02.11.2018 (Friday) at 20h – Ljubljana, Stara mestna elektrarna
FB event // tickets

“Autobahn” was released to an unsuspecting public in November 1974, it is day zero of electro, minimalist, ambient and synth-pop, the very moment which inspired the synthesizer-experimentations of the late-1970s and the new-wave sound which dominated the 1980s.

Not the first ambient-electronic style release, not even by Kraftwerk but it was the first successful one. The album even contained a surprise hit, an edited down version of the title track broke the top-twenty in the U.S and U.K in May 1975, this release marked the arrival of the most influential musical-force since The Beatles.

An album based on the concrete infrastructure of Germany, the Autobahn, Kraftwerk take us on a journey, from entering the automobile to speeding through the landscape to tuning the radio and all the time the monotonous electronic-beats mirror the repetition of the journey.
With treatments of vocoder-sounds and organic voices the only natural comparison to vocals appears here as the remainder of tracks are entirely instrumental, however, do not be mistaken for thinking this is a completely electronic affair as instruments such as flutes, violins and guitar appear throughout mainly contributed by Klaus Röder, where as Ralf Hütter and Florian Schneider structured the electronic development of the album.

This album is anything but aged, there is no deterioration in quality or style unlike some of the bands which gained inspiration from “Autobahn” and Kraftwerk as a unit.

From Bowie to Blondie, through to New Order and Siouxsie And The Banshees they all took direction from this point and into the future released by Kraftwerk.


Ralf Hütter – vocals, electronics
Florian Schneider – vocals, electronics
Klaus Röder – violin, guitar
Wolfgang Flür – percussion


Original 1974 Track Listing;

1.Autobahn
2.Kometenmelodie 1 ('Comet Melody 1')
3.Kometenmelodie 2('Comet Melody 2') 4.Mitternacht ('Midnight')

5.Morgenspaziergang ('Morning Walk')

VARSOVIE is a dark-rock / post-punk band created in 2005 in Grenoble (France) by Arnault Destal (lyrics, drums, music) et Grégory Catherina (vocals, guitars, music).

KILLING ANNA is taken from the third album of the band, COUPS ET BLESSURES, out in May 2018 on Sundust Records and recorded at Drudenhaus studio, Bretagne.

THE VIDEO was done in the spirit of the Film Noir by Guilherme Henriques in Porto (Portugal) with the actress Teresa Queirós.

In KILLING ANNA, the notions of threat and ever growing tension are constant. A woman signs with a name that reminds us of Anna Karenine from Tolstoy - a character who threw herself under a train. Either fictional double, fantasy or projection. Someone is ready to do something irreversible. Whatever the motion may be, the vertigo heightens, as if the night was decisive. The song incarnates such a night, when life seems to hang only by a thread, that can break at any moment.

Facebook : www.facebook.com/varsovie.propaganda

Bandcamp : www.varsovie.bandcamp.com

Movement is the debut album by New Order, released on 13 November 1981 by Factory Records. The album was produced by Martin Hannett who also produced the previous Joy Division albums and releases. At the time of its release, the album was not particularly well-received by critics or audiences, only peaking at number 30 on the UK Albums Chart. However, retrospective critical reception has been very positive.

After the suicide of Joy Division's singer Ian Curtis in May 1980, and the subsequent shock for those surrounding him, remaining members Bernard Sumner, Peter Hook and Stephen Morris elected to carry on, albeit under a new name – New Order. With the exception of two songs, "Ceremony" (first played live at Joy Division's very last gig, a bit more than two weeks before Curtis's death) and "In a Lonely Place" (unreleased, but demoed in the studio), all the material played would be new.

A couple of songs on Movement stem from the initial songwriting session the band undertook in the summer of 1980.

Bernard Sumner took the main vocalist role with Peter Hook as back-up though the latter sang lead on "Dreams Never End" and "Doubts Even Here”.

Musically the album situated in between Joy Division's post-punk sound and the synth-pop style that would happen to define New Order and influence pop music for decades".[10]

In 2008 and 2015 the album was remastered and released in different formats (Digital/CD/12”).

References to Ian Curtis appear on the songs "ICB" (rumored to be an acronym for 'Ian Curtis Buried', but confirmed by Peter Hook in a 2013 interview) and "The Him".

The album cover was designed by Peter Saville and is based on a poster by the Italian Futurist Fortunato Depero.

The shape created by the top three lines is an 'F' (lying on its back), which refers to Factory Records/Factory Communications Limited and the bottom two lines create an 'L' (lying on its front), the Roman numeral 50, the original catalogue was FACT 50.

Movement - Tracklist

DISCOGS

The Scream is the debut album by Siouxsie and the Banshees. It was an almost instant commercial success, peaking at No. 12 on the UK Albums Chart and was recorded in only one week and mixed in three during August 1978. The album was released on 13 November 1978 by Polydor. Before the album's release, the band had developed a strong reputation as a live act, and had achieved a Top 10 UK single with "Hong Kong Garden”, a track which did not appear on the original album, but was added not much later to most others issues of Scream.

Upon release, The Scream was widely acclaimed by critics. It was also a commercial success, peaking at No. 12 in the UK Albums Chart. The album is regarded as a landmark of post-punk.

Late 1977 and early 1978, Siouxsie and the Banshees received major press coverage but failed to secure a recording deal. A fan undertook a graffiti campaign in London, spraying the walls of the major record companies with the words "Sign the Banshees: do it now".[2] Polydor finally signed them in June.

J. G. Ballard and William Burroughs provided the reference points for the lyrics of The Scream.

Since its release, The Scream has received a number of accolades from the music press. NME rated it at No. 57 in their "Writers All Time 100 Albums" list in 1985. Uncut magazine placed it at No. 43 in their list of the 100 greatest debut albums. It was featured in the book 1001 Albums You Must Hear Before You Die.

The Scream placed the group among the pioneers of post-punk, as Robert Smith of the Cure said:

"When The Scream came out, I remember it was much slower than everybody thought. It was like the forerunner of the Joy Division sound. It was just big-sounding."

Joy Division's Peter Hook, who saw the band in concert in Manchester in 1977, said about The Scream: "Siouxsie And The Banshees were one of our big influences, The Banshees first LP was one of my favourite ever records, the way the guitarist and the drummer played was a really unusual way of playing."

The Scream had a strong impact on other musicians. Massive Attack covered and sampled "Metal Postcard (Mittageisen)" on their song "Superpredators (Metal Postcard)" in 1997.

Sceam - Tracklist

DISCOGS