The Czech gothic rock band, Cathedral In Flames unleashed their version of Billy Idol's legendary song, "Rebel Yell" on Friday 13th October.

In their version of the iconic song, Cathedral In Flames toyed with tempos, added strings and flirted with blast-beats for the first time in their history. Produced by the legendary John Freyer, the song retains the anthemic fast-paced chorus, which is further supported by a stylized comic book video.

Singer Phil Lee Fall says, "The songs were basically made to order. And we had a lot of arguments over it. We couldn't figure it out for a long time, but when Gatsby threw in the tempo changes, everything clicked. And John added the blast beats symbolically at the very end."

And Gatsby adds, "I've never liked this song, so I approached it in the end in the style of seeing if something interesting could be made out of a thousand times stale little ditty. How it turned out, judge for yourself. I'm washing my hands!"

open.spotify.com/artist/34Cm7Z6i8Ih7t5K12aZ4kZ

On this day, 43 ago (23 October 1980), UK industrial music pioneers Throbbing Gristle released simultaneously two 7” singles, Adrenalin/Distant Dreams (Part Two) and Subhuman/Something Came Over Me. They were both sold in camouflage printed plastic bags.

‘Adrenalin’ and‘ Distant Dreams' might well be some of Throbbing Gristle's more accessible songs but still feature weird tape loops and odd lyrics by Genesis P. Orridge’. So in the musical context of 1980, these songs were still a long way off from mainstream music.

Worth noting, the 7" version of "Distant Dreams (pt. II)" has a different mix comparing it to the one made available as bonus on later Grey Area CD editions of "Mission Of Dead Souls”.

The Subhuman/Something Came Over Me single was everything but accessible for the mainstream music lovers with Subhuman being more of a soundscape of scraping metalics while Genesis screams and shouts his lyrics over them. However ‘Something Came Over Me’ definitely has the most pop/rock song elements and melodies, however they are countered by Genesis P. Orridge undisguised ode to a white sticky substance.

The artwork features the painting Apotheosis of War by Vasili Vasilyevich Vereshchagin on the front cover and a canal bridge underpass.

Both singles entered the UK indie charts peaking at 23rd (Subhuman/Something Came Over Me) and 26th (Adrenalin/Distant Dreams) (Part Two)) position.

Subhuman/Something Came Over Me ( 7" IR 13)

A:Subhuman" – 2:53
B: Something Came Over Me" – 3:43

Adrenalin/Distant Dreams (Part Two) (7" - IR 15)

A: Adrenalin" – 3:59
B: Distant Dreams (Part Two)" – 5:30

Gothic rock duo, The Palace Of Tears has just unveiled their bewitching new single & video; the title track from the upcoming sophomore album Veiled Screen, Woven Dream.

“Veiled Screen, Woven Dream” is the title track from the upcoming full length sophomore album. This version of the single is a more synth heavy ambient mix, a shortened and condensed version adapted for the accompanying self-produced music video. Its release date (15th Oct) is memorializing the anniversary of vocalist L.V.’s brother who died suddenly in 2022.

"Veiled Screen, Woven Dream" was originally a romantic song: On the mundane level, it is about reuniting after prolonged separation and isolation, and the intensity that accompanies the experience, sometimes as a blissful revelry, while at other times it is almost painfully sweet. So sweet that it hurts, as if your heart were going to burst. On the arcane level, it speaks to those who have passed on, and our desire to commune with those we love and miss beyond the veil, and when you might meet again in another form."

"Veiled Screen, Woven Dream" is available on all major digital outlets including Bandcamp.

open.spotify.com/artist/5RoDeddm74vemOzovkITlA

Gothic rockers, Black Angel have just unveiled the release of their fifth studio album, Lascivious on 6th October.

Following up from their previous well received album, The Black Rose, Black Angel embark on another gothic banger, a surefire dance floor filler. The band’s previous albums The Widow, Kiss of Death and Prince of Darkness secured their place firmly on the gothic rock map and one year later they are ready to do it again.

Sticking with their hybrid Gothic Rock sound and taking flavours from their 80s predecessors while adding new tones, the ten-track album delivers as expected. Producer and Writer, Matt Vowles decided to call back to the earlier Black Angel sound from the Kiss of Death era for this new album, returning to the richer orchestral wall of sound but retaining the essential gothic elements that drive his inspiration as originally provided by the likes of Siouxsie and the Banshees, Bauhaus, The Cult & Sisters of Mercy.

Frontman and lead vocalist, Corey Landis delivers every track with soulful dark tones and dual octave flavours. With a great vocal range, Corey transforms his voice and delivery to complement each song. He is also joined by vocalist Maneesha Jones as a female powerhouse of supporting vocals.

Lascivious is available on CD and digital formats. The band also has plans to release the album on vinyl in the very near future. Black Angel hopes to tour later this year and are currently looking for touring companies to partner with.

www.blackangelmusic.com

The ripple felt around the globe in 1977 from New York to London, The Ramones to The Sex Pistols, the aggression and angers built in the youth culture could not be contained any longer and the last remnants of the hippy dream was extinguished with a flamethrower of angst.

The Radiators From Space landed at the right time and the right city, cut with a blade of stinging guitar into the right audience. They released their debut album 'TV Tube Heart' on 21 October 1977.

They had inspiration, the 'Troubles' in Northern Ireland, the lack of jobs in the cities, the depressive atmosphere was finally given a voice, an album, suddenly an anthem grew from the littered streets. The album, 'TV Tube Heart' is an unequivocal masterpiece, make no mistake, and they did on this recording, the perfection lies in the imperfect delivery.

Not well honed or soaked with perfection, but then again neither is life. This is what the album mirrored in a time capsule of angst, Dublin- in -1977 and the atmospheric, downtrodden mood of the inner city.

The album opens with the distorted screech of feedback but nobody cared about the delivery as they got caught up in the speeding juggernaut of free speech.

Up until this point we were subject mainly to the lush sounds of progressive rock, organ and keyboard driven music with complex structure and melodies, when this album arrived it dragged away that format from the streets of the capital and replaced it with simplicity, of two guitars, one set of drums, one singer and one bass player, the only organ to be had been held back behind a ripped, dirty pair of jeans.

This was music so basic it could easily be repeated when young kids picked up instruments and so its influence spanned across a generation of musicians, not to put together a punk band but to play an instrument and in turn finding another type of escapism. This was the cause and reaction in its most direct form held together with the glue of; Philip Chevron, Pete Holidai, Steve Rapid, Jimmy Crashe and Mark Megaray.

The signing to the UK Label Chiswick in 1977 was a turning point and meant distribution outside of the island, within the island however the debut single 'Television Screen' became the first and one of the few true punk releases to break the Irish top twenty, proving their arrival was well-received, not just by critics but the actual buying public, heightened by their support of fellow Irish man Phil Lynott and his band Thin Lizzy on their Bad Reputation tour across the UK.

Then there is the follow-up, sometimes they do not match the intensity of the debut album, they lack at times the hunger, in this case however it is the opposite. With the departure of forming member Steve Rapid, which only led to a shortening of the name to simply the Radiators and under the watchful eye of Bowie supremo Tony Visconti the now four piece reconvened to record the staggeringly brilliant 'Ghostown'.

A concept album of sorts, drenched with heavy theme of society, force-fed paranoia and the isolation felt through the working classes; 'Who Are The Strangers', ‘Walking Home Alone Again', every note licked the grime from the streets of Dublin in the 1970s and was immediately hailed as one of the most important releases of the era. An importance not translating In sales and the band dissolved shortly afterwards after a relocation to London in an attempt to heighten the public attitude towards the band.

The following is a brief Question and Answer session we had in 2019 with Pete Holidai, guitarist with The Radiators From Space and The Trouble Pilgrims.

What drove you as a person to the punk style of music? Was there a particular event you witnessed, a band or even a particular song?

PH;”My first real Interest in music was the Glam-Rock era of the early seventies T. Rex, Bowie, Roxy Music in particular-guitar music that was full of energy was always a style I was drawn to although like most 'Punks' we like the occasional tearjerker”.

Do you feel that The Radiators debut album ‘TV Tube Heart’ is more so a result of the environment than any outside musical influences?

“It was recognized by the UK press as an Irish version of Punk where our anger was focused at our reality...the church, the politician, the guard and the other so called pillars of society..we needed to be free from their shackles of emotional oppression”.

What do you think is the high-point in the career of The Radiators?

”All of it. The very fact we created and lead the scene in Ireland before leaving these shores to seek our fortune just like those before us..’TVTH’, ‘Ghostown, ‘Trouble Pilgrim’ and ‘Sound City Beat’ is our legacy”.

Looking back do you feel The Radiators achieved what they set out to do?

”Yes we did, we helped kick this God-forsaken island into the 21st century”.

Why do you think that a band who brought out an album of such a high quality as ‘Ghostown’ did not make it bigger?

”The reality is you need major financial backing to reach the bigger audience via marketing etc...however we were released in all the major territories via licensing deals”.

DISCOGS

[KB]