With Tracks From the Attic Revisited, David J Haskins does far more than dust off abandoned material. The album turns forgotten demos into living works, shaped by distance, experience, wit, and a willingness to let old songs evolve rather than remain sealed in amber. In this conversation, David J – the Bauhaus, Love and Rockets, and solo artist – reflects on rewriting the past without romanticizing it, the mischief and melancholy running through the record, the creative freedom of collaboration, and why songs, unlike paintings, are never truly finished. David J also looks ahead to new releases, visual art, and an ambitious stage project inspired by Egon Schiele.

David J interview

Q: Tracks From the Attic Revisited feels less like a return to old material and more like a conversation between different versions of yourself. When you began working on these songs again, did you feel more like their original author, their editor, or almost their collaborator from another lifetime?

David J: That’s a really good way of putting it. I never thought of it in that way, but it is like the latter, in a way. Yes. How interesting. What an interesting take on it. Yeah, it was like that because it’s so long ago and I’m so divorced from that person, although I still have connecting factors. But also the songs, when I listened to those songs again after laying them aside, really, with most of them, I had only listened to them a couple of times when I was writing them, and then I just put them away and never listened to them again. So I was not familiar with the material, even though I was the one who authored it. So it was a very different experience going back to these songs and then reimagining them. But when I was first appraising them, when we were putting together the Tracks From the Attic collection, ideas would occur to me just listening to them, and I would think, oh, if I’d fully made this, fully realized it, I would have done this or I would have done that. Just in the structure of some of the songs, I would listen to them and think, oh, I would do that differently. I would change this. I’d drop a couple of verses there or add a chorus here. So the process had been initiated right from the start when I first was appraising these old demos.

Q: You described the original attic recordings as neglected seeds and the new album as the bloom. That image is very beautiful, but gardening also involves pruning, patience, and loss. What had to be cut away for these songs to become fully themselves now?

David J: Well, yes, quite a bit. As I said, it’s just part of the process of honing and crafting. Over the years, I’ve learned a lot about that, and so I applied that knowledge to the reimagining of these songs. It was not painful at all. I would make a snip here and a snip there, but it was just, oh, that’s necessary in order for this little rose to bloom. I did tweak some of the lyrics. In some cases I made them more contemporary, more relevant, because there were some references that were very much of the time when I wrote them in the ’80s and ’90s. I referred to people and situations that were relevant then. And so in order to make them contemporary, I made those changes here and there.

Q: Can you give an example?

David J: For example, in “New Year’s Day” I refer to Patrick Walker. It’s a rather sardonic verse where I talk about “what does Patrick Walker say?” about the future. Patrick Walker was a famous astrologer in the newspapers in England in the ’80s and early ’90s. I thought, well, Patrick Walker is not even around anymore. Nobody knows who Patrick Walker is. Maybe some people from my generation remember him. So I thought, who’s the equivalent today? So I put in Lisa Stardust.

Q: Is she also an astrologist?

David J: Yeah. In the original, I say, “Pass the paper” at the start of the verse, “Pass the paper, what does Patrick Walker say?” So in the new one I write, “Pass the smartphone, what does Lisa Stardust say? Lisa Stardust and her well-informed friends have run away.” That’s an example. Another example is in “I Wish Those Spacemen Would Come,” where I’m referring to Ronald Reagan. It felt appropriate to change the reference to Donald Trump, so “The corporation conmen have crowned a cowboy king for a day” became “The oligarchs and tech bros have crowned a conman king for four years.”

Q: There’s also another kind of change on the album, hearing the songs move from intimate home recordings into fuller ensemble arrangements with the musicians you invited into the collaboration. What did working with this group of artists make possible emotionally or musically that solitude could not?

David J: Well, it’s very much an extension of the palette. They brought different colors to it, so they made the painting that much richer. I always encourage the musicians I work with to be themselves and to bring their own creativity to bear. I instruct them to a degree, but I also let them have their own opportunity for self-expression. That’s what it’s all about. So they brought, I mean, they’re all great players and they all brought their expertise to bear. It was great because they were very much into the songs and the material, and I think that enthusiasm is very evident on the recordings. They were into it.

Q: And when you choose the artists to collaborate with, what makes you pick this or that artist and not somebody else?

David J: Well, I have a core group that I’ve been working with for, God, getting on for 20 years. They are my go-to guys. Although there was a new addition, an amazing guitarist I’ve been working with of late, Jason Roberts from Spoon. I’ve been working with him on my new album that’s coming out later this year, a double album. So we already had a musical relationship that was ongoing, and for this material I thought he would be perfect as well. Just the way he plays and his style would suit the material very much. And it did.

Q: There is this title that I profoundly like, “If Muzak Be the Junk Food of Love.” I have a feeling it is very you: witty, elegant, but also slightly subversive. Has revisiting these songs changed your relationship to irony at all? Do you hear them now with more tenderness, more distance, or even more mischief?

David J: More mischief, yeah. Kind of mischievous anyway. There is that element there and this sort of sardonic element to them. But they’re also very romantic as well. It is the juxtaposition of those kinds of extreme emotions that are evident throughout the album. With that title, I was paraphrasing Shakespeare, of course, from Twelfth Night, “If music be the food of love,” and adopting that in various ways. I’m using junk food and I’m referring to junk food and Muzak as they are cheap. The song is a kind of indictment of modern dating, as it was back in the 1980s when I wrote that song. Not that I was experiencing that, because I was in a relationship, but I saw it all around me and I was observing it.

And in Twelfth Night, the entreaty is for music to play on because the protagonist there, Duke Orsino, is obsessed with this melancholy countess, Olivia, and wants to be done with it all. So he wants music to play on until it becomes too much and he’s had enough of it, so that he can free himself from the obsession. So there’s a parallel there with somebody who’s going through the rigors of modern dating and wants to be done with it. He’s saying, bring it on and just bury me in this excess so that I can ultimately be rid of the whole sorry business.

Q: In what way do you feel dating in the ’80s and dating right now changed, in your perspective?

David: Again, I comment about this because I’m not actively involved, just an observer. I have friends, particularly women friends, and it sounds like a battlefield out there from what they tell me. I’m in a very steady relationship, I have been for eight years, so I’m not looking to be part of that scene, thank God. Can’t imagine. But yeah, it seems like these days especially it’s much worse because it’s all… I refer to computer dating in the song, but that was when it was kind of in its infancy. Now it’s very much part and parcel of that whole battleground. It seems to produce a lot of alienation and confusion and deception. I don’t envy anybody who’s experiencing that. It must be very hard these days in that regard.

Q: Because you played these songs live earlier this year, I’m wondering what these songs have shown you on stage that you could not have fully known while making the record.

David J: Well, when you play a song live, it always evolves. I have songs that I wrote, God, in the mid ’80s that I still play, and they’re still constantly evolving. So it’s just an evolution. That’s something I enjoy because it keeps the song alive. And I think it’s also a sign of a good song if it can evolve, if it has that potential to evolve.

Q: So for you, live concerts are not so much a dialogue with the audience as the way the songs themselves keep evolving?

David J: As far as the music is concerned, it’s not a dialogue. It’s just a musical evolution. Through playing and playing, you come up with ideas. You come up with ideas in the moment that work, and so you retain them. So that becomes the growth of the song. That’s what it is. Purely that. But there is a dialogue and interplay with other musicians, who bring something to it that you would never have thought of, and that is retained. Maybe even if they’re not playing with you anymore, you take that little element that they played, some little guitar riff, say, and incorporate it yourself. I really enjoy that process.

Q: Do you ever improvise on stage because of the particular atmosphere or the moment?

David J: Yeah, sometimes I surprise myself!

Q: Do you remember a particular moment?

David J: There are many moments where, in the moment, if I’m playing with another player, a keyboard player while I’m on guitar, I’ll just stop playing guitar in a verse or in the middle of a verse, or I’ll play something that I’ve just come up with, like a little lead lick that’s never been there before, that’s just created in the moment and it works. This is what I’m talking about, the constant evolution of music. I’ll also work with mistakes and things going wrong. These occurrences can actually be magic gifts that take you in a whole other inspired direction.

Q: Looking across your whole arc, from Bauhaus to Love and Rockets to your solo work now, what still fascinates you most about song as a form? After all these years, what can a song still do that no other artistic medium can quite manage?

David J: Well, again, it comes back to this potential for change and evolution. Once the painting is on the canvas, it’s on the canvas and it’s not going to change. Whereas with a song, that can change all the time. So it’s in a potential state of flux and is malleable in that way. So that’s the difference.

Q: Have you ever considered expressing yourself in other artistic areas beyond music?

David J: I do. I paint and I make collages as well. I was doing that before I was doing music, and I’ve kept that up to a great degree. I really got back into it during the pandemic. What I did was, I saw what was going on and I thought everything’s going to close down, so the last act I did was that I went to an art store and I bought a load of paints and brushes and canvases and an easel, and I set up the room I am in now as a little painting studio.That was a very therapeutic thing to do and very cathartic. After the pandemic ended, I kept on painting. The only thing that I could paint was about being in a pandemic. I painted that subject. And then after that, it was post-pandemic. I’ve had two art shows here in LA, one called Paintdemic, a little play on words, and then Post-Paintdemic.

Outside of that, I’ve been doing some collage work as well. That’s always been there, and sometimes the two resonate. I’ve done projects where the subject is kind of so big that it’s not contained by an album of music. It spills over into visual art. There was an album called An Eclipse of Ships, which is all about women. After I finished the album, I was doing paintings and collage pieces that I entitled In the Realm of the Muses. That was an extension of the music. It’s not the only time either. I’ve done that for other projects.

Q: Music is like painting with sounds, and painting is painting with paint. Do you approach those creative processes similarly, or differently?

David J: The biggest difference is, again, harking back to what I just said, that with music it can keep changing forever. There is obviously the recorded version, but then if you are working on a song and you play it live and it’s evolving, you can go back and do a new version. But with painting, that’s not really the case. Once it’s down and fixed on the canvas, it’s fixed and then you move on. The process of creativity has parallels there because you’re in this creative state where you’re expressing what you’re feeling and thinking, but once it’s down and fixed on the canvas, it’s fixed. Whereas the song can be in that state of flux indefinitely.

Q: Are there any current artists or bands that inspire you?

David J: Yeah. They have really blown up, but I discovered this band some time ago when they were not really known and they were just playing on the street. I immediately felt like this is the real thing, and that’s Geese, who are now massive. I think Cameron Winter is a really fascinating artist as well. His solo record is really great and very audacious.

I also like the fact that they’re kind of divisive. Many people love them, and more and more love them, but there’s also a lot of derision they get as well. I think that’s always a very good thing. Going all through the music that’s meant something, going back to the Velvet Underground, there’s haters and there’s lovers. If it’s all love, that’s not going to last very long, I think. Bauhaus as well certainly got our antagonizers and those that didn’t like it or didn’t get it.

Q: Do you ever feel the need to discuss those antagonists, or do you find any value in what they say?

David J: It’s not to say that I’m so bloody minded that I think I can do no wrong and my bands can do no wrong. You listen and then assess what’s being said and decide whether it’s valid or not. Quite often it’s not valid. So that makes you just go against the grain, really, and the thing that they’re criticizing, do it even more. It’s inspiring in that way. Kicking against the pricks, as it were.

Q: I wanted to come back to the album for a second, because the very image of the attic is such a potent one. It suggests both archive and subconscious, storage and forgetting. When you opened those boxes again, did you discover only the songs, or also recurring obsessions, patterns, or ghosts that made you recognize a hidden continuity in your own work?

David J: Absolutely. Ghosts, yes. Some that still haunt me. It was kind of poignant to revisit those ghosts. And also just situations. Listening to those songs and reading the lyrics again was very evocative of a time and place, like a diary entry, really. They’re like diary entries, some of them. But some of them are very surreal and don’t relate to what was going on outside of my subconscious. But then again, the subconscious, of course, relates to what is going on on a conscious level. Getting complex here! Some of them are very specific. They refer to situations that I was in that I hadn’t thought about for years and years. Then the song brings it all back, in fact in a more vivid way than a conventional diary entry, because the lyric is more potent than just “I went to London on this day and saw the Queen.” The lyrics are colored with poetic insight in some cases, and very evocative for that.

Q: And my final question: what’s next for you?

David J: Yeah, I have so much coming up. Initially, yes, I will be going out and doing a little mini tour in June on the back of this album, just me and different players in different areas. I do like to do that. Then after that, the next album that’s coming out is a concept album about the painter Egon Schiele. I might do some dates to coincide with that, although ultimately that was written as a theatrical piece and I would love to bring that to the stage at some point. Then later in the year, the big release for me is a new double album that will come out in the autumn, and I definitely want to do some dates then. I just had somebody, a promoter in England, who wants to bring me over to the UK, so I would like to do that, and I’d like to extend it into Europe and I’d love to come to Poland. As for the Egon Schiele project, I’ve been working on it with Paul Wallfisch, and Paul will be the person that I’ll be touring with in the UK and hopefully in Europe. I’ve worked with Paul for decades now, and he’s a brilliant musician and composer. We wrote the songs together. How that started was that Paul was the musical director at the Volkstheater in Vienna, and in conjunction with them, approached me with the idea of writing something for their stage, on any subject. So I chose Egon Schiele because it’s relevant to the location and also I love him and it’s a great story. I started writing this as a narrative and then I started writing songs, and then I brought Paul into it and we wrote songs together.

For the stage, what I want to have is traditional wooden marionettes representing key figures in the story. There will be a puppet theater on the stage, but there’ll be a camera inside the puppet theater that will blow up these puppets to life-size on the screen behind, and they will interact with a Butoh performer. I’ve worked with Butoh in the past. A great Butoh performer, Vangeline, she’s one of the best in the world, and she will be involved.

So it’s a song cycle, it’s a narrative, it’s Butoh, it’s marionettes. Also there’s a kind of shadow text, which is drawing from Arthur Rimbaud’s A Season in Hell, which was Schiele’s favorite book of poetry. I have certain lines from that that resonate with what was going on in Schiele’s own life, and that will be narrated by Gavin Friday.

There are other projects as well and several completed albums, also two new books in the works, so busy, busy, busy!

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Founding member of Bauhaus and Love & Rockets, David J, will release the album “Tracks From the Attic Revisited” on May 22 through Independent Project Records. The album will be issued on black vinyl, gold vinyl, CD, and digital formats. The first single, “If Muzak Be the Junk Food of Love,” is set for April 15.

The new record reworks ten songs drawn from the 2024 archival set “Tracks From the Attic,” this time as full-band studio recordings. David J says the earlier demo songs were “neglected little seeds” and calls the new versions “the bloom.” The album was recorded at Ear Gallery Music in Los Angeles and produced by David J, with a lineup that includes Jason Roberts, Jon Bernstein, Tony Green, David Raven, Dan Clucas, Robert “Smokey” Miles, John Courage, and Stephen Perkins.

The tracklist:

1. “I Wish Those Spacemen Would Come (Revisited)”
2. “If Muzak Be the Junk Food of Love (Revisited)”
3. “The Most Beautiful Girls in the World (Revisited)”
4. “Leaning Towards the Falls (Revisited)”
5. “Homo Sapien Blues (Revisited)”
6. “I’ll Put Off Thinking About You for Awhile (Revisited)”
7. “New Year’s Day (Revisited)”
8. “All The Pilgrims (Revisited)”
9. “Vincent in the Flames (Revisited)”
10. “Punishment By Roses (Revisited)”

Below is the original release with the demo versions.

About David J

David J, born David John Haskins on April 24, 1957, in Northampton, England, is the bassist, vocalist, songwriter, producer, and writer best known as a founding member of Bauhaus. Bauhaus formed in 1978. In that group, he wrote lyrics for several key songs including “Bela Lugosi’s Dead,” played bass, and also sang lead on “Who Killed Mr Moonlight?” He later expanded into theatre, film scoring, visual art, and writing alongside his music career.

He began issuing solo work while Bauhaus was still active, starting with the René Halkett collaboration “Armour”/”Nothing,” then moving into early solo releases such as “Etiquette of Violence” in 1983 and “Crocodile Tears and the Velvet Cosh” in 1985. After Bauhaus first split, he formed Love and Rockets in 1985 with Daniel Ash and Kevin Haskins. That band released seven studio albums, including “Seventh Dream of Teenage Heaven,” “Express,” “Earth, Sun, Moon,” the 1989 self-titled “Love and Rockets,” “Hot Trip to Heaven,” “Sweet F.A.,” and “Lift.” David J continued releasing solo material, including “Songs from Another Season” and “Urban Urbane,” while continuing to work across collaborations and reunions.

His later albums include the Alan Moore and Tim Perkins collaborations “The Birth Caul” and “The Moon and Serpent Grand Egyptian Theatre of Marvels” in 1996 to “Not Long For This World” in 2011, “An Eclipse of Ships” in 2014, “What The Patrons Heard” in 2022, and the 2024 archival collection “Tracks From the Attic.”

David J also published the memoir “Who Killed Mister Moonlight? Bauhaus, Black Magick and Benediction” through Jawbone Press in 2014.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Bobby Talamine) Sine, the brainchild of New York-born drummer/multi-instrumentalist Rona Rougeheart, is back with an all new video, “Trauma Bondage”. Musically Sine mixes beats with industrial noise, Sub-bass and synthesisers.

Having issued records via the Austin indie media company eMERGENCY heARTS, Rougeheart recently signed to Metropolis Records and has released a brand new single entitled “Trauma Bondage” today. The track is taken from an album to be issued in early 2025. The self-written song was co-produced with US hip-hop producer AwareNess with musical contributions from Curse Mackey and mastering by Jürgen Engler of Die Krupps.

About Sine

2019 saw Rougeheart open for Bauhaus in Orlando, Florida, which led to the ongoing band project Shiva Saves SITE formed by their bassist David J that also features industrial darkwave artist Curse Mackey, plus a revolving cast that includes Yeah Yeah Yeahs guitarist Nick Zinner.

Examples of other artists she has collaborated with are Adrian Sherwood, Meat Beat Manifesto, Clan of Xymox, Chris Connelly, (Pigface, Revolting Cocks), Mark Pistel (Consolidated), Andee Blacksugar (KMFDM, Blondie), Xiu Xiu and the late Mark Stewart (The Pop Group).

As Sine, Rougeheart recently opened for Nitzer Ebb and Clan Of Xymox and will support the latter on an American tour right after her debut appearance at the 2024 edition of the Cold Waves festival in Chicago on 29th September.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Abby Laspia) Today, Cleopatra Records has reissued the Spahn Ranch album “The Coiled One”. “The Coiled One” by the Los Angeles-based electro-industrial act was originally released in 1995, and now comes with 8 bonus tracks that include album recording session outtakes that have previously never been released in any form.

The material on this reissue was digitally remastered by Jürgen Engler of Die Krupps and is now available for the first time on vinyl in a limited edition colored version that includes the original 10 songs, as well as a limited digipak “The Coiled One: Deluxe Edition” CD version (that contains the 8 bonus tracks). “The Coiled One” will also be available on all digital and streaming platforms.

Additionally, a seldom seen video created by a European fan for the song “Heretic’s Fork,” is now available once more.

“The Coiled One” was Spahn Ranch’s second studio album. Co-produced and engineered by Judson Leach, the album also included programming by Matt Green and Rob Morton, with vocals by Athan Maroulis (currently of NØIR).

About Spahn Ranch

Spahn Ranch was established in 1992 in Los Angeles by Matt Green and Rob Morton, his collaborator from New York. They pooled their savings to launch the band, having already worked together musically for the previous five years. That year, they inked a deal with Cleopatra Records and debuted with a self-titled EP featuring four tracks, with Scott “Chopper” Franklin—who would later join The Cramps as a bassist—on vocals. Franklin had left another band to join Spahn Ranch on vocals.

In 1993, Athan Maroulis joined Spahn Ranch as a vocalist, and the band recorded their first album, “Collateral Damage”. Maroulis had previously formed the New York-based group Fahrenheit 451 (1984–1986), with whom he recorded his first commercially available album. Over the ensuing years, Maroulis established himself in a number of alternative musical genres including gothic, industrial and electronic. Stints with the Philadelphia-based Executive Slacks (1987–1990), as well as Tubalcain (1991–1993), followed.

They released their second album, “The Coiled One”, in 1995 amidst Morton’s exit from the band over creative and logistical clashes. Following his departure, the lineup grew to include Christian Death’s drummer David Glass, Screams for Tina guitarist Kent Bancroft, and Tubalcain drummer Harry Lewis. This expansion ushered in a darker, more diverse electro-industrial sound that became Spahn Ranch’s hallmark. By 1997, the band had streamlined to a trio comprising Green, Maroulis, and Lewis.

Throughout the late 1990s, Spahn Ranch continued producing music. Their 1997 album “Architecture” featured contributions from Killing Joke/Prong bassist Paul Raven and Rockats/Nancy Sinatra guitarist Danny B. Harvey, taking a more experimental turn with the introduction of drum and bass, dub, and live guitar elements. “Beat Noir”, released in 1998, furthered this experimental direction and included collaborations with Bauhaus/Love & Rockets bassist David J. In 2000, the band released “Anthology 1992–1994”, a compilation including their first four releases and previously unreleased tracks.

Their final album, “Closure”, was recorded in 2000 and released in 2001.

In less than 8 years, Spahn Ranch completed a total of 5 studio albums, 4 EPs and performed more than 200 concerts in over a dozen countries before calling it a day in late 2000.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Justin Minister) As we reported earlier, Toronto’s The Shadow Majlis released a debut album, “The Departure”, on which he collaborated with Bauhaus, The Mission, and DakhaBrakha members. Out now is the video for “Mazdur”. Musically, this project fuses elements of Eastern modes with post-punk.

Here’s what Ali Jafri says about the new “Mazdur” single: “It means ‘labourer’, which came to me as I watched how hard it was for Oisín to fight his losing battle to cancer. All the changes and adjustments. I chose to have the song ‘mutate’ through the different styles it weaves through. From the classical guitar to the dub reggae and ending on industrial with MRI sounds mixed in. MRIs were hard on Oisín. Existing became hard labour for him but he wasn’t ever far from having a laugh. He had a gracefulness about him which became apparent when it was observed by us as one of the constants through all the change. I dream of him sometimes, he’s ever graceful then.”

And he adds: “Going ‘dub’ on this was David J’s idea – hard to refuse. When I realized he wanted to play dubby stuff, my reaction was ummm hello?? Yes please! My demo was originally more like the first half of the song, which Bottrill and I had worked on. We saw Skinny Puppy during our sessions, which inspired the industrial ending. We recorded it the next day as a good way to conclude the ‘mutation’ furthest away from its original form. The ending was also a good place for some of the angst I was feeling and that Oisín was feeling. The machine voices say ‘We Come To Leave’, a recurring line on the album – making it a concept, I guess.”

Revolving around Ali Jafri (known as a member of David J’s live band, Pigface and various other projects), this record was produced and mixed by David Bottrill (Peter Gabriel, Nusrat Fateh Ali Khan, Tool, David Sylvian, Smashing Pumpkins, Muse, Real World Studios).

Also on board are David J (Bauhaus, Love & Rockets) and drummer-percussionist Rakesh Tewari (Jaffa Road, The Special Interest Group) next to Dakhabrakha’s Olena Tsybulska, Mark Gemini Thwaite (The Mission, Peter Murphy, MGT, Tricky), Anne Bourne (Loreena McKennitt, Jane Siberry), Tuvan throat singer Soriah and more.

The full album marks the 2-year birthday of Jafri’s son Oisín, who passed away in September 2022 after battling a highly aggressive form of brain cancer. The recording helped Jafri work through grief over this and the dissolution of his conjugal relationship.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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David J, known for his work with Bauhaus and Love and Rockets, is set to release a career-spanning triple album titled “Tracks from the Attic” on May 3. This release will be available in digital format, on CD, colored vinyl LP, and as a super deluxe box set art edition.

The album, which was initially released as part of Record Store Day’s RSD Black Friday 2023, comprises home demos recorded between 1984 and 2004. These tracks were personally selected by David J from his archives.

The super deluxe art edition, limited to 70 copies, will include triple colored vinyl and CD box sets, autographed artworks by David J, and original source cassettes. This special edition is exclusive to the Independent Project Records (IPR) store.

To celebrate the album’s release, a west coast tour will kick off on May 3 with an event at the Bodecker Foundation in Portland, OR, titled “Enter the Attic: an Evening with David J.” The evening will feature an interview, Q&A session, live performances, music video screenings, and an art gallery showing. The event will also be available via ticketed live streaming.

The album “Tracks from the Attic” features a variety of songs spanning David J’s career, showcasing his solo work outside of his contributions to Bauhaus and Love and Rockets. The full track listing (see below) includes titles such as “Punishment by Roses,” “The Dream Collector,” and “Oh No! Not Another Songwriter!” among others.

The triple album will be out on Independent Project Records. The label was founded in 1980 by Bruce Licher and is known for its distinctive hand-printed record covers. It has been relaunched to release new and archival content. The label is based in Bishop, California.

Tracklisting

1. Punishment by Roses
2. The Dream Collector
3. Blackmail
4. The Murders in the Rue Morgue
5. My Soul Was Still Shouting, ‘MORE!’
6. I Wish Those Spacemen Would Come
7. Badge of Lead (A Western)
8. Small Death Of a Broken Doll
9. She Calls the Morning Cruel
10. Lady Bureaux
11. Is There Anybody There?
12. The Wolf Knows
13. Castles of Limburg
14. If Muzak Be the Junk Food of Love
15. Homo Sapien Blues
16. This Town
17. Vincent In the Flames
18. They’ve Murdered Christ Again
19. Lucky Dog
20. Old Man in the Rain
21. Conspiracy of Shadows
22. The Long Ride Home
23. Cruel Britannia
24. All the Pilgrims
25. It’s Got to Be the Angels
26. I’ll Put Off Thinking About You for Awhile
27. Or Do I Speak Too Soon?
28. Oh No! Not Another Songwriter!
29. Diamonds, Black Eyes and Valentines Blues
30. The Most Beautiful Girls in the World
31. Before the Positive Was Negative
32. At Paradise
33. New Year’s Day
34. Leaning Towards the Falls
35. Dying Embers (Bonus Track – Digital Only)
36. The Rattler (Bonus Track – Digital Only)
37. The Wrecking Ball is Coming Down (Bonus Track – Digital Only)

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Toronto’s The Shadow Majlis presents his debut album “The Departure” fusing elements of eastern modes with post-punk. Revolving around Ali Jafri (known as a member of David J’s live band, Pigface and various other projects), this record was produced and mixed by David Bottrill (Peter Gabriel, Nusrat Fateh Ali Khan, Tool, David Sylvian, Smashing Pumpkins, Muse, Real World Studios).

Also on board are David J (Bauhaus, Love & Rockets) and drummer-percussionist Rakesh Tewari (Jaffa Road, The Special Interest Group) next to Dakhabrakha’s Olena Tsybulska, Mark Gemini Thwaite (The Mission, Peter Murphy, MGT, Tricky), Anne Bourne (Loreena McKennitt, Jane Siberry), Tuvan throat singer Soriah and more.

This release marks the 2-year birthday of Jafri’s son Oisín, who passed away in September 2022 after battling a highly aggressive form of brain cancer. The recording helped Jafri work through grief over this and the dissolution of his conjugal relationship.

You can check out the release on Bandcamp and other platforms.

Below are various videos for this album.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Tish Ciravolo) LA-based post-punk collective Beauty In Chaos is back with the new single “Kiss Me (Goodbye)” and a video filmed and directed by Vicente Cordero of Industrialism Films.

This track features Leeds-born Wales-raised artist Julian Shah-Tayler on vocals, as well as Pete Parada (Face To Face, The Offspring) on drums. The single was produced by Michael Rozon.

Julian Shah-Tayler, known for his electro rock new wave ‘intellipop’, has been collaborating with the likes of David J (Bauhaus, Love & Rockets), Alan McGee, Joaquin Phoenix and Antony Langdon (Spacehog), Siobhan Fahey (Bananarama, Shakespears Sister) and producer Robert Margouleff (Devo). Note that Shah-Tayler is also behind the Depeche Mode tribute band Strangelove.

“Kiss Me (Goodbye)” is out on May 5 via 33.3 Music Collective, available everywhere digitally, including Bandcamp.

Here’s the video.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Berry Behrendt) Frankfurt-born but Berlin-based artist En Esch (PIG, former KMFDM) has signed with the LA/Minneapolis-based label GIVE/TAKE (home to Justin K Broadrick’s Pale Sketcher, David J of Bauhaus and more). His new single “Push” drops March 3rd, with a full EP forthcoming later in 2023.

“Push” will also hold a remix from dark electronic artist KPT. Maintaining a steady output of solo work, beginning with 1993’s “Cheesy” on TVT Records, En Esch’s new LP, his first in over seven years, is slated for release in 2023 on GIVE/TAKE.

En Esch is Nicklaus Schandelmaier, a German drummer, programmer, producer, guitarist and singer who has been a member of the bands KMFDM, Pigface, Slick Idiot, and . And more recently with NUKES, a 16 member band that includes Chris Connelly, John Bechdel, Mario Alberto Cabada, David J and more. It was KMFDM’s Sascha Konietzko who claims to have given Esch his nickname because the latter felt that his real name was inappropriate for the stage.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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David J’s latest album, “What The Patrons Heard”, will be a storied collection of originals and covers recorded over the timespan of 34 years. These 10 songs were originally only available digitally to David J’s Patreon subscribers.

The founding member of Bauhaus was one of the first of Bauhaus’ members to actively release music outside of the band. He went on to put out solo work and collaborations with various authors, poets and indies such as 4AD. In 1985, David regrouped with two former Bauhaus members to form Love and Rockets.

“What The Patrons Heard” includes a rendition of Neil Young’s “Vampire Blues”, the John Lennon classic “Gimme Some Truth” and the folk punk track “Lay Over And Lay” plus 7 other tracks.

The release will be available as download, on CD and on vinyl, a limited numbered edition snow white vinyl that is. The CD and digital formats will be available worldwide on March 25th, 2022 with the vinyl shipping as soon as it becomes available.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Dark alternative electronic band Sine to release upcoming album “Desire, Denial and Paramania”, an 11 track collection featuring select songs from the group’s albums, “Insomniæ” and “Injected”, recorded between the years 2016-2020.

The album includes collaborations with Curse Mackey (Pigface, Evil Mothers, My Life With The Thrill Kill Kult), producer Sean Beavan (Nine Inch Nails, 3Teeth, Slayer) and Chris Connelly (Ministry, Revolting Cocks, Pigface) with remixes by Jack Dangers (Meat Beat Manifesto), DÐ, and dark pop duo, Nite.

“Desire, Denial and Paramania” will be released in CD form as well as digitally worldwide on October 7, 2021. The release is out via Emergency Hearts, an indie collaborative music label/ media project in Austin, TX founded by author, musician and gallery owner Scott Crow (Lesson Seven, Audio Assault).

Here is a video to check out, “Desolate District” featuring Chris Connelly in a Meat Beat Manifesto remix.

About Sine

Sine is an alternative rock/electronic band created and led by singer and drummer, Rona Rougeheart. She has stepped from behind the kit to create her own female fronted project that weaves dance beats with industrial noise and layers of booming bass, synths and guitars.

Rougeheart, born in New York, grew up as a military child, living all over the U.S. and in Okinawa, Japan. Her father was a musician who taught her how to play keys and guitar. Early in her musical career, she played drums for multiple bands in Austin, TX, catching the eye of Gretsch Drums who, in 2012, gave her her first endorsement. Gibraltar hardware also added her to their roster.

In April, 2019, she landed a direct support slot for Peter Murphy in Orlando, FL for the 40th Anniversary of Bauhaus Ruby Tour with David J. The night seemed ill-fated when Peter was unable to perform, but was revitalized when she joined David J, Curse Mackey, Mark Gemini-Thwaite and Marc Slutsky for an impromptu performance of Bauhaus tunes.

From that night, a new project emerged between David J, Curse Mackey and herself.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Picture by Renee Parkhurst ) Let’s hope this article doesn’t get flagged by Google, Facebook and related because the follow-up of words in the title is rather worrysome (joke aside).

Adult has launched a remix of the Bestial Mouths song “Unshivered”. A video was equally made and can be seen below. The song is included in Bestial Mouths’ remix album “Thousandneedles” that features collaborations with SRSQ, Ash Code, Void Vision, Light Asylum, and more and which dropped earlier this month.

“Thousandneedles” will be available on vinyl and cassette versions this August via Fill-Lex Records and Soil Records.

In a reaction Adult says: “We got this remix request in the summer from Bestial Mouths and it was just the thing we needed to get us back in the studio again. It wasn’t like looking at a blank canvas and it felt more like collaboration in a way, which was much needed during such an isolating time.”

The track’s visual counterpart offers a psychological portrait of a person clawing their way to meaning. Director Jamie Parkhurst, who has previously worked with Los Angeles post-punk outfit, Death Bells, and experimental electronic artist Trevor powers, was helped by producer Yelena Akopian, stylists and designers Bradley Soileau and Elliott Evan, photographer Renee Parkhurst, DP Connor Ellman, and camera operator Alex Van Putten. The video was edited by editing is by Alex Nicolaou (Drab Majesty).

Here is the video.

Tracklist “Thousandneedles”

1. Grendel – Ruins Remix
2. Adult – Unshivered (If I Could Feel Mix)
3. Rodney Anonymous Or 7th Victim (Of Dead Milkmen) – Withiin Remix
4. Plackblague – Heavy Coil Mix (Industrial Waste Remix)
5. Ash Code -The Bleed Remix (Mixed/Mastered By Doruk Ozturkcan From She Past Away)
6. Nnhmn – The Loss Remix
7. Statiqbloom – The Falls Remix
8. Buzzkull – Lain To Rust Remix
9. Srsq – Reimagination (Souls Take Remix)
10. Shannon F /Light Asylum – Industrial Waste Remix
11. Kontravoid – Dry As Dust Remix
12. Void Vision- (A) Siren Calls Remix
13. Crowhurst – 23 Hours Before Resurrection Bestial Mouths Remix
14. Melania – Inshroudss

About Bestial Mouths

From their inception in 2009, the core root of Bestial Mouths has combined Lynette Cerezo’s voice with several genre influences across the spectrum of goth, industrial, post-punk, new wave, noise, metal, and other underground sounds using live acoustic and electronic drums and analog synthesizers. Since 2018, Bestial Mouths has been the sole project of Cerezo.

2019’s “Inshroudss” EP was the first Bestial Mouths release entirely written and conceived by Cerezo. The EP was released on the independent label RuneE & Ruin, which Cerezo formed together with friend and frequent collaborator Alison Lewis (Linea Aspera / Zanias / Fleisch Records).

In their decade-plus existence, Bestial Mouths have worked with a long list of producers and artists. Zola Jesus, Mick Harvey, Egyptrixx, Boy Harsher, Die Krupps, Mater Suspiria Vision, Zanias, The Horrorist, and Ludovico Technique are just a few collaborators, while they’ve shared the stage with the likes of Psychic TV, Austra, Chelsea Wolfe, DAF, 3 Teeth, OAKE, Front Line Assembly, White Ring, Suicide Commando, David J, King Dude, Youth Code, Cut Hands and Light Asylum.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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The Holy Family – that is David J. Smith with longtime collaborators Kavus Torabi, Emmett Elvin, Sam Warren and Michael J. York – have launched a new track, “St Anthony’s Fire”, the latest to be taken from their self-titled album due out via Rocket Recordings on 2 July 2021. Think ritual and you’ll get the closest to what they sound like.

Directed by Rocket’s John O’Carroll the video is about St. Anthony’s Fire, the ergot-infected grain poisoning caused by toxic moulds which cause muscle spasms, fever and hallucinations and other distorted perceptions. It features all the band members at various stages of intoxication after consuming ergot infected rye bread capturing their confronting terrible visions.

You can watch the video for “St Anthony’s Fire” below.

In order to get a better idea of who is exactly behind this project, here’s a round-up of the line-up. First of there is David J. Smith who you will know from Guapo, The Stargazer’s Assistant, UnicaZürn, Cyclobe, Miasma & The Carousel Of Headless Horses. Next there is Kavus Torabi who is/was active with Cardiacs, Gong, The Utopia Strong, Knifeworld and Guapo. The third member is Emmett Elvin who we know from Chrome Hoof, Knifeworld and Guapo. Next there is Sam Warren from Guapo and Thumpermonkey. And finally, Michael J. York who will be best known to all of us thanks to his work with Coil, Current 93, The Utopia Strong, Teleplasmiste, Guapo, The Stargazer’s Assistant and Cyclobe.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by by Dan Santoni) David J (Bauhaus, Love And Rockets) has a new single coming out, “I Only Hear Silence Now” featuring Emily Jane White an American singer and songwriter from Oakland, California. The single is released together with an accompanying video which you can view below. The single is taken of his latest album “Missive To An Angel From The Halls Of Infamy And Allure”, which is out now.

David J has also kicked off a series of performances – some as solo shows and some as part of Bauhaus, recently reformed and taking their show on the road.

Tour dates:

• FEB 18 Santa Rosa, CA – The Lost Church
• FEB 19 Live interview on KRCB, Sonoma County (1pm)
• FEB 21 San Francisco, CA – The Lost Church (sold out)
• FEB 22 Oakland, CA – Private Event
• MAR 13 Ciudad De México – El Sótano de La Roma (Book signing 7pm)
• MAR 13 Ciudad De México – Venas Rotas Discos (9pm)
• APR 08 London, UK – Alexandra Palace (as Bauhaus)
• APR 28 Ciudad De México – Fronton Mexico (as Bauhaus)
• APR 29 Ciudad De México – Fronton Mexico (as Bauhaus)
• MAY 17 Santa Fe, NM – Tumbleroot Brewery and Distillery
• JUN 05 Barcelona, Spain – Primavera Sound (as Bauhaus)
• JUN 12 Kallithea, Greece – Release Athens Festival (as Bauhaus)
• JUN 26 New York, NY – Radio City Music Hall (as Bauhaus)

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Genre/Influences: Industrial-metal, industrial-rock, EBM

Background/Info: The famous Wax Trax! Records label was originally much into new wave and punk music and was founded by Jim Nash and his partner Dannie Flesher in Denver in 1975. In 1978 the independent label moved to Chicago and became the most important record label and store/boutique for industrial music in the US that served as the headquarters of underground electronic and industrial bands in the eighties and nineties. The strong brand Wax Trax! offered record deals to the artists they liked (as fans) and also licensed European artists in America. The very impressive Wax Trax! catalogue featured well-known bands like Ministry, Front 242, Revolting Cocks, KMFDM, Front Line Assembly, Coil, Chris & Cosey and more!

Content: Industrial Accident has contributions of Al Jourgensen (Ministry/Revolting Cocks), Paul Barker (Ministry/Revolting Cocks), Chris Connelly (Ministry/Revolting Cocks), Luc Van Acker (Ministry/Revolting Cocks), Richard23 (Front 242/Revolting Cocks), Patrick Codenys (Front 242), Trent Reznor (Nine Inch Nails), Bill Leeb (Front Line Assembly), Groovie Mann (Thrill Kill Kult), David J. Haskins (Bauhaus), Sascha Konietzko (KMFDM), En Esch (KMFDM), Dave Grohl (Foo Fighters, Nirvana), Jello Biafra (Dead Kennedys), Steve Albini (Big Black), Cosey Fanni Tutti (Throbbing Gristle), Ian MacKaye (Minor Threat, Fugazi) and more. It explains the rise and fall of an important musical movement as well as the details and artifacts of this entire Wax Trax! Records history that was nearly lost forever.

A lot of hilarious anecdotes are explained by the contributing artists which makes it fun to watch! Al Jourgensen: “I played in Divine’s band by the way, playing guitar for Divine was … bizarre!”. Luc Van Acker, when speaking about Laibach: “How provocative can you be? It takes intelligent people to understand that! Wax Trax! created a space where we could do whatever we wanted!”. Unfortunately the label without business model (operating on trust, without contracts with their artists) declared bankruptcy in 1992 and Jim and Danny sold it to TVT Records. Jim Nash passed away on October 10, 1995 and Dannie Flesher deceased on January 10th, 2010.

+ + + : This 94 minutes (+ 75 extra minutes bonus material) documentary was directed by Julia Nash (daughter of Jim Nash) and won awards on the Santa Cruz Film Festival and Chicago Underground Film Festival. It is also available on Blu-Ray and as download on AppleTV, Amazon Prime and Google Play/YouTube Streaming.

– – – : Just one minor point: to make the circle complete, maybe an interview with some licensed European bands that were released by Wax Trax! (The Neon Judgement, The Young Gods, A Split Second, Laibach and more) would have been interesting, to hear their point of view.

Conclusion: Although it’s a huge story to tell the complete Wax Trax! history, this documentary gives a pretty good overview of what happened in the old days. Jim and Dannie “accidentally” built up the industrial scene in the US due to their passion and love for this music and bands and will never be forgotten!

Label: www.waxtraxchicago.com / www.facebook.com/WaxTraxRecords.Chicago/

Genre/Influences: Industrial-metal, industrial-rock

Background/Info: Al Jourgensen is the charismatic pioneer, musical genius, innovator and iconic founder of the industrial-metal genre (the fusion of repeating metal guitar riffs, samples, keyboards and distorted vocals on a danceable beat). This fully authorized visual history with 248 pages of rare and unseen photos, artwork, and other stuff that spans Ministry’s entire career, shows how the band (that everyone wanted to sound like) evolved from ’80s synth-pop, over EBM/industrial to trash-metal. Ministry has been nominated six times for a Grammy award and is definitely a band you must have seen live at least once in your life!

Content: The four-pages introduction is done by Al’s good old friend Jello Biafra, explaining some hilarious anecdotes. Then this limited 9″ x 9″ casebound book is divided into six chronological chapters starting from the early Wax Trax! era (1981) until the latest release “AmeriKKKant”. We get to see lots of nice rare (promo and live) pictures, cut-outs, artwork, flyers and posters. On almost every page there are interesting quotes or anecdotes from befriended artists like Charlie Clouser (Nine Inch Nails), Moby, Billy Corgan (Smashing Pumpkins), Ian MacKaye (Fugazi), Gary Numan, Perry Ferrell (Jane’s Addiction), Jaz Coleman (Killing Joke), Phildo Owen (Skatenigs), Jeordie White (Marilyn Manson), Alexander Hacke (Einsturzende Neubauten), David J (Bauhaus), Robin Zander (Cheap Trick), Paul D’Amour (Tool), Page Hamilton (Helmet), Scott Ian (Anthrax), Franz Treichler (The Young Gods), Gibby Haynes (Butthole Surfers), Sean Yseult (White Zombie), Dave Lombardo (Slayer), Billy Gibbons (ZZ Top), Till Lindemann (Rammstein), Mark Gemini Thwaite (The Mission), Chris Connelly (Revolting Cocks) and many more. Just like the music of Ministry changed from soft to very hard, it is clearly shown how Al’s style has changed all over the years ending up with dreadlocks, tattoos and piercings. The author of the book is Aaron Tanner (who also created a visual history for Pixies) and features artwork from Brian Shanley and Paul Elledge.

+ + + : We get an exclusive look at Uncle Al’s personal collection of behind-the-scenes pictures together with contributions from band members past and present.

– – – : Although many well-known artists are featured in this book, some (expected ones) are missing …

Conclusion: There’s only one thing we can conclude: Ministry has had a huge influence on many artists and Al is still going strong after all these years! This book is definitely a must have for the fans!

Artist: www.ministryband.com / www.facebook.com/WeAreMinistry
Label: www.melodicvirtue.com / www.facebook.com/melodicvirtue

Bauhaus has announced a Hollywood Palladium show featuring Peter Murphy, Daniel Ash, Kevin Haskins, and David J. The show will happen on November 3 and is the first newly announced show after Peter Murphy suffered a heart attack on the evening of August 13.

That evening Peter Murphy was rushed to a local New York City hospital due to shortness of breath and was unable to perform his scheduled concert at Le Poisson Rouge. It was determined soon after that Peter had suffered a heart attack. He was was admitted and had two stents placed in his right coronary artery.

Murphy announced two weeks later that he had made a full recovery.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo credit Radiant Inc) Curse Mackey (Evil Mothers, Pigface, My Life With The Thrill Kill Kult), along with Rona Rougeheart of SINE, at the request of David J filled in for Peter Murphy who was unable to perform due to illness. A statement from Peter Murphy was issued on his website. Mackey was in attendance initially to appear as a guest vocalist for SINE when he was approached by David J side stage during the SINE set.

Rougeheart (who as SINE was the sole opener for Peter Murphy’s rescheduled, final date of a monumental 5-month, ninety-four date world tour) and Mackey joined David J along with Peter Murphy guitarist Mark Thwaite and drummer Marc Slutsky in what David J described to a near capacity audience as an “Improvised, mash-up, deconstructed Bauhaus in dub” set.

A video of Mackey singing the Bauhaus hit song “In The Flat Field” with the ensemble can be seen below.

Mackey will be releasing his debut solo album “Instant Exorcism” May 10th on Negative Gain. On “Instant Exorcism” Mackey fuses post-punk atmospherics with dark electronics and industrial dance beats.

Mackey: “This record for me is like a personal exorcism. The songs had to get out of my system. Working from a solo project perspective presented an opportunity for me to write with a clean slate, to broaden the brush strokes and create something that represents where I am at today. Influenced by the past and all the experiences of my life to this point but not constrained or obligated to it.”

Instant Exorcism was produced by Curse Mackey and Chase Dobson (Tycho, Black Tape for a Blue Girl) with additional recording sessions with Charles Godfrey who engineered the last two Yeah Yeah Yeahs records and has worked with …Trail of Dead and Explosions in the Sky. The album was mastered by Stephen Seibold who has worked extensively with Mackey as members of Pigface.

Check out the first 2 singles below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Never mess with a Swedish audience, Peter Murphy is also aware of that now. Murphy, who is touring Europe with Bauhaus bandmate David J, was literally thrown out of his own concert during a concert in Stockholm last night. That’s what Dagens Nyheter reports.

As it seems Murphy threw a bottle right into the audience, unfortunately injuring a fan who got the bottle right n his face and who suffered injuries. The organisers intervened and threw Murphy out of the venue after which the police (or a security team, as the jackets don’t really show) intervened.

A picture of the incident was posted on Facebook by Tom Homlund as you can see above and here’s an instagram video of the actual moment when Murphy launches the bottle.

 

View this post on Instagram

 

#bauhaus #petermurphy #nalen #davidj #stockholm

A post shared by Angela (@d1zzydishes) on Dec 12, 2018 at 2:55pm PST

The concert promoter also reacted in a Facebook post:

“With one more song planned, the artists tour manager and technician decided to end yesterday’s concert with Peter Murphy since technical equipment had been destroyed due to incidents we at Nalen take very seriously. The artist acted in an unacceptable way towards the audience and our staff. We are currently trying to sort the situation out. If anyone in the audience got injured in any way, we would like you to contact us and report to the police. We also want to say thanks to the guests who helped us at Nalen and others in the audience.”

Only in Sweden.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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This year marks 40 years since the formation of Bauhaus. To mark this occasion, David J will play two exclusive solo UK concerts, wedged between world tour dates with Peter Murphy.

Before beginning a lengthy junket with Murphy across the UK, Europe, Australia and New Zealand, David J will play a special live acoustic concert at Beck Studios in Wellingborough on Sunday, August 26. The Beck Studios was where Bauhaus recorded “Bela Lugosi’s Dead” in 1979 in case you had forgotten. It was that single that, released via Small Wonder Records, led to a John Peel session, two years of charting in the British independent charts, and being signed to 4AD Records and, subsequently, Beggar’s Banquet.

As part of this event, Andrew Brooksbank, author of “Bauhaus – Beneath The Mask”, will also be conducting an interview with David, which will be followed by a Q&A with the audience. The concert will be both recorded and filmed for later release. The day before that, on August 25, David J will perform in London at The Islington with special guests.

Since Bauhaus disbanded in 1983, David J was the first of the Bauhaus’ members to actively step outside of the comfort zone of his original band, releasing his debut album “Etiquette of Violence” that same year. He has since released numerous solo albums, founded Love and Rockets, produced and played bass with The Jazz Butcher, and joined the reformed Bauhaus again twice for world tours. David J’s latest (2017) release is “Vagabond Songs”, his ninth studio album.

As for the joined tour with Peter Murphy, the duo will bring Bauhaus classics, as well as playing their debut album “In The Flat Field”.

Later this year, a series of coloured vinyl Bauhaus reissues will be released.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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From 15th until 19th August 2018 the third edition of the W-Festival takes place at the festival-area in the Rue Couture d’Orroir in Amougies, Belgium. More than 60 new wave, EBM, industrial, post-punk, synth-pop and eighties bands are featured on 3 stages.

This year some of the confirmed artists are: Bauhaus (Peter Murphy 40 years of Bauhaus celebration feat. David J.), Anne Clark, DAF, Clan Of Xymox, DIE KRUPPS, Dive, Front Line Assembly, Suicide Commando, Covenant, Lords Of Acid, Vive La Fête, A Split Second, Project Pitchfork, Trisomie21, She Past Away, Chameleons Vox, Red Zebra, Kim Wilde, Paul Young, Marc Almond, Midge Ure, A Flock Of Seagulls, Heaven 17, ABC, …

Besides watching concerts you can also visit markets and merchandise shops, signing-sessions, afterparties and other exclusivities like the daily screening of “Industrial Accident – The story of Wax Trax ! Records” documentary (94 min.) from the 16th till the 19th of August at 10:30am.

Side-Line gives away 10 free tickets (for 4 days)! Just enter the contest below. We will choose the winners on June 18.

Information and tickets can be found here

The 32nd track on our free download compilation “Face The Beat: Session 4” (featuring 92 tracks) is by the dark wave act Feeding Fingers.

Feeding Fingers was formed in 2006 in the USA by multi-media artist Justin Curfman. Originally Feeding Fingers began life as an indie post-punk trio and evolved into an musical project with intermittent members from the USA, Germany, Austria, and Italy.

Curfman himself refuses to pigeonhole Feeding Fingers and places it in such disparate genres as darkwave, avant-garde, krautrock, electro, world fusion, and almost anything one could name in between. So far the project released five albums in nine years, from “Wound In Wall” (2007) to “Attend” (2016).

Feeding Fingers has toured North America and Europe since 2006 with acts such as IAMX, David J. (Bauhaus, Love & Rockets, etc.), Nitzer Ebb and many others, including two live appearances on NPR (National Public Radio). In short, an act which already has quite some experience. You can connect with Feeding Fingers on Facebook, Twitter or via their own website.

Listen to “Where All of These Towns & Choices End” below and download it right here.

You can also watch a video of the track:

Check our “Face The Beat: Session 4” page on Bandcamp to discover the other 91 bands. All donations will go to charity.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com