Today, exactly 39 years ago, John Peel broadcast the first Peel Sessions, performed by Joy Division
Today, exactly 39 years ago John Peel broadcast the first Peel Sessions, a studio live session performed and recorded by Joy Division at the BBC Maida Vale studios in London on January 31st, 1979.
Below the setlist of this recording & broadcast session.
She's Lost Control
At the time of broadcasting, all performed songs were previously unreleased.
Later that same year, on 10th December, John Peel broadcast a second recording session by Joy Division
7 years later, in 1986, the first 'The Peel Sessions' EP, was released by Strange Fruit Records. The version of Transmission featured on this EP is one of the few recordings available where both Ian Curtis and Bernard Sumner played guitars at the same time.
The EP spent thirteen weeks on the UK Indie Chart, peaking at number 4.
The release of a second volume of the Joy Division Peel Sessions would follow in 1987.
Below you can listen to the original repeat tranmission broadcasted by John Peel on 5th April.
Editors unveil new single 'Magazine', taken from forthcoming album 'Violence'.
A dizzyingly bright, yet barbed opening salvo, 'Magazine' marks an intriguing stylistic shift for Editors. The single, the band's first in three years, is an anthemic pop song that savagely attacks the empty gestures and posturing of those in power. Built around a rousing chorus, swelling keys and crunching, industrial chords, 'Magazine' is a muscular, dynamic call-to-arms. Sure to whet the appetite for 'Violence' and strike an emotional chord with their legions of fans, 'Magazine' demonstrates an ambition from Editors that their latest work is destined for the biggest stages this summer.
Talking about 'Magazine', Editors frontman Tom Smith says ''Magazine is a pointed finger aimed at those in power...some corrupt politician or businessman...a character, and a tongue in cheek poke at the empty posturing and playing to the masses of the power hungry."
'Violence' is the sixth album from Editors, and follows 2015's acclaimed 'In Dream'. It is produced by Leo Abrahams (Wild Beasts, Florence & The Machine, Frightened Rabbit) and Editors with additional production from Benjamin John Power (Blanck Mass, Fuck Buttons) and mixed by Cenzo Townshend, except 'Hallelujah (So Low)' mixed by Alan Moulder.
The 'Magazine' video was shot in Amsterdam by renowned photographer, director and long term Editors collaborator Rahi Rezvani.
2. Hallelujah (So Low)
4. Darkness At The Door
7. No Sound But the Wind
8. Counting Spooks
First Belgian International EBM Day at De Casino, St-Niklaas (B) on February 24 (24.2)!
This month, BodyBeats Productions will organize their International EBM Day event that will take place for the first time in Belgium on Saturday 24.2.2018 at the splendid venue De Casino (St.Niklaas, B).
As the name and non-coincidentally chosen date (24.2) already suggest, it is the intention to celebrate and honour the electronic music genre Electronic Body Music. "Do not expect headliners like Front 242, DAF or Nitzer Ebb, but rather a fine selection of the legacy in today's EBM scene, of these bands aforementioned" said BodyBeats.
Let's take a closer look to the line-up!
PLASTIC NOISE EXPERIENCE (D), or for short PNE, should be no strangers to our loyal Peek-a-Boo reader as this band is of the second EBM generation and was founded already in 1989. Since then, PNE has established themselves in the underground Electro / EBM scene, their releases and concerts guarantee quality and ambience.
PANKOW (IT), founded in 1979, and thus of the first EBM generation, is considered one of the pioneers of the Italian EBM / Industrial movement. Over the years, the went through a lot of line-up changes and for several years now, Pankow chief Maurizio Fasolo has incorporated the Belgian Bram Declercq (Ex-NTRSN) as singer and stage animal.
JÄGER 90 (D), from high up in the North-East harbour city of Rostock, will be representing the German E.B.M. elite with their minimalistic but hard hitting no nonsense EBM. Undoubtedly and heavily inspired by the likes of Nitzer Ebb and D.A.F. these gentlemen have been taking stages with their Neue Körper tanz Musik! No time to breathe! Just Dance!
THE JUGGERNAUTS (B) will be taking the honour of representing the Belgian EBM offspring. Active since 2013 with their instant EBM club-hit Phoenix and currently touring intensively with their debuut album The Juggernauts Are Coming these EBM protagonists could not be missed on this high-day. They know how to fuse the minimal rhythm and bass driven structures of Electronic Body Music with a more aggressive and modern approach perfectly.
X-MOUTH SYNDROME (FR), cross-over EBM from Lille, North France, played BodyBeats Dark Demons Night in 2017 and delivered a great performance, receiving very good feedback from the attending audience. Their music is characterised by the meeting of various musical worlds such as EBM for powerful bass, synth pop for melodies and punk for energy and dynamic vocals. Reasons enough to be there on time.
24.2.2018 International EBM Day @ De Casino, St-Niklaas, B (Tickets & Info)
BodyBeats Productions heeft onlangs de volledige line-up van hun International EBM Day-evenement vrijgegeven dat op zaterdag 24.2.2018 voor het eerst zal plaatsvinden in de prachtige zaal van De Casino (St.Niklaas, B).
Zoals de naam en de niet-toevallig gekozen datum (24.2) al voorspellen, is het de bedoeling om het elektronische muziekgenre Electronic Body Music te vieren en eren. "Verwacht geen headliner zoals Front 242, DAF of Nitzer Ebb, maar eerder een fijne selectie van hun nalatenschap in de huidige EBM-scene," aldus BodyBeats.
PLASTIC NOISE EXPERIENCE (D), of kortweg PNE, zou voor de trouwe Peek-a-Boo lezer al lang geen onbekende meer mogen want deze groep van de tweede EBM generatie werd reeds opgericht in 1989. Sinds is PNE een gevestigde waarde in de underground Electro/EBM scene en staan hun releases en concerten garant kwaliteit en ambience.
Het Italiaanse PANKOW, opgericht in 1979, en dus van de eerste EBM generatie, wordt dan weer aanzien als één van de pioneers van de Italiaanse EBM/industrial beweging. Door de jaren heen band doorging heel wat line-up veranderingen en sinds enkele jaren heeft Pankow opperhoofd Maurizio Fasolo de Belgische Bram Declercq (Ex-NTRSN) als podium beest ingelijfd.
JÄGER 90 (D), uit de havenstad Rostock, vertegenwoordigt samen mer de eerder aangekondigde PNE, de Duitse EBM-elite met hun minimalistische maar beukende, no-nonsens EBM. Ongetwijfeld zwaar geïnspireerd door bands als Nitzer Ebb en D.A.F. nemen deze heren al geruime tijd podia in in en ver buiten Europa met hun Neue Körper Tanz Musik! Geen tijd om te ademen! Gewoon dansen!
DE JUGGERNAUTS (B) hebben de eer om de Belgische EBM-volgers te vertegenwoordigen. Actief sinds 2013 met hun instant EBM-club-hit Phoenix en momenteel intensief en wereldwijd tourend met hun debuutalbum The Juggernauts Are Coming mochten deze EBM-protagonisten op deze hoogdag niet ontbreken. The Juggernauts weten perfect hoe de minimalistische, ritme- en basgedreven structuren van Electronic Body Music te versmelten met een iets agressievere en moderne aanpak.
X-MOUTH SYNDROME (FR), cross-over/EBM van Lille, Noord-Frankrijk, heeft in 2017 al met succes op de Dark Demons Night gespeeld en wist een geweldige prestatie neer te zetten, één die door het aanwezige publiek zeer goed ontvangen werd. Hun muziek wordt gekenmerkt door het samensmelten van diverse muzikale stijlen zoals natuurlijk EBM voor krachtige bas, maar ook synthpop voor melodieën en punk voor energie en dynamische vocalen. Redenen genoeg op er op tijd te zijn op zaterdag 24 februari!
This weekend! 8-9-10 February - D E L I Q U I U M SOUND ART TRIENNIAL kick's-off in London!
D E L I Q U I U M
SOUND ART TRIENNIAL
“Artists, like prophets, are messengers of their own truth. Their sacrifice is to believe. They act alone, doing everything possible to get their message to break through.” — MILKANDLEAD
Following on from the first, experimental edition in 2015, DELIQUIUM 2018 is a unique and ambitious exhibition taking place over three nights featuring performances, installations, erotic poetry, visual arts, and more.
Organised by MILKandLEAD Art Gallery, known for a series of transgressive and ambitious exhibitions and events, this is no mere festival. It is a sound art exhibition co-curated with Professor Paul Hegarty and will feature a wide range of noise, electronic, post-punk, and contemporary avant-garde performances.
VISUAL ARTS AND INSTALLATIONS
These will present a mix of new technology and mixed media, based mainly on sound and visuals with strong aesthetics and solid concepts behind them. The artworks reveal and communicate their message and their essence straight to the public. The audience will be introduced to a space constructed around the concept of interaction.
Izzy Nakhla creates playful poetic works that flow through waves of urgency, precariousness, power, and language. She works across a range of media including sound, painting, sculpture, and video. Her practice references the limits of inside and outside, the creaturely and the eerie, human and non-human, the body and the voice. With sonic language at the heart of her practice, her works play with imagination and expectation, with rhythm, poetry and rhyme as structures of movement and possibility. Her approach features a nod to intensity, buffoonery, tension, and performance, and highlights moments of transformation and emergence, connection and disconnection, breakdown and breakthrough.
SOUND AND PERFORMANCE
DELIQUIUM is structured over three days designed to offer a survey of sound art based on three specific moments in the development of sound art. DELIQUIUM considers music a tool, or even a kind of time machine, through which the exhibition wants to symbolically re-create the union between three different points in time. It will be a sonic journey in honour of avant-garde sound, augmented by visuals and other new media.
The exhibition attempts to establish a link between a large number of small groups based on their approach towards music. The research of the artists performing at the exhibition can be traced back to the pioneers of experimental sound such as Luigi Russolo, moving forward in history through Cage and Einstürzende Neubauten.
DELIQUIUM consists of three distinct evenings designed to create a parallel dimension between reality and fiction to explore the evocative power of sound in three different moments in time.
ACT 1 — THURSDAY 8 FEBRUARY 2018
Thursday is located conceptually a century ago, featuring noise, drone, and ambient music anticipated by the work of the Italian artist and futurist Luigi Russolo. In a 1913 letter to friend and musician Pratella, he urged him to join in the creation of a new, futuristic music. “As it grows ever more complicated today, musical art seeks out combinations more dissonant, stranger, and harsher for the ear. Thus, it comes ever closer to the noise-sound.” (L. Russolo). This wide-ranging selection of artists embrace complexity, dissonance and harshness, keeping alive the Futurist sonic tradition.
Key performers: Anji Cheung, James Shearman, Nordvargr
ACT 2 — FRIDAY 9 FEBRUARY 2018
Friday is conceptually based in the 1980s, when the first contaminations of dark electronic, wave and industrial music began to infiltrate the wider public consciousness. This was a process that had already been active beneath the radar for some time. Philosopher Mario Perniola argues that from the end of the 1960s, there was a movement through progressive rock, futurist rock, new-wave, hardcore and industrial music which gradually revealed a more and more unique character of neutrality. An emblematic cultural manifestation of neutral feeling, of a sex appeal of the extreme inorganic capable of provoking an artificial excitement different from everything offered by nature. The artists presented tonight explore concepts of coldness, neutrality and the inorganic, bringing them to the stage in unusual and challenging ways.
Key performers: Lower Synth Department
ACT 3 — SATURDAY 10 FEBRUARY 2018
Saturday is dedicated to the future where the most innovative and experimental frontier of sound stands. It is a celebration of rituals in music with noise, dark ambient, power electronics, and hypnotic state induction through sound. These sonic rituals will reveal the artists’ intense quests for the inorganic neo-tribal.
Key performers: Horologium, Ryan Jordan, Ah Cama-Sotz, Gnaw Their Tongues
DARK EROTIC POETRY ROOM
The concept of the Dark Erotic Poetry Room at DELIQUIUM is based purely on the imaginative power of poetry decontextualised in a darkened space.
The installation aims to create a space where the loss of identity provoked by the suppression of the sense of sight causes the physical body to surrender completely to poetry. When hearing takes over the other senses, the participant is projected onto an imaginary world filled with verses inspired by the poetry of Marquis De Sade and Edgar Allan Poe.
Once the spectator agrees to participate and step over the threshold of the DEPR, she/he will reset all the senses at the same level and the poetry mix, made by selected poems will create a unique sensual journey.
The Dark Erotic Poetry competition reflects the intention of the Gallery to respect cultures, promote human rights, and advance the themes of equality and diversity.
Deliquium also features a Hardware Hacking workshop led by Tasos Stamou.
This will cover the latest technological approaches to hacking instruments and machines as well as the knowledge and tools needed to achieve higher levels of music production.
CURATOR’S STATEMENT, PAUL HEGARTY
DELIQUIUM presents new and challenging work from across all contemporary media, ranging from performance, sound and noise through video, installation and poetry all the way to artist talks and pulsating electronic music and video in combination. The focus is always on sound - the very edges of what is possible today - and on artists with a clear mission to expand our sense of what it means to experience radically challenging work.
This is an exhibition like no other, MILKandLEAD have excavated through layers of artistic production to bring out what is most uncanny about the world of sound today. The artists are all leaders, pioneers and risk-takers. They step outside of cultural norms in order to push our senses further - higher but also lower - into the dark as well as toward the light.
The artists at DELIQUIUM represent all that is best in multiple areas of experimental work. Everyone has a clear vision, a path they have followed relentlessly. The most important for MILKandLEAD was to bring together disparate artists with a shared vision of the troubled reality of being a human today. Musicians and artists in DELIQUIUM offer a raw insight into what waits outside the human and cultural norms that supposedly protect us. These are shadows that make sounds, images, words, ideas, and above all, effects on those who encounter their work.
These are artists who want to push you as a listener, viewer, toucher, taster. They feel the competing powers that define human and inhuman experiences and press them open to the audience. This is work that requires the presence of the artist and the engagement - sometimes submission - of the public. Your senses will thank you for the embrace that is DELIQUIUM.
PHILOSOPHICAL BACKGROUND : DYSTOPIANISM
Dystopianism is an artistic movement based on the act of perceiving and representing the world as post-apocalyptic, chaotic, harsh, violent, grotesque, and macabre.
Fear, strife, life, and death are metaphors of the concept of creation. The work of art for Dystopianism is like a child that lies undead yet protected in the womb and through agony, pain and blood comes to life in its majestic purity.
The movement wants to celebrate, solicit and reveal innovation.
Reality is imminent. Reality is identified as a moment, an element in a loop made of changeable patterns of thoughts that are produced and destroyed continuously in order to regenerate Dystopianism.
Fantasy, as a production of thoughts, is merged with reality. The premonition of an alienated future is an accomplished prophecy.
Dystopianism is crude and fascinating reality, like a virus it regenerates and changes form. New forms of art are the receptors that pierce the membrane of reality. These new forms are able to release their concepts into the sign system virally and to integrate and merge into the cultural chain embedded into the membrane of society. They form a cluster of cells, the components able to break the chain and change the structure, infecting other cells.
Dystopianism is the celebration of the inorganic.
Dystopianism will always be able to self-start and self-promote due to the necessity of continuous research, and its never satisfied, ever-evolving state and its self-generating need for knowledge.
Dystopianism is truth; it brings freedom to collectivity unifying fiction with reality.
Individuals are simultaneously actors and spectators, placed at the centre of fictional inputs, living in a state of distracted purgatory where all are judged by all. The dynamics of action of social subjects are delimited by an uninterrupted cycle of temporal continuity and discontinuity.
Artists are a living duality. They are not imitators, they are driven by understanding and service, they are the ultimate liberators. They are the survivors, out of normal existence. They become heroic when they are able to contribute to Dystopianism with the construction of parallel realities.
Media are space-time tools. The power of the message justifies any media. It is present in cyborg and biomedical engineering and in the action of thinking machines.
Artists, like prophets, are messengers of their own truth. Their sacrifice is to believe. They act alone, doing everything possible to get their message to break through.
Dystopianism is your vision of now.
SPIRIT OF DELIQUIUM
Many of the artists and sonic researchers participating in the Sound Art Triennial DELIQUIUM possess an aura in the sense identified by Michel Maffesoli in his seminal 1996 book, The Time of The Tribes. They create rituals that involve specific rules such as dress code, props, tattoos, and symbolic and conceptual codes are used extensively before and while performing. For the Gallery, the languages or more appropriately the semiotics, change according to the changes in the society, but the meaning of the message must remain the same: relevant, significant, and crucial.
Deliquium is an experimental exhibition of sound. Its aim is to give both the artists and the audience a genuine decontextualised experience.
DELIQUIUM has one unified identity across different genres. The exhibition is based on the specialised research of MILKandLEAD and its partners, focused on technological and philosophical innovations.
Some DELIQUIUM artists are identified as icons, symbols or pioneers of a specific genre. Others are beyond genre, but fit within the event’s philosophical-artistic framework of dystopianism. The exhibition is not designed to appeal to a specific audience but to expose the artists’ radical innovations to the widest audiences possible.
Some of the artists are well aware of belonging to small, unidentified groups. Some are proud of this status and want to retain it. They are exhibited at small events and in clubs and spaces that can be defined as ‘politically closed’ in the sense that there is little access to these places for the general public. The reason for them doing this is mostly political. They feel protected in a small environment where the audience is mainly composed of artists and art lovers of a specific genre, and where identity is generated by belonging to a specific group. One of the differences between the edition of 2015 and the edition of 2018 is that the artists have incorporated the idea that DELIQUIUM is designed to promote their message and point of view across a wider range of audiences than they have been used to.
DELIQUIUM addresses the language behind the sound and music subcultures we see growing in the art underground and its wider cultural importance. These are artists whose work demonstrates a perfect balance between intuition and process. Provoking a wide range of emotions and associations from the most elemental purity of raw sound perceptions to the more complex alchemical wonders of sonority manipulations.
MILKandLEAD Art Gallery’s aim is to generate critical discourses within and beyond London on the concept of art after the contemporary era. Every MILKandLEAD exhibition is carefully crafted with the clear intention of transporting the audience to another dimension, both physical and temporal. The curators are interested in exhibiting art that can be perceived as a force that triggers memories and emotive responses from the public. The exhibitions also engender in the viewers, and, in the case of DELIQUIUM specifically, the listeners, a genuine sense of empathy - familiar emotions that anyone could identify with - alongside unsettled catastrophic perceptions of a dystopian world.
1. The Gallery does not see the artists performing at the Triennial as musicians but as researchers.
2. The Gallery’s mission is to share the outcome of these studies in order to disrupt the cultural mainstream with contents that are controversial, innovative and significant.
3. The Gallery’s approach is to connect artistic values to ethnographic notions, focusing specifically on the element of tribalistic rituals.
4. The Gallery sees rituals as valuable attempts at decontextualisation in art.
MILKandLEAD Art Gallery possesses an independent soul. It is an organisation disconnected from political messages. Moreover, it is influenced by London's trans- and multiculturality. The Gallery does not impose labels neither messages, instead it promotes the messengers that are trying to incorporate their rituals in a tribalistic way.
MILKandLEAD Art Gallery supports researchers. Artists are in fact considered scholars dedicated to elaborating new concepts. The Gallery’s mission is to offer the products of their work to a wider and more diversified audience. Everything made by MILKandLEAD showcases artistic and cultural research on one side and exchange on the other.
The Gallery is focused on the avant-garde and on identifying the artists as messengers whose voices and expressions are a combination of technological innovation and strong messages. MILKandLEAD Art Gallery is interested in artists that are able to justify their own identity and manifest a coherent message through their creations.
MILKandLEAD undertakes concrete field work with academics to find the most innovative works of art. The Gallery is open to experimental works on the condition that there is a concept behind any art that can be analysed in a critical context. The mode of criticism embraced by MILKandLEAD Art Gallery is not based on postmodern theories but is completely comfortable with the new technological tools and cultural expression at hand, adopting in full Marinetti’s 1909 concept of an art multiplied by the machine.
MILKandLEAD is not interested in creating shock or in scaring the audience. The Gallery’s aim is to educate the public to understand contents that are most often kept hidden by mainstream culture.
MILKandLEAD Art Gallery uses ethnographic tools to support the work of researchers. The exhibitions are not only the fruit of artistic activities but more often philosophical and anthropological explorations. Adopting Marc Augé’s point of view, the intellectual status of anthropological place is ambiguous.
MILKandLEAD moved on from a simplistic system of thoughts based on the opposition between artistic and cultural, masterpiece and artefact, authentic and fake. The Gallery is instead focused on relations among small groups of artists whose art is able to produce a critical and elaborated message.
Ethnography by its own nature has always used tools and concepts that are not suitable to represent appropriately the historical present of the subject it analyses. This indetermination, decontextualisation and fragmentation is in fact for MILKandLEAD the scope of an extensive analysis of the limits of postmodern concepts and theory. MILKandLEAD wants to break the rhetorical conventions and pre-existing narrative modules through the exhibition and the representation of their arbitrary and artificial nature.
D E L I Q U I U M
SOUND ART TRIENNIAL
8-9-10 February 2018
ELECTROWERKZ • LONDON
28 years ago British EBM/Industrial band Nitzer Ebb released Lightningman!
Today, 5th February, it’s exactly 28 years ago that British EBM/Industrial band Nitzer Ebb released Lightningman, the preliminary single from their upcoming third album Showtime.
The single stayed in the US Billboard dance charts for 8 weeks and peaked at 14th position on 26th May 1990.
Lightnibgman - Lyrics
It seems some story was told
But what is there to tell?
Well, some song had been sung
But none of it sings
So let's spell it out
A, B, and C
Up and down from A is to Z
You meant zed, you said zed
From nothing to something
And something for nothing
From no one to someone
From someone to same one
Same old thing
The only way out
Leads to no way back
What can you do?
You shove it back where it came
You never let yourself down
So you got up
And you ran
And you run to get up
To slip right down
Soho's a town in every downtown