Dirk Da  Davo, the driving force behind Belgium’s seminal electronic cult act The  Neon  Judgement, has officially unleashed Nothing  For  Nothing under his Neon  Electronics banner. This electrifying single, heralds a potent resurgence of Da Davo’s industrial‑dance vision.
A collaboration with longtime creative partner Glenn  Keteleer (aka Radical G) brings us a thunderous bass groove and Da  Davo’s signature guitar‑infused industrial edge, “Nothing  For  Nothing” channels the raw, unapologetic energy that defined Neon Electronics’ stage presence at festivals like Barcelona’s Ombra and Madrid’s MAD.
Clocking in at 4 minutes 12 seconds, the single reflects a period of introspection and rebirth following a four‑year creative lull. Neon Electronics had re‑emerged live only in 2023, and the overwhelming audience response inspired Da  Davo to resume studio, resulting in this dramatically dark yet danceable piece. Its release promises more new material later in 2025.
Musically, “Nothing  Fo r Nothing” fuses mechanical rhythms with haunting vocals—Da  Davo’s guitar and voice cutting through a synth and electronic backdrop sculpted by Keteleer. The production, co‑helmed by Keteleer and Da  Davo, brings crisp clarity to each ominous pulsing layer.
Neon Electronics began in 1999 as Da  Davo’s sideline to The Neon Judgement, but has since evolved into his primary creative outlet. Inspired by a shared vision with Keteleer and Theunis, the group has solidified its identity as a stylish, groove‑driven outfit rooted in post‑punk and industrial traditions.
As the single lands across all digital streaming platforms, fans around the globe raise expectations for the full-length work teased for release after summer 2025. If Nothing  For  Nothing is any indication, Neon Electronics is poised to reclaim its place in the avant-garde electronic dance scene.

www.dancedelicd.com/audio/neon-electronics-nothing-for-nothing

"Arabian Knights" is a standout single by Siouxsie and the Banshees, released on this day, 44 years ago, and taken from their fourth studio album JuJu. This track encapsulates the band's dark, gothic post-punk style, blending Siouxsie Sioux's distinctive vocals with evocative lyrics and atmospheric instrumentation.

"Arabian Knights" is characterized by its haunting melody, driven by John McGeoch's swirling guitar riffs and Budgie's rhythmic drumming. The production, handled by Nigel Gray, balances the eerie, echoing soundscapes with a tight, cohesive structure, making the song both haunting and memorable.

The lyrics of "Arabian Knights" delve into themes of Orientalism and critique the Western perception of Eastern cultures. Siouxsie Sioux's vocal delivery is both alluring and critical, weaving a narrative that challenges stereotypes and evokes a sense of mystery and intrigue.

Upon release, "Arabian Knights" was well-received, praised for its atmospheric sound and Siouxsie's enigmatic performance. It reached number 32 on the UK Singles Chart, cementing its place in the post-punk canon. The song remains a fan favorite and a testament to the band's innovative approach to music and lyrical content.

In summary, "Arabian Knights" by Siouxsie and the Banshees is a quintessential post-punk single that combines haunting melodies with thought-provoking lyrics, leaving a lasting impact on the genre and its listeners.

Siouxsie And The Banshees
Arabian Nights (7" Polydor – POSP 309)

Siouxsie And The Banshees
Arabian Nights (12" Polydor – POSPX 309)

*The 12" mix "Arabian Knights" is a different mix to the album and 7" version.

DISCOGS

Released in July 1980, 45 years ago, Cabaret Voltaire, initially composed of Stephen Mallinder, Richard H. Kirk, and Chris Watson, released their second studio album ‘The Voice Of America’ following their 1979 ‘Mix-Up’ LP. The Voice of America stands as a seminal work in the post-punk and industrial music landscape. This album by Cabaret Voltaire, a band hailing from Sheffield, England, showcases their innovative approach to sound and their critical perspective on socio-political issues. The album's mix of abrasive electronic sounds, tape manipulations, and dystopian themes firmly established Cabaret Voltaire as pioneers in the industrial music genre.

The album opens with "The Voice of America/Damage Is Done," immediately setting a tone of disquiet and urgency. The track's layered electronic textures and dissonant rhythms create an unsettling atmosphere, reflecting the band's discontent with contemporary socio-political climates. Richard H. Kirk's guitars and electronics, Stephen Mallinder's vocals and bass, and Chris Watson's tape manipulations combine to produce a sound that is both jarring and captivating.

Throughout the album, Cabaret Voltaire employs a wide array of sonic techniques that were groundbreaking at the time. Tracks like "Premonition" and "News From Nowhere" feature heavy use of tape loops, found sounds, and experimental production methods. These elements contribute to a sense of fragmented reality and media saturation, themes that are central to the album's conceptual framework.

The lyrics throughout The Voice of America are often cryptic and fragmented, mirroring the chaotic soundscapes. Stephen Mallinder's vocal delivery ranges from detached and monotone to aggressive and urgent, emphasizing the album's themes of alienation and dissent. The band's lyrics critique mass media, consumer culture, and political propaganda, reflecting their disillusionment with the state of the world at the time.

The track "Obsession" delves into themes of control and surveillance, a reflection of the growing concerns over government and corporate monitoring. "Messages Received" and "Stay Out of It" further explore these ideas, painting a picture of a society inundated with information yet disconnected from reality.

Produced by the band themselves, The Voice of America is characterized by its raw and unpolished sound. The use of rudimentary recording equipment and unconventional production techniques gives the album an edge that many contemporary recordings lacked. This DIY approach was not only a necessity due to budget constraints but also a deliberate aesthetic choice that aligned with the punk ethos of the time.

The album's influence can be seen in the works of many subsequent artists in the industrial and electronic music scenes. Bands like Nine Inch Nails, Ministry, and Front 242 have cited Cabaret Voltaire as a significant influence, particularly for their pioneering use of electronics and tape manipulation.

Upon its release, The Voice of America received mixed reviews. Some critics were put off by its abrasive sound and unconventional structure, while others praised it for its innovation and boldness. Over time, however, the album has come to be regarded as a classic, with its influence on the industrial genre being widely recognized.

The album's exploration of media manipulation, surveillance, and socio-political control has proven to be remarkably prescient. In an era where these issues are more relevant than ever, The Voice of America continues to resonate with new generations of listeners.

The Voice of America is more than just an album; it is a statement of resistance and a call to awareness. Cabaret Voltaire's use of abrasive electronics, found sounds, and experimental production techniques created a soundscape that was both innovative and reflective of the band's critical view of society. Despite its initial polarizing reception, the album has endured as a crucial work in the history of industrial music, influencing countless artists and continuing to challenge listeners with its uncompromising vision.

The Voice Of America - LP/CD ROUGH 11

DISCOGS

On this day, 9 years ago, the electrifying debut album "The Juggernauts Are Coming" was released by the Belgian EBM band The Juggernauts. Released on July 22 2016, by the renowned Berlin Out Of Line Records, this album marks a significant entry into the electronic body music scene, showcasing the band's raw energy and innovative sound. It was produced and recorded by BORG (aka Peter Mastbooms) and Glenn Keteleer (Radical G.) at Radical G. studios.

The album contains 10 songs and is characterized by its hard-hitting beats, aggressive synth lines, and commanding vocals. It draws heavily on the traditional EBM sound while incorporating modern electronic influences. Critics praised "The Juggernauts Are Coming" for its powerful production and unapologetic intensity. It quickly gained a following among EBM enthusiasts and solidified The Juggernauts' place in the genre. "The Juggernauts Are Coming" is a must-listen for fans of EBM and electronic music. Its relentless energy and critical social commentary make it a standout debut that continues to resonate in the electronic music community.

The Juggernauts - The juggernauts Are Coming (CD OUT 802)

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On this day, 42 years ago, The Cure performed their single ‘The Walk’ on BBC's Top Of The Pops (July 22nd 1983). Initially released as a stand-alone single in July 1983, it almost immediately became the title track of a six-track 12” EP.

The song became The Cure's biggest UK hit to this point, peaking at #12, and their first entry into the UK top 20.

At the time of recording The Cure was briefly reduced to the two founding members Robert Smith and Lol Tolhurst following the departure of bassist Simon Gallup following the end of the band's previous tour in support of the album Pornography (1982).

Created using relatively new electronic equipment, the Oberheim OB-8 synthesizer and DMX drum machine, the genesis and recording of the track - though not the release date - predates New Order’s Blue Monday. Similarities between the tracks are likely the result of experimentation with similar equipment.

This ‘just out of the box’ experimentation is best illustrated by listening to the opening of ‘The Walk’. The synth note that gives the track its distinctive discordant feel was the result of a stubborn piece of keyboard programming the band found impossible to remove.

The Walk

I called you after midnight
Then ran until I burst
I passed the howling woman
And stood outside your door

We walked around the lake
And woke up in the rain
And everyone turned over
Troubled in their dreams again

Visiting time is over
And so we walk away
And both play dead then cry out loud
Why we always cry this way?

I kissed you in the water
And made your dry lips sing
I saw you look
Like a Japanese baby
In an instant I remembered everything, everything, everything

I called you after midnight
Then ran until my heart burst
I passed the howling woman
And stood outside your door

I kissed you in the water
And made your dry lips sing
I saw you look
Like a Japanese baby
In an instant I remembered everything, everything, everything

Take me for a walk
Take me for a walk
Let's go in the water
Take me for a walk

Songwriters: Robert James Smith / Laurence Andrew Tolhurst
© Universal Music

DISCOGS > 7”

DISCOGS > 12” EP