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]

Shout out to all Eager bands & artists out there!

Want to present your music to a live audience? Grab your chance! Who knows — you might even end up playing the renowned BIMFEST in December!

Some weeks ago, Body Beats Production Belgium proudly announced the return of Dark Demons Night, set to ignite the Belgian dark music scene on May 1st, 2026.

Dark Demons Night has built a strong reputation among fans of industrial, dark electro, EBM, and gothic music. The 2026 edition continues that tradition, giving artists the opportunity to present their work to a live audience under the best possible circumstances. Until February 28th at midnight, bands and projects can apply via the Body Beats website (www.bodybeats.be) for a chance to be part of this exclusive event.

From all applications, six selected candidates will be chosen to perform live on May 1st. Each act will showcase its sound, stage presence, and creative identity in front of a dedicated audience and industry supporters. The night promises pounding basslines, haunting melodies, and raw electronic power — all wrapped in Body Beats’ signature high-quality production, immersive visuals, and intense atmosphere.

But the stakes are even higher! Two bands will be chosen by the audience during Dark Demons Night 2026 to earn a prestigious opening slot at BIMFEST 2026, taking place on December 4th & 5th at De Casino, St-Niklaas. This unique opportunity offers emerging acts the chance to perform on one of Belgium’s most respected alternative festival stages.

With its blend of competition, community, and uncompromising dark music, Dark Demons Night 2026 is set to become a key moment in the alternative calendar.

Artists: this is your chance.
Fans: your vote will shape the future of the scene.

Prepare for a night where darkness meets opportunity — and where new demons rise.

www.facebook.com/events/1940067539931668

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, Spike Hellis 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.

Today, it’s 48 years ago (23 February 1978) that renowned BBC DJ John Peel broadcast the second John Peel session recorded by Siouxsie & The Banshees on 6th February at the BBC studios in Maida Vale.

At the time of broadcast all songs where previously unreleased. In fact, their very first release, the 7” Hong Kong Garden, was only released on 18th August that same year.

In 1989 these studio recordings were released by the Strange Fruit label.

The John Peel Sessions (The Second Session)

Tracklist:
Hong Kong Garden
Overground
Carcass
Helter Skelter

Discogs

The severed alliance of Johnny Marr and Morrissey which exists today seemed a million miles away from the creative force that once was, 42 years ago.
On the 20th of February 1984,-35 years ago today, The Smiths self-titled debut album hit the streets. The legend was quickly born and fully impacted as the album debuted on the UK charts at number two. It was at this moment that The Smiths heralded their arrival onto the international music scene. From this point and over the next four-years they would become the dominant force on the indie and alternative music scene.

Preceded in January by the teaser single-‘What Difference Does It Make?’, supposedly Morrissey’s least favourite single, the song did however build the momentum for what was to come, hitting a high of number-twelve in the charts. The previous singles, one included here, ‘Hand In Glove’, had failed to make an impression on the charts, although the beautiful single which sparkled of Marr’s fully recognized guitar orchestra, did however catch the eye of the critics and media, they had already tipped something big from this band, thankfully they were right.

The second single ‘This Charming Man’ faired better but only broke the top-30. Such a staple of Smiths songs failed to break the top-twenty seems strange now but the public had not fully caught on. Though not originally on the album, ‘This Charming Man’ however did appear on U.S versions of the album distributed by Sire Records.

The Smiths could very well be the most significant release of the eighties. Setting a tone for the rise of other such bands at the close of the decade, unsurprisingly from the same area of Manchester-The Stone Roses, The Happy Monday’s and what came to prominence in the nineties Brit-Pop era owe a debt of gratitude to not only The Smiths as a band, but the foundations they laid in a short four-years.

The Smiths (Original 1984-Rough Trade Track List):

Side A

1. "Reel Around the Fountain" 5:58
2. "You've Got Everything Now" 3:59
3. "Miserable Lie" 4:29
4. "Pretty Girls Make Graves" 3:44
5. "The Hand That Rocks the Cradle" (quotation from "Sonny Boy" by Ray Henderson, Lew Brown and Al Jolson) 4:38

Side B

6. "Still Ill" 3:23
7. "Hand in Glove" 3:25
8. "What Difference Does It Make?" 3:51
9. "I Don't Owe You Anything" 4:05
10. "Suffer Little Children" 5:28

DISCOGS

[Kevin Burke - Feb 2019]