On this day, exactly XXXYEARS years ago, Nitzer Ebb released ‘Control I’m Here’ (MUTE71). It was the first single taken from their second and upcoming studio album ‘Belief’ (STUMM 61- release date: 09.01.1989).

It reached position 100 in the UK Single Chart and position 14 the US Dance chart.

Control I’m Here (CD) - Tracklist

Control Im Here (Zero Option Mix)
Control Im Here (Instrumental Club Mix)
K.I.A.
Control Im Here (Hardcore Mix)

Control i'm Here - Lyrics

we close our eyes
close them in your dreams
close them in your home
i'm here to stay
i won't go away

you don't need me i'll slip away
you can there me i'm not to say

you'll hopin that i'll buy you
i'll slip into your open mouth
shut the door

control i'm here

Songwriters: McCarthy / Halford

DISCOGS

On this day, 41 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

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]

The 7” single Baby Turns Blue, by Irish band Virgin Prunes, turns 39 ! It was released on 9 October 1982 and was the preliminary single for their iconic upcoming album … If I Die, I Die, also released by Rough Trade Records one month later. The single as well as the whole album were produced by Colin Newman of Wire. The remixed 12' version was retitled “The Faculties of a Broken Heart”.

Baby Turns Blue (UK 7' single RT 119)

1. 'Baby Turns Blue' – 3:43
2. 'Yeo' – 2:17

Baby Turns Blue (UK 12' single RT 119T)

1. 'The Faculties of a Broken Heart (What Should We Do If Baby Turns Blue)'
2. 'Chance of a Lifetime'
3. 'Yeo'

Baby Turns Blue

Mary be so proud, things like that are'nt allowed,
To take your own life, stab it with a knife.
They put you in a box, they send you to heaven, heaven.
Oh what to do, not to feel and who are you?
Oh what to do, not to feel and who are you?

Give me money, give me sex,
Give me food and cigarette.

Oh what to do, not to feel and who are you?
Oh what to do, not to feel and who are you?
What should we do if baby turns blue?

You broke my heart, it came in two.
The faculties of a broken heart.

I go out on Monday, looking for a Tuesday.
Nothing ever makes such sense.
You don't seem to make much sense.
Shooting out in someone's dream.
Shooting out in something else.
It was an accident, I didn't mean it.
It was an accident, I didn't mean it.

Oh what to do, not to feel and who are you?
Oh what to do, not to feel and who are you?
What should we do if baby turns blue?

John had a bomb and he lit his head,
Went to bed for seventeen weeks,
Took too many drugs, now he don't eat.
They put you in a box and send you up to heaven, heaven.

Oh what to do, not to feel and who are you?
Oh what to do, not to feel and who are you?

Give me money, give me sex,
Give me food and cigarette.

Oh what to do, not to feel and who are you?
Oh what to do, not to feel and who are you?

What should we do if baby turns blue?

DISCOGS

Electro-pop artist EVA X has just unveiled the new video for her single "Machine." The video was directed, shot and edited by Erik Gustafson (GRENDEL / ADORATION DESTROYED).

About the song: "Machine" is the first look at EVA X's upcoming album I Dream Of A Reality. EVA X has the following to say about the song and its story:

"I have a complicated relationship with my body. I do love it, but sometimes I wish it was different. I wrote "Machine" in a vulnerable spot, when I'd have given anything to feel beautiful like other women on social media. Chasing that aesthetic with injections and makeup was powerful, but also scary- I could create the face and body I wanted, but what would happen when it wore off?

I took all of these tangled feelings and poured them into "Machine". When I brought the demo to my co-producers, Shane and Adam immediately jumped on it, bringing it to life with a frenetic energy that captured perfectly how alluring and isolating that illusion can be.

In the music video, I wanted to explore what being beautiful in the alternative community looks and feels like, and how far we go for aesthetics. I taught myself choreography to capture the movement I wanted. Erik and I designed a video that captured both the sexiness I wanted and the reality of cutting and injecting ourselves for it."

For Fans Of: GRIMES, AYRIA, POPPY

www.facebook.com/evaxband