On this day, 40 years ago, The Cure performed ‘The Walk’ on Top Of The Pops!
On this day, 40 years ago, The Cure performed their single ‘The Walk’ on BBC's Top Of The Pops (July 22nd 1983). Initially released as a stand-alone single in July 1983, it almost immediately became the title track of a six-track 12” EP.
The song became The Cure's biggest UK hit to this point, peaking at #12, and their first entry into the UK top 20.
At the time of recording The Cure was briefly reduced to the two founding members Robert Smith and Lol Tolhurst following the departure of bassist Simon Gallup following the end of the band's previous tour in support of the album Pornography (1982).
Created using relatively new electronic equipment, the Oberheim OB-8 synthesizer and DMX drum machine, the genesis and recording of the track - though not the release date - predates New Order’s Blue Monday. Similarities between the tracks are likely the result of experimentation with similar equipment.
This ‘just out of the box’ experimentation is best illustrated by listening to the opening of ‘The Walk’. The synth note that gives the track its distinctive discordant feel was the result of a stubborn piece of keyboard programming the band found impossible to remove.
The Walk
I called you after midnight
Then ran until I burst
I passed the howling woman
And stood outside your door
We walked around the lake
And woke up in the rain
And everyone turned over
Troubled in their dreams again
Visiting time is over
And so we walk away
And both play dead then cry out loud
Why we always cry this way?
I kissed you in the water
And made your dry lips sing
I saw you look
Like a Japanese baby
In an instant I remembered everything, everything, everything
I called you after midnight
Then ran until my heart burst
I passed the howling woman
And stood outside your door
I kissed you in the water
And made your dry lips sing
I saw you look
Like a Japanese baby
In an instant I remembered everything, everything, everything
Take me for a walk
Take me for a walk
Let's go in the water
Take me for a walk
Songwriters: Robert James Smith / Laurence Andrew Tolhurst
© Universal Music
Alien Creation has unveiled their latest single, "Super Villain" following the success of the previous single, "Red Pill". "Super Villain" primarily addresses the idea that people bring out the worst in others; something everyone can relate to.
Super Villains often have terrible childhoods or are bullied or have a terrible accident in the lab or something. Thus, a Super Villain is born. The lyrics in "Super Villain" are inspired by a phrase heard from the popular T.V. show, The Big Bang: Theory; “Watch out, he’s one lab accident away from becoming a super villain”.
"Super Villain" is a powerful tongue-in-cheek tune-laced with textured synthesized layers of hard-hitting sound enriched by the power of real guitars, powerful bass drum and fretless bass. This is all carefully crafted to deliver an incredibly infectious dance track that probes deeply into the senses.
For fans of IAMX & Marilyn Manson.
"Super Villain" is available NOW on all digital outlets. It is the last of unreleased tracks on all digital formats before the imminent release of new recorded material.
Michigan-based industrial/rock band, Deadlight Holiday has just unleashed a new single, "Full Of Hate". The song captures the suffocating feelings of anger and isolation that engulf us and often leave us with a feeling of being confined. Moreover, the song does so within the span of ninety seconds.
"Full Of Hate" describes that moment when you feel low and you're caught in a never-ending cycle of abuse and hatred, uncertain about how to break free. The lyrics embody elements of nihilism and dread, painting a raw picture of despair.
However, the essence of the song lies in transforming that negative energy into a shared experience, reminding listeners that this song is a reflection of a past a lot of us share, rather than a glorification of drugs and self-loathing.
Though we like to try to forget the bad paths we once took in life, it's a step that eventually leads to the peace and happiness that comes when you decide to break the cycle.
"Full Of Hate" is available now on all major digital platforms including Bandcamp.
Today, exactly 43 years ago, Joy Division released their second and final studio album, Closer.
Today, exactly 43 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 35 years since Siouxsie & The Banshees released their single Peek-a-Boo!
Today it’s exactly 35 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)
