Twenty-Three years after the release of ‘Firestarter’, we find ourselves mourning the loss of the demonic figure of chaos which haunted that black and white video. Keith Flint was more than just a performer, he was capable of invading our minds both through the music of The Prodigy and the attitude of destruction that Flint could project. Not since the days of Johnny Rotten and Sid Vicious had a figure risen on the British music scene that stirred the same fear and controversy as Keith Flint. Music in the nineties has become split into two categories, the boy/girl band offering or the Brit-Pop sound, The Prodigy were what music was crying out for, what an audience-danger, an edge, all projected in front of infectious beats and venom soaked lyrics with the fiendish grin of Flint to spearhead it.

The Prodigy however, an outfit formed in Essex at the dawn of the nineties struck gold with all that followed ‘Firestarter’. A second lashing of apocalyptic intensity followed in ‘Breathe’, paving the way for one of the most essential albums of the twentieth century.
The eagerly anticipated-The Fat of the Land, the long-awaited follow-up to Music for the Jilted Generation was hailed as a musical savior rising from the grime of the streets. While the two singles-'Firestarter' and 'Breathe' had hit the number one spot in the United Kingdom, this was electronica, cultivated with the long established techno sound that would break the genre out of Britain and finally plant it on the world stage.

The Fat of the Land falls short of masterpiece status, but what it lacks in with context it makes up for in appeal. It delivered exactly what was expected of it, intense hip-hop-derived rhythms, meaningless spewed fragmented lyrics by Flint and Maxim and the added ingredient of clever reconstructed samples. In part the majority of the album does sound quite similar to 'Firestarter,' though Liam Howlett is an inventive producer, and he can make empty songs like 'Smack My Bitch Up' and 'Serial Thrilla' work and become addictive and infectious and even wholly original. The funky hip-hop of 'Diesel Power” and 'Funky Shit,' as well as the mind-bending psychedelic splurge of 'Narayan' stand out. With guests including Crispian Mills (Kula Shakur) and Saffron of Republica who does an intense, toe-curling version of L7's 'Fuel My Fire,' all these passengers on Fat Of The Land give the album a wider scope and a variation between tracks.

The Fat of the Land does not qualify apparently as a flat-out masterpiece, it doesn’t really need to, the context and the image it set out transcends at times the music, what it did do was introduce us to one of the most enigmatic figures of the last thirty years, Rest In Peace Keith Charles Flint (17 September 1969 – 4 March 2019).

I'm the trouble starter, punkin' instigator
I'm the fear addicted, a danger illustrated
I'm a firestarter, twisted firestarter
You're a firestarter, twisted firestarter
I'm a firestarter, twisted firestarter
I'm the bitch you hated, filth infatuated, yeah
I'm the pain you tasted, fell intoxicated
I'm a firestarter, twisted firestarter
You're the firestarter, twisted firestarter
I'm the self inflicted, mind detonator, yeah
I'm the one infected, twisted animator
I'm a firestarter, twisted firestarter
You're the firestarter, twisted firestarter
I'm a firestarter, twisted firestarter starter

[Kevin Burke 4/03/2019]

44 ago, In March 1982, Ministry's Cold Life 12-inch single was released in the UK through Situation Two, marking a significant moment in the band's early career. This release showcased a different sound from the industrial metal style that Ministry would later be known for, highlighting their early explorations into synth-pop and funk-infused electronic music.

The single features "Cold Life" as the A-side, a track that blends elements of funk and synth-pop, reflecting influences from 1970s funk and soul acts. The song was inspired by Al Jourgensen's experiences living in a predominantly African-American neighborhood in Chicago. The B-side includes "I'm Falling," a synth-pop song influenced by British post-punk acts such as The Sisters of Mercy and Killing Joke.

The single was initially released in late 1981 in the United States by Wax Trax! Records, featuring "I'm Falling" as the A-side and "Cold Life" as the B-side.

This track bears influences from British post-punk acts, with Jourgensen admitting that it was heavily inspired by bands like Joy Division and The Cure.

The Cold Life 12” single also includes a dub version of the title track, offering an extended, danceable rhythm with groovy basslines and syncopated beats. This release was an important milestone for Ministry, as it demonstrated Jourgensen's early musical explorations before the band fully embraced the industrial genre.

Over the years, Cold Life has been revisited as a curiosity in Ministry’s discography, offering a glimpse into the band’s transformation from a synth-heavy new wave act into one of the most influential industrial metal bands of all time.

Cold Life (12") Tracklist (Situation Two – SIT17T)

Cold Life - Lyrics:

Cold
Cold
Cold

You know the yolk it's spreading from
You laugh as people scatter 'bout
Surrounded by a veil of stars
You realize that your life is dark
Earth gets colder every day
If scientists could have their way
They'd study us from far away
And watch as people's minds decay

Cold
Cold
Cold

Your body's in the hands of fools
With swimming pools and low IQs
There's nothing to see, nothing to do
Buy your stocks and sell your jewels
Bill collectors stole my mail
My wife and kids are all for sale
I hope to god I go to jail
And no one can come up with bail

Cold life
Cold life
Cold life
Cold

Cold
Cold
Cold

I can't control my buried thoughts
The slightest thing makes me distraught
I'm like the people I once fought
My every action's being bought
Robot trainers earn their pay
As mutant kids go out to play
It's such a pretty, pretty day
With orange nights and days of grey

Cold
Cold
Cold

I've now become a nervous wreck
I'm getting closer to my death
I keep expecting my last breath
As all my friends just laugh and jest
The earth is such a filthy place
And human, such an awful race
And I'd rather live in outer space
Where death goes at a slower pace

Cold life
Cold life
Cold life
Cold

Cold life
Cold life
Cold life
Cold

Cold
Cold
Cold
Cold
Cold

By 1987, Siouxsie And The Banshees became more than a band, they were an almost institution. Their previous seven-albums had created a momentum of spectacular success, within a short few years Siouxsie And The Banshees were already cited as legendary.

The album the band released in 1987 must have came as a shock at first, Through The Looking Glass is an album of cover versions.
From the creative well that had thrown forth a back catalogue as strong as they had, this release on the surface may have seemed strange. Though they had successfully covered The Beatles Dear Prudence and even Helter Skelter in the past so they were no strangers to cover versions. In the end the album has become regarded as one of their finest works, a testimonial to the strength within the band.
Through The Looking Glass acts as a homage to their influences, songs carefully chosen to reflect the band members own childhood and teenage years, these had to ring true for Siouxsie Sioux to sing them and to believe in them. The album however transcends the normal tribute album,
Ralf Hütter of Kraftwerk hailed the version of 'Hall of Mirrors' stating-“In general, we consider cover versions as an appreciation of our work. The version of 'Hall of Mirrors' by Siouxsie and the Banshees is extraordinary'. Iggy Pop also highly praised The Banshees cover of 'The Passenger'. The mix of tracks from The Band’s “This Wheels On Fire”(The first single released), the Billie Holiday Civil Rights statement-“Strange Fruit. The Doors -“You're Lost Little Girl” and even the early Sparks classic “This Town Ain't Big Enough For The Both Of Us”.
Through The Looking Glass separates the two classics Tinderbox and Peepshow, it displays an extra dimension to the what the band can achieve. The tracks covered were honed, stylishly built and molded into The Banshees instantly identifiable style.

Through The Looking Glass (Original Track List)

This Town Ain't Big Enough For The Both Of Us
Hall Of Mirrors
Trust In Me
This Wheel's On Fire
Strange Fruit
You're Lost Little Girl
The Passenger
Gun
Sea Breezes
Little Johnny Jewel

DISCOGS

46 yeares ago, On March 1, 1980, Deutsch-Amerikanische Freundschaft (DAF) released their very first 7” single Kebabträume / Gewalt, marking a pivotal moment in the evolution of electronic and industrial music. This single, released via Mute Records (Catalogue number MUTE 005), encapsulated the band's early raw and aggressive style, blending minimalist electronics with politically charged themes.

Kebabträume (translated as Kebab Dreams) was originally written by Robert Görl and Gabi Delgado-López during their early days in the German underground scene. The song reflects on themes of immigration, surveillance, and the lingering impact of post-war Germany, particularly the fear of Stasi and totalitarian control. Its repetitive, pulsating rhythms and harsh electronic textures embodied the nascent EBM (Electronic Body Music) sound, later influencing bands such as Front 242 and Nitzer Ebb.

On the B-side, Gewalt (Violence) delivers an even more intense experience, with its pounding beats and stark, almost militaristic vocal delivery. The song captures the band's fascination with themes of authority, power, and rebellion, aligning with the provocative aesthetics of the post-punk and industrial movements of the time.

This release was one of DAF’s last recordings as a full five-member band before they transitioned into their iconic duo format. Shortly after, they would refine their sound into the more streamlined, danceable yet still confrontational style heard on their seminal Alles ist gut album (1981).

Though Kebabträume was later re-recorded in a more polished form, this 1980 single remains a raw and essential artifact of DAF’s early years, solidifying their reputation as pioneers of electronic avant-garde music.

DISCOGS

On February 28, 1984, 42 years ago, 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!