On February 28, 1984, the legendary Frank Tovey, better known as Fad Gadget, delivered an unforgettable performance at The Haçienda in Manchester. At the time, The Haçienda was rapidly establishing itself as a mecca for alternative and electronic music, and Fad Gadget’s set that night cemented his status as one of the most compelling live performers of the era. His mix of raw energy, industrial sounds, and theatrical stage presence made for a night that those in attendance would not soon forget.

By early 1984, The Haçienda, founded by Factory Records and New Order, had become a pivotal venue in the underground music scene. Although its legendary Manchester rave era was still a few years away, it had already hosted groundbreaking acts from post-punk, new wave, and electronic circles. This made it the perfect venue for Fad Gadget, whose sound blended elements of synth-pop, industrial, and avant-garde performance art.

The club’s industrial design, with its vast open space and exposed steelwork, provided the ideal backdrop for Tovey’s mechanical beats and provocative stage antics. The audience was a mix of devoted fans and curious club-goers eager to witness the cult electronic pioneer in action.

Fad Gadget’s Performance: A Visceral Experience

From the moment he took the stage, Frank Tovey commanded attention. Dressed in his signature disheveled yet stylish attire, he immediately engaged the audience, not just with his music but with his intense physical performance. Known for his unpredictable live shows—where he often climbed on equipment, dived into the crowd, and covered himself in shaving cream or tar and feathers—this night at The Haçienda was no exception.

Opening with “State Of The Nation” quickly followed by “Coitus Interruptus,” Tovey set the tone with its pounding drums, basses and eerie synth melodies. His voice, simultaneously robotic and filled with raw emotion, cut through the club’s booming sound system. Tracks like “Collapsing New People” and “For Whom the Bells Toll” followed, their hypnotic, mechanical rhythms perfectly fitting the venue’s industrial aesthetic.

One of the highlights of the night was his performance of “Ricky’s Hand,” a cautionary tale of reckless behavior told through jittery synth lines and unsettlingly distorted vocals. As the song reached its climax, Tovey flailed wildly, knocking over a mic stand and nearly toppling into the crowd—a signature moment in his chaotic stage presence.

The performance at The Haçienda reaffirmed Fad Gadget’s role as an innovator in electronic music. While he never reached mainstream superstardom, his influence on Depeche Mode, Nine Inch Nails, and the EBM/industrial scene is undeniable. His blend of music and performance art laid the groundwork for future generations of artists pushing the boundaries of live electronic music.

Fad Gadget Live @ The Hacienda, Manchester (UK) - 28.02.1984

01 State Of The Nation
02 Coitus Interruptus
03 King Of The Flies
04 I Discover Love
05 Ideal World
06 Collapsing New People
07 One Man's Meat
08 The Ring
09 Jump
10 Ad Nauseam
11 Lemmings On Lover's Rock
12 Love Parasite
13 For Whom The Bells Toll
14 Ricky's Hand
15 Back To Nature

For those lucky enough to be at The Haçienda on February 28, 1984, the night was a visceral, high-energy experience—a perfect fusion of experimental music and performance art. It remains a defining moment in both Fad Gadget’s career and the history of one of the world’s most influential clubs.

For those who missed out or weren’t born yet … Well, you are in luck as the complete show was filmed & recorded! Check it out below!

Today it’s been exactly 39 years since Siouxsie and The Banshees released their second single from their seventh studio album Tinderbox. The single Candyman was released as 7” and 12” on 28 February 1986 and is about child abuse. At the age of 9, she was sexually assaulted by a man, who apparently owned a candy shop. The most damaging aspect was that the assault was ignored by her parents.The episode became an unspoken item. From that moment on, she started to acquire disrespect for adulthood. Years later, she stated: "I grew up having no faith in adults as responsible people. And being the youngest in the family I was isolated – I had no-one to confide in. So I invented my own world, my own reality. It was my own way of defending myself – protecting myself from the outside world. The only way I could deal with how to survive was to get some strong armour".
It became Siouxsie and the Banshees' 13th top 40 hit, peaking at number 34 in the UK single charts.

The 7” has the track Lullaby on the b-side, the 12” also featured Umbrella on the b-side.
Candyman Lyrics

Sickly sweet, his poison seeks
For the young ones who don't understand
The danger in his hands
With a jaundiced wink see his cunning slink
Oh trust in me my pretty one
Come walk with me my helpless one
Candyman

Syrup lies upon your tongue
Ge latine saliva spills
The flash of a guillotine a smile

Candyman - oh candyman
No pity for him, their misery screams
Unspeakable things

A cool missile, yes it's in his smile
With open arms to welcome you
Beware the masked pretender
He always lies, this candyman
Those lips conspire in treachery
To strike in cloak and dagger, see!

Candyman - oh candyman
And all the children, he warns ''don't tell, ''
Those threats are sold
With their guilt and shame they think they're to blane
For candyman - oh candyman

Songwriters: Matthew David Clayden / Mark Williams

Discogs

"March of the Pigs" was released by Nine Inch Nails on the 25th of February 1994. It was the first single released from their second studio album-The Downward Spiral (1994). It is also one of the band's shortest hit songs, clocking in at just under three minutes.

For shooting the music video, one that got regular airplay on MTV, Reznor assembled his live band for the upcoming Self Destruct Tour. It would feature drummer Chris Vrenna, keyboard player James Woolley, guitarist Robin Finck and bassist/guitarist/keyboardist Danny Lohner. Director Peter Christopherson (Coil, Throbbing Gristle, …) was told to film a stripped-down, minimalist music video for the song. The video showed the band performing the song live in front of a white-wall backdrop, with Reznor moving around aggressively, pushing the other band members, along with their instruments and repeatedly tossing his microphone away. Throughout the video, stagehands visibly move into the frame to reset the equipment he knocks over, handing Reznor a microphone each time he needs to start singing again after an instrumental section. The video uses the live performance audio of the song recorded at the video shoot, rather than synchronizing the footage to the studio-recorded version from the album as most music videos do. This version of the song is also included on the "Closer" cassette single.The single was release in numerous CD versions with and as on limited edition 7", 9" and 12" vinyl records.

The American version of the "March of the Pigs" CD single contains two mixes of the title track, two remixes of The Downward Spiral tracks "Reptile" and "A Violet Fluid", however also included was a non-album instrumental track. In the UK, the single was released as a two-disc CD single with each CD sold separately, though also adding a censored radio edit of "March of the Pigs" and "Big Man With a Gun" from The Downward Spiral release. The disc art for this single features a curled-up millipede, an image that was later used on the cover of the single "Closer".

"March of the Pigs" peaked at #98 on the Australian ARIA singles chart.

Thirteen years after its release, it debuted at #9 and peaked at #6 on the Canadian Singles Chart.

March Of The Pigs (Lyrics)

Step right up, march, push
Crawl right up on your knees
Please greed feed (no time to hesitate)

I want a little bit
I want a piece of it
I think he's losing it
I want to watch it come down

Don't like the look of it
Don't like the taste of it
Don't like the smell of it
I want to watch it come down

All the pigs are all lined up
I give you all that you want
Take the skin and peel it back
Now doesn't that make you feel better?

Shove it up inside, surprise, lies
Stains like the blood on your teeth
Bite, chew, suck (away the tender parts)

I want to break it up
I want to smash it up
I want to fuck it up
I want to watch it come down

Maybe afraid of it
Let's discredit it
Let's pick away at it
I want to watch it come down

All the pigs are all lined up
I give you all that you want
Take the skin and peel it back
Now doesn't that make you feel better?

The pigs have won tonight
Now they can all sleep soundly
And everything is all right

Songwriters: Trent Reznor
© Kobalt Music Publishing Ltd.

7" vinyl (Limited Edition -Single sided - 5,000 numbered copies)

9" vinyl (Limited Edition - 5,000 numbered copies)

US CD

UK 2CD

More versions and info on DISCOGS!

Nine Inch Nails: March Of The Pigs (1994) from Nine Inch Nails on Vimeo.

Today 25 February , we mark the sad passing of Talk Talk front man Mark Hollis (25/02/19). One of the most acclaimed innovators of the eighties synth-pop and new wave scene, he rose to prominence with Talk Talk and steered the band until they disbanded in 1992.

They began life as a quartet, consisting of Mark Hollis-vocals/main songwriter, Lee Harris-drums, Paul Webb-bass guitar and keyboardist-Simon Brenner. Comparisons with Duran Duran were quickly shaken off, with a band name consisting of a repeated word, the two shared a glam rock and Roxy Music-inspired musical direction. They also shared the same producer in Colin Thurston although Talk Talk supported Duran Duran on tour in late 1981.

Their first single release-'Mirror Man', hit the streets in February 1982. The single bombed but was quickly followed by their self-titled single in April 1982 which reached No.52 in the UK. After the green shoots appeared the band released their debut album-The Party's Over released in July 1982.

The band had their first UK Top 40 hits with the singles 'Today' (No. 14) and the re-release of 'Talk Talk' (No. 23). These singles also were hits in other countries including Ireland, South Africa, Australia and New Zealand. The re-release of the 'Talk Talk' single reached the U.S. Top 75.

‘The Party's Over was a moderate success in the UK reaching No.21, though reaching top-ten in the UK. Though it was Its My Life in 1984, both the album and same-titled single which broke Talk Talk into the stratosphere of the mainstream.

The genesis of the band continued through lineup changes until 1991, through an experimental phase and the album dark and claustrophobic-Laughing Stock, Talk Talk disbanded, Hollis stated that he wished to focus more on his family.

He did however come back with a self-titled solo album in 1998, though well received Hollis more or less retired fully from music shortly after.

[Kevin Burke 25/02/19]

International EBM Day is an annual celebration dedicated to Electronic Body Music (EBM), a genre that blends elements of industrial, synth-punk, and electronic dance music. Marked on February 24th, this day serves as an homage to the genre’s origins, evolution, and continued impact on underground electronic music scenes worldwide. The date (24.2) is a direct reference to the iconic Belgian EBM band Front 242, one of the pioneering acts of the genre.

EBM emerged in the early 1980s, primarily in Europe, with bands like DAF (Deutsch Amerikanische Freundschaft), Portion Control, Front 242, Nitzer Ebb, The Klinik and Skinny Puppy shaping its sound. Characterized by pulsating basslines, repetitive beats, and aggressive vocal styles, EBM quickly gained traction in underground clubs, providing a harder-edged alternative to mainstream electronic music. Over the decades, it has influenced genres such as industrial, techno, and dark electro, maintaining a strong following in the global alternative music scene.

International EBM Day was unofficially recognized by fans and artists alike as a way to celebrate, promote, and preserve the legacy of this influential genre. With the advent of social media and digital platforms, the event has gained traction across the world, with enthusiasts sharing music, organizing club nights, and hosting virtual listening parties.

The continued recognition of International EBM Day highlights the genre’s resilience and its ability to adapt to new generations of listeners. Modern artists such as Suicide Commando, Youth Code, Sturm Café and The Juggernauts have brought fresh elements into the scene while staying true to its raw, rhythmic core. Additionally, festivals like BIMFEST (B), Familien Treffen (D), BodyFest (SE) and the yearly "International EBM day Festival" organized by Belgian non-profit organization BodyBeats Productions ensure that EBM remains a vibrant force within the electronic and industrial music communities.

By celebrating International EBM Day, fans reaffirm their passion for a genre that thrives on energy, movement, and rebellion. Whether through live performances, online discussions, or simply blasting EBM anthems, the day serves as a powerful reminder of the enduring influence of Electronic Body Music.