"The Day the World Went Away" (HALO 13), released 25 years ago, on July 20, 1999, by Nine Inch Nails, is a significant single from their third studio album, "The Fragile." This track showcases Trent Reznor's distinctive industrial rock style, blending haunting melodies with raw, emotional intensity.

Clocking in at over four minutes, the song, which contains no drums at all, diverges from the band's earlier aggressive sound, favoring a more atmospheric and introspective approach. The lyrics, minimal yet powerful, reflect themes of loss and despair, creating a somber and reflective tone. Reznor's vocal delivery is both haunting and evocative, complementing the song's melancholic instrumental backdrop.

Musically, "The Day the World Went Away" features layers of distorted guitars, intricate electronic textures, and a compelling use of silence and dynamics. The track's unconventional structure and ambient elements exemplify Reznor's innovative approach to songwriting and production.

Accompanied by a stark, monochromatic music video directed by Reznor and Bill Yukich, the song has become a fan favorite and a testament to Nine Inch Nails' enduring influence in the industrial rock genre.

The song was the band's first top-forty hit on the US Billboard Hot 100, peaking at number 17, which remains their highest-ever position on the chart.

Formats and track listings

"The Day the World Went Away" (HALO 13) CD single

Nothing Records / Interscope Records INTDS-97026

1. "The Day the World Went Away" (single version) – 4:03

2. "Starfuckers, Inc." (long) – 5:24

3. "The Day the World Went Away (Quiet)" (remixed by Trent Reznor) – 6:20

"The Day the World Went Away" (HALO 13) - 12" single

Nothing Records / Interscope Records INT12-97026

Side A

1. "The Day the World Went Away" (single version) – 4:01

2. "The Day the World Went Away (Quiet)" – 6:20

Side B

3. "The Day the World Went Away (Porter Ricks)" – 7:04

DISCOGS

Dark electronic band, ODYSSEY MOTH has unveiled their latest EP, Shattered. Shattered is a double single release that includes songs "Angry Girl" and the song "Broken and Burned". These are from the forthcoming album from ODYSSEY MOTH due out later in 2024. "Angry Girl" is a song about the frustratio

ns and the cynical acceptance of a relationship falling apart. The driving pulse of the beat and the whining of the synths reflect the emotions that coincide with the frustration and gravitas of the unfolding negative situation.

"Broken and Burned" is a song about the pain felt from being pushed out and burned from a relationship and being blocked and not allowed to be a part of the birth of a child, divorce during pregnancy. The relationship burns down to ashes while a child like a Phoenix is born from it.

Shattered features the dark synths, driving beats, and cutting vocals. It also features the co-production, sound design, and mastering of Per-Anders Kurenbach in Bochum Germany. Shattered is available on most major digital platforms including Spotify.

www.facebook.com/odysseymoth

On July 19, 1978, 46 years ago, the Dead Kennedys made their debut performance at the Mabuhay Gardens in San Francisco, California, a venue known for nurturing punk rock talent. Formed in June of the same year, the band's lineup consisted of Jello Biafra (vocals), East Bay Ray (guitar), Klaus Flouride (bass), and Ted (drums). The Dead Kennedys quickly became known for their provocative and politically charged lyrics, as well as their high-energy performances. Their first concert at the Mabuhay Gardens set the stage for their influence in the punk rock scene, characterized by a raw, fast-paced sound and a rebellious attitude. This initial performance was a pivotal moment, marking the beginning of a career that would see the Dead Kennedys become one of the most significant and controversial punk bands of their time. Their music, often laced with satirical commentary on social and political issues, resonated with a generation disillusioned by mainstream culture. The Mabuhay Gardens show established the Dead Kennedys as a formidable force in the punk movement.

Partial setlist retrieved from the Chan 25 weekly Target Video Show footage

Forward To Death
I Kill Children
Kidnap
III In The Head

Today, exactly 44 years ago, Joy Division released their second and final studio album, Closer. It was released on 18 July 1980 on the renowned UK label Factory Records exactly two months after the tragic suicide of lead singer Ian Curtis (18 May 1980). Today, Closer is still considered as one of the major releases of the New-Wave and Post-Punk era.

The songs on Closer were drawn from two distinct periods. The earlier guitar-driven compositions like Atrocity Exhibition, A Means to an End, Colony, Passover and 24 Hours were written during the latter half of 1979. The other songs like Isolation, Decades, The Eternal and Heart and Soul were written in early 1980 and included more prominent use of electronics and synthesizers.

Regarding the album's lyrical content, Bernard Sumner recollected: "We'd go to rehearsals and sit around and talk about really banal things. We'd do that until we couldn't talk about banal things any more, then we'd pick up our instruments and record into a little cassette player. We didn't talk about the music or the lyrics very much. We never analyzed it”. Bernard also remembers Ian Curtis saying he was feeling strange because “he felt like all his words were writing themselves. He also said that he had this terrible claustrophobic feeling that he was in a whirlpool and being pulled down, drowning."

Closer was recorded between 18–30 March 1980 at Britannia Row Studios in London. It was produced by Martin Hannett. His production has been highly praised by the music press. However, as with their debut album, both Hook and Sumner were unhappy with Hannett's work. Peter Hook later complained that the track "Atrocity Exhibition" was mixed on one of his days off and when he heard the final product was disappointed that the abrasiveness of his guitar part had been laden with effects and toned down. He wrote; "I was like, head in hands, oh fucking hell, it's happening again. Unknown Pleasures number two... Martin [Hannett] had melted the guitar with his Marshall Time Waster. Made it sound like somebody strangling a cat, and to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned around and told me to fuck off."

The album cover was designed by Martyn Atkins and Peter Saville, with a photograph of a Italian tomb on the sleeve. Designer Peter Saville commented that he, upon learning of singer Ian Curtis's suicide, expressed immediate concern over the album's design as it depicted a funeral theme, remarking "we've got a tomb on the cover of the album!"

Closer as a 12” vinyl album reached No. 6 on the UK Albums Chart. The Album was also chosen as Album of The Year by NME and is still placed highly in various top 10 lists like Best Album of the 80s (Slant Magazine, Pitchfork Magazine, Q magazine, …) and number two on Sonic Seducers “10 key Goth albums”. It got 10/10 review scores by Akk Music, NME, Pitchfork, Rolling Stone album guide, Select, Spin Alternative Record Guide, Uncut and the Encyclopedia of Popular Music

By 1982, the album had sold over 250,000 copies worldwide.

Shortly after this release the remaining members chose New Order as their new and future band name.

Closer
Side A

1. Atrocity Exhibition
2. Isolation
3. Passover
4. Colony
5. A Means to an End

Side B
6. Heart and Soul
7. Twenty Four Hours
8. The Eternal
9. Decades

All songs written by Ian Curtis, Peter Hook, Stephen Morris and Bernard Sumner.

Today it’s exactly 36 years since Siouxsie & The Banshees released their single Peek-a-Boo. It was released on 18th July 1988 as the first single from the band's ninth studio album, Peepshow. Peek-a-Boo was rated "Single of the Week" in both Sounds and NME.

The song's peculiar sound is due to its experimental recording which was based on a sample. The song was built on a loop in reverse of a brass part with drums which the group previously arranged a year before for a cover of John Cale's 'Gun'. The band selected different parts of that tape when played backwards, editing them and re-recording on top of it, adding a different melody plus accordion, a one-note bass and discordant guitar. Drummer Budgie also added another beat. Once the instrumental parts were finished, Siouxsie sang her lyrics over it. The lyric track was further manipulated by Siouxsie's use of a different microphone for each line of the song. It took the band a year to arrive at this result.

Peek-a-Boo was one of Siouxsie and the Banshees' most recognizable and popular singles; it was also the group's first to chart in the U.S. Billboard Hot 100, reaching No. 53 in the week of 3rd December. The song was very popular on alternative rock radios and received heavy play on MTV. In September 1988, Billboard magazine premiered a new Modern Rock Tracks chart, which measured radio airplay on US modern rock stations; "Peek-a-Boo" was the chart's first No. 1 song. In the UK, "Peek-a-Boo" became their fifth Top 20 UK hit, peaking at number 16 in the Singles Chart.

The music video was chosen by The Chart Show to be their "Best Video of the Year" for 1988. On the Beavis & Butt-Head episode "Sperm Bank," Beavis noted while watching the video that "this is music for people who don't have any friends”.

Peek-a-Boo (CDS/7”)
a. Peek-a-Boo
b. False Face

Peek-a-Boo (CD Maxi-single)
1. Peek-A-Boo
2. Catwalk
3. Peek-A-Boo (Big Spender Mix)
4. False Face
5. Peek-A-Boo (Silver Dollar Mix)

Peek-a-Boo (Lyrics)

Creeping up the backstairs
Slinking into dark stalls
Shapeless and slumped in bath chairs
Furtive eyes peep out of holes
She has many guises
She'll do what you want her to
Playing dead and sweet submission
Cracks the whip deadpan on cue

Peek-a-boo
Peek-a-boo
Peek-a-boo
Peek-a-boo

Reeking like a pigsty
Peeling back and gagging free
Flaccid ego in your hand
Chokes on dry tears, can you understand?
She's jeering at the shadows
Sneering behind a smile
Lunge and thrust to pout and pucker
Into the face of the beguiled

Peek-a-boo
Peek-a-boo
Peek-a-boo (Golly jeepers)
Peek-a-boo (Where'd you get those peepers?)
Peek-a-boo (Peepshow, creepshow)
Peek-a-boo (Where did you get those eyes?)

Strobe lights pump and flicker
Dry lips crack out for more
"Come bite on this rag doll, baby!
That's right now hit the floor"
They're sneaking out the back door
She gets up from all fours
Rhinestone fools and silver dollars
Curdle into bitter tears

Peek-a-boo
Peek-a-boo
Peek-a-boo
Peek-a-boo
Peek-a-boo (Golly jeepers)
Peek-a-boo (Where'd you get those peepers?)
Peek-a-boo (Peepshow, creepshow)
Peek-a-boo (Where did you get those eyes?)
Peek-a-boo (Golly jeepers)
Peek-a-boo (Where'd you get those peepers?)
Peek-a-boo (Peepshow, creepshow)
Peek-a-boo (Where did you get those eyes?)
Peek-a-boo (Golly jeepers)
Peek-a-boo (Where'd you get those peepers?)
Peek-a-boo (Peepshow, creepshow)
Peek-a-boo (Where did you get those eyes?)

Where did you get those eyes?
Where did you get those eyes?

(Songwriters: N Sioux / Steven Severin / Johnny Mercer / N Budgie / Harry Warren)