Alien Sex Fiend return with their ferocious new album. Packed with pounding rhythms, speaker-shredding guitars, squelchy synthesisers and, of course, Nik Fiend’s latest chainsaw-psychiatry outpourings, "Possessed" puts the Fiends back where they belong, at the top of their own rotten pile.
When we say ‘pins and needles’ today, you’ll think of that tingly feeling you get when your leg goes to sleep - but... Pins and Needles Day might not have its origins in what you think.
The original Pins and Needles Day started up in 1937 to commemorate the opening of the pro-Labor musical play of the same name on Broadway. The Broadway Play was produced by the International Ladies Garment Workers’ Union, and told the story of a group of workers holding down a job during the American Labor movement. The cast of the original production was made up of sewing machine workers, cutters and basters who simply wanted to do something a little creative in their free time. "Pins and Needles" was written by Harold Rome, a true Renaissance man who played piano in local dance bands. He produced "Pins and Needles", and created a legend that would live on through the ages while pursuing a form of social justice little heard of its time.
"Anarchy In The U.K." je prvi singl Sex Pistols, objavljen 26. novembra 1976. godine, kasnije objavljen i na prvom (i jedinom) studijskom albumu "Never Mind The Bollocks" (1977). Na listi 500 najvećih pesama rokenrola, magazina Rolling Stone, "Anarchy" se ugnezdila na broju 56, a našla se i na Rock And Roll Hall Of Fame listi 500 pesama koje su obeležile rokenrol. To je istovremeno i jedini singl koji su Pistolsi objavili za EMI; popeo se do #38 UK top-liste singlova, pre nego što je bend bio izbačen iz te izdavačke kuće. Na b-strani singla nalazi se pesma "I Wanna Be Me". Originalno, prvo izdanje je imalo jednostavan crn omot, bez ikakvog teksta. Daleko poznatiji omot (potonjih izdanja) ovog singla - i nekolicine drugih, kao i samog albuma - delo je poznatog britanskog umetnika/dizajnera Džejmija Rida, koji je poruku pesme vizuelno uobličio u pocepanoj UK zastavi (Union Jack) priheftanoj zihericama, sa natpisom sastavljenim od različitih slova - poput "ucenjivačkih pisama sa zahtevom za otkupninom" - što je kreiralo ultimatvni punk-rock imidž generacija. Stih "I use the enemy" se zapravo odnosi na magazin NME (New Musical Express), u kome je bila objavljena kratka kritika ove pesme: "Džoni Roten pojma nema da peva. Tekst je smešno naivan. Sve u svemu, očajna kopija The Who." Magazin NME se upecao i, poput drugih, samo dodatno podigao rejting Pistolsima. Malkolm Meklaren, tadašnji menadžer Pistolsa, za ovu pesmu je rekao kako je to "poziv na oružje svim klincima koji veruju da su im oduzeli rokenrol, to je manifest vladavine nad svojom sudbinom, objava ultimativne nezavisnosti". Bez ikakve sumnje, niko nije uspeo da šokira svet kao što su to učinili "Anarchy In The U.K." i Sex Pistols - niti će (Observer). Nakon 42 godine, od ekonomske krize sedamdesetih do suludog Bregzita 21. veka, ova pesma nije izgubila ni trunku svoje važnosti i snage.
"The Bela Session" is a full release of Bauhaus' first studio session from January 26 1979, where the iconic "Bela Lugosi's Dead" was recorded. This is the first and only official reissue of "Bela Lugosi's Dead" ('the ground zero of goth') on vinyl, and the first time 3 of the 5 tracks have been released. This EP has been produced directly by the band with Leaving Records, in advance of the band's 40th anniversary. "Bela Lugosi's Dead" was originally released by Small Wonder Records, 1979. "Harry" was originally released by Beggars Banquet, 1982. "Some Faces," "Bite My Hip," and "Boys (Original)" are previously unreleased.
(2018) Lydia Lunch has never concealed her influence for a certain kind of literature. With "Marchesa" she pays homage to the writing and stories of the Marquis De Sade who has always been a great inspiration for her. With this album Lydia transports us into a world of sadism, perversion and pleasure. Accompanying her in this literary voyage there is a background of dissonant sounds, distorted orchestration and ambient noises composed by Stefano Rossello (Bahntier, Ketvector) and by Lunch herself. A sensual and perverse homage to sadism, spirituality and fulfilment, it is certainly one of Lydia Lunch’s most complete and shocking works.
