On this very day, 46 ago, The Cure released their very first 7' single 'Killing An Arab'.
"Killing an Arab" is the first single by the Cure. It was recorded at the same time as their first album Three Imaginary Boys (1979), but not included on the album. However, it was included on the band's first US album, Boys Don't Cry (1980).. It was inspired by the pivotal moment in the 1942 novel The Stranger by Albert Camus where the protagonist shoots his friend’s mistress' brother, a man identified in the book only as ‘the Arab’. It is the apathy of the main character that is the focus of this song.
The song has been controversial since 1979, when a college asked the band not to perform it as it sounded racist.
Shortly after its release, Smith said, "It just happened that the main character in the book had actually killed an Arab, but it could have been a Scandinavian or an English bloke."
In 1986, its inclusion on the band’s singles collection Standing On A Beach was protested by the American-Arab Anti-Discrimination Committee. A compromise was reached when the band agreed to label each unit with a sticker announcing the following:
The song ‘Killing an Arab’ has absolutely no racist overtones whatsoever. It is a song which decries the existence of all prejudice and consequent violence. The Cure condemn its use in furthering anti-Arab feeling.
In 1987, Smith shared his opinion of the controversy in a fanzine:
i felt the whole ‘issue’ absurd and unnecessary and i am relieved that it has been concluded (and forgotten?) imaginatively and intelligently and with mutual satisfaction….(almost…)
In 1991, this song (along with “Rock The Casbah” by The Clash) unofficially became war-rallying cries for the US invasion of Iraq, much to the band’s dislike.
In 2003, Smith acknowledged that, "If I knew it before, I would have called it 'Standing on the Beach'. It would have avoided many troubles."
In 2016, Lol Tolhurst was asked if he thought releasing “Killing An Arab” as the band’s first single was a bold move. He responded:
I didn’t think it was so bold back when we wrote it. It was about alienation and existentialism – things more relevant to us then. Obviously events of the last two decades have changed the perception of the song’s meaning. Totally erroneously I might add, as it has nothing to do with racism or killing at all.
Killing An Arab (Tracklist 7")
A. Killing an Arab
B. 10:15 Saturday Night
The Cure (1979):
Michael Dempsey – bass guitar
Robert Smith – guitar, vocals
Lol Tolhurst – drums
In December 1981, 44 years ago, American Punk rock band Dead Kennedys released their infamous In God We Trust, Inc. EP. It was their first release featuring their new drummer D.H. Peligro. The record is a screed against things ranging from organized religion and Neo-Nazis, to the use of pesticide and government indifference that worsened the effects of chemical catastrophes. In God We Trust, Inc. is also the first Dead Kennedys album released after the presidential election of Ronald Reagan and features the band's aversion towards Reagan, for which they would become notorious.
The EP features also "We've Got a Bigger Problem Now" which is actually a rewritten version of their early “hitsingle” single "California über alles". Originally a rant against California governor Jerry Brown, the band reworked the song addressing the newly elected president Ronald Reagan. Most songs were based on previous unreleased songs and were recorded live in the studio on 19 June 1981, without any overdubs.
Disaster struck when it was discovered the mastertape containing the whole recording sessions turned out to be malfunctioning so the band was forced to re-record all eight songs on 22 August thats same year.
However in 2003 enhanced restoration techniques allowed for five tracks to be recovered from the master tapes. They were released on DVD together with recorded video footage of those original recording sessions.
Dead Kennedys – In God We Trust, Inc. (12" EP)
A1. 2. 3. 4. 5. B1. 2. 3.
| Religious Vomit | 1:04 | |
| Moral Majority | 1:55 | |
| Hyperactive Child | 0:37 | |
| Kepone Factory | 1:18 | |
| Dog Bite | 1:13 | |
| Nazi Punks Fuck Off | 1:03 | |
| We've Got a Bigger Problem Now | 4:29 | |
| Rawhide | 2:11 |
Dead Kennedys (Line-up 1981)
Jello Biafra – lead vocals, artwork
East Bay Ray – guitar, backing vocals on "Moral Majority", producer
Klaus Flouride – bass, backing vocals
D.H. Peligro – drums
By annual tradition, Bimfest takes place at the end of every year, and this year will be no different. On December 19 and 20, in venue De Casino in Sint-Niklaas, the “beats” and “bleeps” will once again come flying at you from all sides. It will arrive sooner than you think so we would like to introduce the participating acts to you one by one.
Cat Rapes Dog was founded as early as 1984 in Sweden and can be regarded as an absolute pioneer in the crossover between electro and punk, and between EBM and “heavy” industrial. The band, founded by Joel Rydström and Magnus Fransson, quickly gained notoriety with self-released cassette albums filled with raw, unapologetic soundscapes.
Between 1989 and 1991, they released three studio albums on the renowned Belgian label KK Records, home to many EBM and industrial heavyweights of that era. Later, their work appeared on Swedish independent labels such as Energy Rekords and Subspace Communications.
Their music combines pounding electronic beats, abrasive synths, punk attitude, and even metal influences, all orchestrated in a chaotic yet surprisingly melodic way. After disbanding in 2009, Cat Rapes Dog returned in 2019 and has since reclaimed their place in the scene with powerful live performances and reissues celebrating their dark, more “noisy” legacy.
Cat Rapes Dog blew everyone away at BodyBeats International EBM Day 2024, and now they’re back for another party! Appearing at Bimfest for the very first time—and as the absolute closing act. Expect a sonic rollercoaster: uncompromising, provocative, and energetic!
The Cat Rapes Dog party kicks off on Saturday, December 20 at 11:00 PM and serves as the final blast of the Bimfest 2025 edition, though there will still be time afterward for an afterparty with DJ Borg!
Kurt Ingels (Dark Entries Magazine)
By annual tradition, Bimfest takes place at the end of every year, and this year will be no different. On December 19 and 20, in venue De Casino in Sint-Niklaas, the “beats” and “bleeps” will once again come flying at you from all sides. It will arrive sooner than you think so we would like to introduce the participating acts to you one by one.
Majestoluxe, the solo project of Stockholm-based artist Conny Fornbäck, is a “masterclass” in minimalist EBM and experimental industrial pop. Conny, a veteran of the Swedish EBM underground of the 1980s (bands, clubs, labels), resurfaced after decades with a sound that feels retrofuturistic, yet is equally inspired—and continues to be inspired—by early German synth, Belgian EBM, and British minimal electronics.
On their 2019 debut album Septic Shock and the subsequent EPs, Majestoluxe delivers stripped-down but intense soundscapes: pounding basslines, half-whispered vocals, sudden eruptions of raw, passionate shouts, all crafted with meticulous attention to detail that charges even the most minimalist moments. Live, you can expect an immersive experience of cold precision, strange textures, and danceable pulses simmering beneath the surface.
Majestoluxe is for those who crave darkness, nuance, and a strong analog soul in electronic music that stitches the future to the past. Majestoluxe can be seen live at Bimfest on Saturday 19/12 at 7:30 PM.fest, after Akalotz (the band introduced elsewhere on this site—just click the “Bimfest” link below, it’s that simple).
Kurt Ingels (Dark Entries Magazine)
By annual tradition, Bimfest takes place at the end of every year, and this year will be no different. On December 19 and 20, in venue De Casino in Sint-Niklaas, the “beats” and “bleeps” will once again come flying at you from all sides. It will arrive sooner than you think so we would like to introduce the participating acts to you one by one.
Project-X is one of Sweden’s most notorious electro/EBM export products, delivering a powerful mix of pounding beats, razor-sharp synths, and biting themes. The band, founded in Stockholm in 1995 (!), quickly secured a place in the Scandinavian electronic underground with their uncompromising sound and their signature blend of dark energy and ironic social commentary.
Their music is as much about intensity and rhythm as it is about attitude, giving them a unique position within the European EBM scene. With releases that have found their way onto dance floors in clubs around the world, Project-X has built a loyal following far beyond Sweden’s borders.
Their live performances are packed with pure energy, transforming the stage into a relentless, sweat-soaked dance floor where irony, provocation, and hard electronics collide—not only on stage, but in front of it as well.
Their songs, both playful and aggressive, tackle everything from subcultural clichés to the darker aspects of modern life, all wrapped in an unmistakably Scandinavian EBM sound. Today, Project-X is still celebrated as a cult favorite among EBM fans. They are known for keeping the spirit of classic electronic body music alive while simultaneously giving it their own satirical twist.
Expect a show that is loud, fast, and without pause—in other words, exactly what electronic body music was made for. Come and see (and hear) it on December 20, when these Swedes kick things off at Bimfest at 8:30 PM!
Kurt Ingels (Dark Entries Magazine)
