This year Bodybeats starts celebrating the International EBM day one day earlier!
After the success of their very first edition of International EBM day earlier this year, BodyBeats Productions have decided to repeat this feast in 2019. Although their first edition was very international, with acts like Plastic Noise experience (D), Pankow (IT), they chose this time to have a 100% Swedish line-up by inviting some the best EBM/Electro acts Sweden has to offer these days.
As the title already gives away this is the annual day on which EBM fans from all over the world celebrate their beloved music genre, Electronic Body Music! A dark but pounding music style, maybe not so much invented by Belgium's EBM pride, Front 242, but definitely most finely-tuned and exploited by them. Hence the date on which EBM fans over the whole world celebrate International EBM day, 24th of February or >24.2<
However in 2019, as 24th February is a Sunday and since most of you need to appear tidy and fresh at work on Monday, BodyBeats Productions decided to start celebrating International EBM day early on Saturday 23.02.
So this is the date to mark in your agenda and to come celebrate International EBM day! And as BodyBeats Productions say themselves: Don't expect Kraftwerk, DAF or the aforementioned pioneers but rather a fine selection of their legacy!
So let us introduce to you this year's 100% Swedish line-up in short!:
WULFBAND are from the Swedish capital Stockholm. Founded in 2014 by a masked duo who sing / shout in German and officially call themselves Sieben & Neun. For reasons that are not our affair, the band prefers to work with an anonymous creative image instead of putting their personal identities forward. As far as the music is concerned, it can be argued that it is inspired by the early post-punk DAF and when you feel the urge to comment on their German pronunciation, know well that these gentlemen are quite capable of inflicting serious damage... whether or not auditory... Wulfband describe their music as "Gewalt-Tanz und Angriffe gegen Alles"
ALVAR does not need an introduction to the regular BodyBeats followers, as they performed twice already for them in 2017. The first time they played the Dark Demons night (Antwerp) where they overwhelmed friend and foe, claiming their well deserved opening spot at BIMFEST 2017. At BIMFEST they also caught the crowd's attention with ease. According to some, their music is situated between dark, sometimes lingering, dark electronics and sometimes pounding EBM. Connoisseurs even claim their music to be reminiscent of early releases of the cult label Cold Meat Industy.
NO SLEEP BY THE MACHINE stands for energetic and pumping live performances, so no wonder they have also played BIMFEST before, in 2013. Their music is rather like an uncompromising complaint against injustice and fight for more freedom in our society. Now, after several years of inactivity, the band is back and is working hard on a new album. In the meantime you can still discover their pretty fantastic previous albums Close, Quadrilateral and Splice on their Bandcamp.
SEVERE ILLUSION was founded in 2000 by Fredrik Djurfeldt and Ulf Lundblad and have released five albums, an EP and more since. It's clear this band is also popular outside their home country, as proven by the impressive list of the band's outbound performances over the years... Germany, Russia, Chile, Hungary, Ukraine, Slovenia, Poland, Czech Republic, UK, Uruguay, Brazil, Canada and Denmark... and now for the second time in Belgium! Their mix of dark harsh electro with EBM influences draws many to the dance floor.
Of course, this EBM feast would not be complete without a pounding after party by Bodybeats resident DJ BORG.
23.2 INTERNATIONAL EBM DAY @ De Casino, St-Niklaas, B (Tickets, media & Info)
Check in on Facebook HERE!
Na het succes van de allereerste editie van de Internationale EBM-dag, besloot BodyBeats Productions dit event te herhalenin 2019. Hoewel de eerste editie heel internationaal was, met groepen als Plastic Noise Experience (D), Pankow (T), kozen zij deze keer voor een 100% Zweedse line-up door enkele van de beste EBM/electro acts uit te nodigen die Zweden vandaag de dag rijk is.
Zoals de titel al aangeeft, is dit de dag waarop BodyBeats en vele andere liefhebbers van elektronische muziek één van hun geliefde muziekgenres eren en vieren, Electronic Body Music of kortweg EBM, een eerder donkere maar uiterst dansbare en beukende muziekstijl. Al was onze nationale trots FRONT 242 misschien niet helemaal de uitvinder van EBM, toch is het genre zonder twijfel door hen gefinteuned en hebben ze ervoor gezorgd dat EBM wereldwijd bekend en gesmaakt werd. Vandaar ook de datum waarop fans over de hele wereld 24 februari (24.2) uitgeroepen hebben tot Nationale EBM-dag. Omdat in 2019 24 februari op een zondag valt en iedereen op maandag fris en monter op het werk verwacht wordt, besloor BodyBeats Productions wat vroeger te starten met de festiviteiten, op 23 februari.
Verwacht op dit event geen Kraftwerk, DAF of de eerder genoemde pioniers maar een mooie selectie van hun nakomelingen!
Laat ons de 100% Zweedse line-up van 2019 kort voorstellen:
WULFBAND is afkomstig uit de Zweedse hoofdstad Stockholm en werd opgericht in 2014 door een gemaskerd duo dat in het Duits zingt / schreeuwt en zichzelf officieel Sieben & Neun noemt. Om redenen die onze zaken niet zijn, wil de band liever met een anoniem creatief imago werken eerder dan hun persoonlijke identiteit voorop te stellen. Wat de muziek betreft, kan men stellen dat die is geïnspireerd door de vroege postpunk DAF, en moest u eraan denken commentaar te geven op hun mischien niet altijd perfecte Duitse uitspraak, weet dan goed dat deze heren behoorlijk in staat zijn om ernstige schade aan te richten... Al dan niet auditief... Zelf beschrijven ze hun muziek als "Gewalt-Tanz und Angriffe gegen Alles"
ALVAR heeft voor de vaste BodyBeats aanhangers geen introductie meer nodig want deze Zweden traden in 2017 al twee maal voor BodyBeats op. De eerste keer op de preselectie Dark Demons (Antwerpen) waar ze vriend en vijand overdonderden en zo hun wel verdiende plaatsje op BIMFES 2017 opeisten. Ook op BIMFEST wisten zij als opener met gemak de aandacht van het publiek op te eisen. Hun muziek situeert zich volgens sommigen tussen donkere soms slepende donkere elektronica en beukende EBM. Kenners beweren zelfs dat hun muziek aan de vroege releases van het cult label Cold Meat Industrial doet denken.
NO SLEEP BY THE MACHINE staat garant voor een energieke pompende live-performance en stond om die redenen al in 2013 op BIMFEST. Hun muziek is eerder een compromisloos betoog tegen onrecht en voor meer vrijheid in onze samenleving. Na enkele jaren inactiviteit is de band nu weer terug en wordt er hard gewerkt aan een nieuw album. Ondertussen kan u wel al eens de lichtjes fantastische voorgaande albums Close, Quadrilateral, Splice gaan ontdekken op hun bandcamp.
SEVERE ILLUSION werd in 2000 opgericht door Fredrik Djurfeldt en Ulf Lundblad en bracht ondertussen vijf albums, een EP en meer uit. Dat deze band ook graag gezien is buiten hun thuisland Zweden bewijst het palmares van buitenlandse optredens van de band door de jaren heen. Zo stond Severe Illusion al op het podium in Duitsland, Rusland, Chili, Hongarije, Oekraïne, Slovenië, Polen, Tjechië, UK, Uruguay, Brazilië, Canada en Denemarken en nu voor tweede maal in België! Hun mix van donkere electro met EBM invloeden doet menige dansvloeren vollopen.
Natuurlijk zou dit feestje niet compleet zijn zonder een afterparty met beukende beats en waves gedraaid door resident DJ BORG.
Tickets, media & Info:
23.2 INTERNATIONAL EBM DAY @ De Casino, St-Niklaas, B
Check in on Facebook HERE!
Plastic Passion | This Day 39-Years Ago-The Cure Release Boys Don’t Cry
Today, in 1980 The Cure breakthrough with their second release, ‘Boys Don’t Cry’.
It also marked the first release by the band into the American market, this album heralded the arrival of The Cure into the international market.
Amid the albums thirteen-numbers, the collision between the bleak and haunting comes to the surface in the upbeat and beautifully-brilliant title track- 'Boys Don't Cry'. This is pure pop, a departure and surprise installment in the canon of Cure standards. With in infectious guitar lines and Smiths pitiful mourning for the girl that is lost, proving the point there was more to this band than displayed on their debut.
And then there is the tense-paranoia that translates through the albums lead single, ‘Killing An Arab, although predating the album by over a year, the song still has the same impact as it did over forty-years since its release whilst still raising the same controversy in the post-9/11 world.
“Standing on a beach with a gun in my hand/Staring at the sea Staring at the sand Staring down the barrel at the Arab on the ground.'
Indeed, including ‘Jumping Someone Else’s Train’, all three singles seen release before the album did. ‘Boys Don’t Cry’ is a solid Post-Punk album, although at times hard to pigeonhole it into one particular genre it is a raw display of melancholic lyrics, submerged in a mesh of catchy melodies that unwillingly plant themselves inside your brain. In reflection ‘Boys Don’t Cry’ mirrors the feeling within the band towards what they saw as the state of the music culture of the time.
Despite their reputation for cavernous gothic misery, ‘Boys Don’t Cry’ presents a lighter and sprightlier take on the punk sound that avoids the political grandstanding of the earlier, angrier-punk bands.
The dark edge conveyed by the band runs from the ironic title track to the chorus-heavy album closer- ‘Three Imaginary Boys’, a gothic portrait of solitude put to music.
“See the cracked reflection
Before the bedroom mirror
Over my shoulder
But no one's there
Whispers in the silence
Pressing close behind me
Pressing close behind
Can you help me?”
Original 1980 Track List:
1. 'Jumping Someone Else's Train' – 2:58
2. 'Boys Don't Cry' – 2:37
3. 'Plastic Passion' – 2:15
4. '10:15 Saturday Night' – 3:40
5. 'Accuracy' – 2:16
6. 'Object' – 3:03
7. 'Subway Song' – 1:54
8. 'Killing an Arab' – 2:22
9. 'Fire in Cairo' – 3:21
10.'Another Day' – 3:43
11.'Grinding Halt' – 2:49
12.'World War' – 2:36
13'Three Imaginary Boys' – 3:14
Kevin Burke Jan ‘19
Television producer Ryan Murphy (American Horror Story, American Crime Story, Pose, Glee) recently announced a new Netflix TV drama series called Ratched !
The show is based on One Flew Over the Cuckoo's Nest written by Ken Kesey. The prequel centers around the sociopathic nurse Mildred Ratched who Murphy once called 'a femaler Lecter'. Ratched is a 'feminist horror story', Murphy added. There will be 2 seasons so far with 18 episodes.
Lead actress Sarah Paulson now announced on her Instagram that the shooting is set to start on Wednesday, 2/6/2019. Furthermore, she revealed another cast member: Rosanna Arquette joins the show! Arquette, who was one of the first women to publicly speak out against film producer Harvey Weinstein, will be playing a 'multi-episode arc' in the series.
Besides Paulson and Arquette, the cast includes Jon Jon Briones, Charlie Carver, Judy Davis, Harriet Harris, Cynthia Nixon, Hunter Parrish, Amanda Plummer, Corey Stoll, Sharon Stone and Finn Wittrock.
Ryan Murphy is expected to direct the pilot and executive produce alongside Michael Douglas, Aleen Keshishian, Margaret Riley and Jacob Epstein.
Evi Vine previews 'My Only Son' single ahead of 'Black Light White Dark' album!
London's ethereal alt-rock outfitt Evi Vine presents her new single 'My Only Son', a touching track that was inspired by a close friend's suicide. Writing this song helped her work through her pain. The video for this track was shot by Phillip Clemo, Colin Gary & Tim Shepherd, and directed by Phillip Clemo.
This is the second single from her new album 'Black Light White Dark', which releases on 22nd February. This follows up the first single 'Sabbath' featuring The Cure's Simon Gallup on bass and Peter Yates of Fields of the Nephilim on guitar. The accompanying video was created by Craig Murray, known for his extensive work with Mogwai.
Produced by Dave Izumi (Nordic Giants, Ed Harcourt, Magic Numbers) and mixed by Phill Brown (Talk Talk, Jimmy Hendrix, Led Zeppelin, John Martyn, Robert Palmer), this album also features contributions from other celebrated artists, including Martyn Barker (Shriekback, Billy Bragg, Marianne Faithfull, Goldfrapp) and Geraldine Swayne (Faust).
As a group, Evi Vine is joined by Steven Hill, Matt Tye and David 'GB' Smith. Their music explores the dark elemental nature of the human heart, as well as environmental and post-apocalyptic themes. Sublime and haunting, they create a unique and uncompromising atmosphere with gossamer vocals and precise orchestration. Reverential, physical music, it evokes a rare experience that is beautiful, sparse and deeply intimate.
Keep up with Evi Vine
Website | Facebook | Bandcamp | Instagram | YouTube
On Saturday 20th April 2019 EVI VINE will perform at Black Easter 2019, Zappa, Antwerp(B).
Other artists performing at Black Easter are Clan of Xymox, Goethes Erben, Hackedepicciotto, Monica Richards, Your Life On Hold, Jo Quail, Daemonia Nymphe, The Breath Of Life & Sieben.
Click here fore info about Black Easter 2019
One of the most unlikely of combinations-Phil Spector, maestro of the 1960s production era and The Ramones, trailblazers of the 1970s New York Punk scene, joining forces to create an album.
But yes it happened, on the fourth-of February 1980 the joint venture 'End Of The Century' saw a release, closing a chapter in the studio exploits of Spector and as some say the most productive era of the Ramones.
The albums conception harked back to the band's third album the 1977 release 'Rocket To Russia', Spector after seeing the band perform offered to help produce the album and oversee the creative process they were using at the time, in the spirit of Punk he was turned down flat due to the Ramones allegiance to Tommy Ramone,who at the time was co-producing the album with Tony Bongiovi.
Come 1979 Tommy had left the fold completely, with bad sales for all previous four albums and a desire to break into that mainstream market, releasing albums that were and still are highly influential but did not translate to strong sales.
The Ramones now taking Spector up on his offer, an idea or collaboration nobody seen coming and so it is begins the stuff of legend.
To start with The Ramones self titled debut album cost a little over six thousand dollars to make, the second,'Leave Home' cost ten thousand dollars and now along comes Spector with a budget of two hundred thousand dollars.
The possibilities were limitless but were needed for a band consisting of a control freak guitarist, an OCD suffering singer, a drummer who liked the odd drink and a bass playing-songwriter who alone took enough heroin to keep Pablo Escobar in a job.
The Ramones were relocated to Spectors Gold Star Studio in Los Angeles, famed for the music produced by The Beach Boys more so than the thundering dynamo of Punk but nonetheless recording started,...well sort of.
After almost two weeks and playing for over twelve hours a day, nothing had being put to tape.
Spector’s perfectionism in overdrive was overwhelming to the Ramones- endless mike placing, listening to the same drum beat repeatedly and of course the endless playing of one chord,heard in the opening of 'Rock N Roll High School', began to slowly pull the band into the madness that was the world of Phil Spector.
At certain points it seemed Spectors approach was focused more on the singer Joey Ramone than the band as a whole. After all the top-ten UK single taken from the album-'Baby,I Love You' featured Joey,?an orchestra and no other member of the band.
Although a master stroke in a business sense by Spector as he was also a co-writer on the track originally recorded by his all female act-The Ronnettes.
The question of how much of the Ramones apart from Joey appears on 'End Of The Century' is also questionable. The session drummer and Travelling Wilbury Jim Keltner appears on the album. So to does the combination of brothers Dan and David Kessel-the guitarists Spector had worked with before on the Leonard Cohen venture 'Death Of A Ladies Man'.
The same can be said for organist Barry Goldberg, a longtime collaborator with Spector but with this information in mind you feel that a second band was formed to make the album sound professional and not rough around the edges, which was the charm of Punk, not perfect but then again a reflection of life.
The hit single in a way works and the production is flawless making the most of Joeys sarcastic snarling Punk vocal.
Further tracks on the album galvanise the masterpiece it is, make no mistake this is a brilliant record. With the track 'Chinese Rock' recorded back in 1976 by Johnny Thunders and the Heartbreakers although originally wrote by Dee Dee and Richard Hell, this was the perfect song to showcase the force of the Ramones.
The same can be said to Dee Dee’s nostalgic look back at life growing up in Germany and his only friend, the radio.
'Do You Remember Rock N Roll Radio?', the albums opener and a stomper with the distorted radio sound that heralds the track but it also name drops influences of the Ramones including T.Rex and Jerry Lee Lewis.
The follow up to the song- ‘Judy Is a Punk', ‘The Return of Jacky and Judy' continued to display their punk beginnings so not to sell out too much on this record, but this was the heart of the conflict between Spector and the band, who would have been happy with one or two hits on the album, Phil wanted to make every track a hit.
The album cover alone was a change in direction, gone were the Ramones standard issue uniform of ripped jeans and leather jackets, replaced with different coloured shirts.
This stripping of the bands natural order made for an uncomfortable looking cover, even the scowl of Johnny was more compounded than usual.
Here we come to the crux of the matter,yes the Ramones created hits from their work on 'End Of The Century', but they found it an uncomfortable experience, maybe the success of the Sex Pistols release made them ask "where is our success?",
after all they were the band that the Pistols and so many others emulated.
A band like The Ramones would never be a band who would create hits, they were the outsider musicians not built for chart acceptance or appeal, rejecting all in society and in turn being rejected by society.
Their influence outweighs, like so many others, record sales, they were important as any other band in creating a new wheel in music and turning it to an extremely loud affect.
Kevin Burke January ‘19