Today, Bronski Beat and London Records have released the short documentary “Why? (40th Anniversary Doc Short)”, directed by Matt Lambert. The documentary revisits Bronski Beat’s iconic 1984 anthem “Why?” exploring the ongoing fight for LGBTQ+ rights.

Upon its release in 1984, Jimmy Somerville told Record Mirror that ‘Why?’ was “about constantly having to fight for love because that’s what we have to do, to try to change the law, people’s attitudes. It’s a constant fight for your right to love and that’s a right everybody should have – to love who they want.” Forty years later Jimmy adds: “I never thought a song that we wrote in 1984 would resonate even more powerfully in 2024.”

The film, commissioned by Bronski Beat frontman Jimmy Somerville, is a tribute to those on the frontlines of the LGBTQ+ rights movement. As Lambert explains, the film is not just a historical retrospective but a tool to educate and empower a new generation of queer youth while reminding older generations that the fight for equality is far from over.

Bronski Beat’s “Why?” originally challenged homophobic violence with raw emotion. The song’s unmistakable cry against bigotry and fear made it a defining voice for LGBTQ+ activism in the 1980s. However, the original 1984 music video commissioned for the song, never truly aligned with the song’s (and the band’s) intentions. Forty years later, singer Jimmy Somerville wanted to change this. 

“Jimmy wanted to commission me to make a project that spoke to the climate of LGBTQ+ rights today,” explains Matt. “I ended up exploring archives from past and present, material from my phone and friends — self shot material from the community — which became a documentary short film. We had access to Bronski Beat original stems to sculpt the timeless and still timely score to this film.”

The film premiere is an extra teaser for the release of “The Age of Consent (40th Anniversary Editions)” on October 18, and available in deluxe 4CD/DVD, 2CD, and 2LP formats.

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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London Records has released the Superchumbo remix of the Bronski Beat hit “Why” featuring Pet Shop Boys frontman Neil Tennant. This is the third remix from the upcoming 40th-anniversary deluxe reissue of Bronski Beat’s 1984 album “The Age Of Consent”, out October 18th. It follows reworks of the classic queer anthem “Smalltown Boy” by producers Absolute and Planningtorock.

The song, originally recorded at RPM Studio in New York City and mixed at Townhouse Studios in London, features lyrics that focus centrally on anti-gay prejudice. The song was written for Martin, a friend of the Bronskis who was hounded out of the country by his boyfriend’s irate and violent parents. You could say it was a sequel to their debut single “Smalltown Boy”, continuing the tale of a young gay man suffering humiliation and animosity as he tries to live his life.

The song opens with a questioning vocal by Bronski Beat frontman Jimmy Somerville and the sound of shattering glass. It was the trio’s second Top 10 success in the UK, throughout Europe, and in Australia, and is considered a popular gay anthem today.

The drawing for the original single cover, depicting a man with his head in his hands, was created by Glasgow artist Robert McAulay, who was associated with the band at the time.

Here’s what Jimmy Sommerville says about the collaboration with Tom Stephan (aka Superchumbo) on this new mix: ”I’ve known Tom for a good few years now and when I asked him if he’d like to do a remix of ‘Why?’ he said yes straight away. The song is a part of his story. I was so moved when he shared that story with me. The lyric is our shared experience as it is for so many others…and forty years later the lyric still tells the story of LGBTQi+….the hate, the violence, the discrimination, the imprisonment and state sanctioned murder of those who dare to be their true selves and it’s happening somewhere right now as I write this.”

Speaking on the rework, Tom explains: “My goal was to create an updated mix that fits well with contemporary sounds while preserving the original intensity and energy. After I submitted the mix, Jimmy asked me if I could include a few more lyrics from the original song. I had recently watched a Pet Shop Boys documentary where Neil Tennant read some of his lyrics, which moved me to tears,” he continues. “I imagined Neil speaking these lyrics, creating a powerful contrast. I left Neil a voicemail on my way to a gig abroad and by the time I reached Heathrow I had his vocals on my phone, added them to the track on my flight, and played it that night! It is a great honour to work on this iconic song with two legends who were lifelines to me while growing up gay in a small town.”

“I was fucking whooping like a banshee round my kitchen when Tom told me Neil would like to contribute! ” adds Jimmy. “To speak the lyrics of ‘Why?’ and to hear Tom’s musical reworking of the track is fucking mind-blowing. So to hear Neil, one of our greatest pop lyricists, speaking my words… It brings it into the here and now and also retains its history with my original vocal. I genuinely felt moved.”

4CD+DVD deluxe set tracklisting

The 40th-anniversary reissue of “The Age of Consent” will be available in a variety of physical and digital formats, including a 5-disc deluxe edition (4CD+DVD): featuring 4 essays by Tom Rasmussen, Lesley Chow, Lucy Robinson, and Barney Ashton-Bullock, the original album, bonus tracks, remixes, rarities, early versions, and rare radio sessions. Its DVD comes with restored promo videos, Top of the Pops performances, and original TV adverts.

Other formats include 2CD with new reworks, 2LP (with “The Age of Consent” and its neighbouring remix album “Hundreds & Thousands”), a yellow 1LP edition (Lexer Music Exclusive), and a super deluxe edition exclusive Blu Ray edition featuring “The Age of Consent” and “Hundreds & Thousands” in Dolby Atmos & 5.1 mixes.

Disc One

The Age Of Consent – The Album Plus

1. Why?
2. It Ain’t Necessarily So
3. Screaming
4. No More War
5. Love And & Money
6. Smalltown Boy
7. Heatwave
8. Junk
9. Need A Man Blues
10. I Feel Love / Johnny Remember Me
11. Smalltown Boy (Dj 7” Edit) – Bonus Track
12. Why? (Remix) – Bonus Track
13. It Ain’t Necessarily So (7” Version) – Bonus Track
14. I Feel Love (7” Version) With Marc Almond – Bonus Track
15. Run From Love (Radio Version) – Bonus Track
16. Hard Rain (Nme 7” Version) – Bonus Track

Disc Two

Hundreds & Thousands – The Remix Plus

1. Heatwave (Harvey Goldberg Remix)
2. Why (Harvey Goldberg Remix)
3. Run From Love (Dominic Maita Remix)
4. Hard Rain (Harvey Goldberg Remix)
5. Smalltown Boy (Harvey Goldberg Remix)
6. Junk (Harvey Goldberg Remix)
7. Love And Money (Hundreds & Thousands Remix) * – Bonus Track
8. Infatuation / Memories – Bonus Track
9. Close To The Edge – Bonus Track
10. I Feel Love (Cake Mix) With Marc Almond – Bonus Track
11. Cadillac Car (Extended) – Bonus Track

Disc Three

Consent Extended – The 12 Inches Plus

1. Smalltown Boy (12” Version)
2. Why? (12” Version)
3. It Ain’t Necessarily So (12” Version)
4. I Feel Love (12” Version) With Marc Almond
5. Run From Love (Us Club Remix ‘85) *
6. Smalltown Boy (Us Club Remix ‘84) *
7. Red Dance
8. The Potato Fields
9. Puit D’amour
10. Signs (And Wonders)
11. I Feel Love (Fruit Mix)

Disc Four

Ignore At Your Peril – The Rarities Plus

1. Smalltown Boy (Capital Radio Session, May ‘84) *
2. Heatwave (Capital Radio Session, May ‘84) *
3. Hard Rain (Capital Radio Session, May ‘84 )*
4. Why? (Early Version, March ‘84) *
5. Crazy Maraquitta (Studio Session) *
6. It Ain’t Necessarily So (Early Version) *
7. Upside Down (Studio Session) *
8. Screaming (Early Version, March ‘84) *
9. The Power Of The Gold (Studio Session) *
10. Love And Money (Early Version) *
11. First Church (Feel Love) (Studio Session) *
12. Junk (Early Version 2) *
13. Walking (Studio Session) *
14. No More War (Early Version) *
15. Go (You & Me) (Studio Session) *
16. Close To The Edge (Early Alternate Extended Mix) *
17. Heatwave (Early Version) *
18. The Other Side Of The Tracks (Studio Session) *
19. Smalltown Boy (Early Version, March ‘84) *

Disc Five

The First Chapter – The Videos Plus [Dvd]

1. Official Music Videos
2. Smalltown Boy (Restored Promo)
3. Why? (Restored Promo)
4. It Ain’t Necessarily So (Restored Promo)
5. I Feel Love (Restored Promo) With Marc Almond
6. Top Of The Pops Performances
7. Smalltown Boy (Bbc ‘Top Of The Pops’, June ‘84)
8. Why? (Bbc ‘Top Of The Pops’, September ‘84)
9. It Ain’t Necessarily So (Bbc ‘Top Of The Pops’, December ‘84)
10. I Feel Love (Bbc ‘Top Of The Pops’, April ‘85) With Marc Almond
11. Original Tv Adverts
12. The Age Of Consent – Tv Advert #1 (December ‘84) *
13. The Age Of Consent – Tv Advert #2 (January ‘85) *

* Previously Unreleased

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 via London Records) London Records will mark the 40th anniversary of the iconic Bronski Beat debut album, “The Age of Consent”, with a series of deluxe reissues available on October 18, 2024. Fans can pre-order these reissues at bronskibeat.tmstor.es.

In conjunction with the reissue, London Records has released a new remix of “Smalltown Boy”’” by Planningtorock. This artist, known for queering sound and visual art, has previously collaborated with Lady Gaga, Robyn, and Christine and The Queens. The remix can be listened to below.

Jimmy Somerville, reflecting on the album, said, “When there is something we do in our life that can have such an impact on other peoples’ lives, and to be told this by others, it’s humbling. ‘The Age of Consent’ is, and always will be, such a special part of my life.”

Planningtorock shared their thoughts on the remix as well: “I first saw ‘Smalltown Boy’ on telly back in 1984 when I was twelve. I remember it having a big impact on me even then. Just loved how it told the story so directly like a mini documentary but as a music clip sharing a gay experience that was sad to watch but at the same time so empowering. Those early years as a queer trans kid were so lonely for me and Bronski Beat made me feel less alone showing me how music can help you translate a painful experience into something liberating.”

Released in 1984, “The Age of Consent” was a pioneering album addressing LGBTQ+ rights and struggles. The album remains relevant today, reflecting ongoing issues faced by the LGBTQ+ community. Its original release included a listing of ages of consent worldwide, symbolizing both the progress made and the challenges still ahead.

The 40th-anniversary reissue will be available in various formats, including a 5-Disc Deluxe Edition (4CD+DVD), a 2CD set with new reworks, a 2LP set, a yellow 1LP edition, and a Super Deluxe Edition exclusive Blu-Ray. The deluxe edition features essays, remixes, rarities, and restored promo videos.

Tracklisting for the 4CD+DVD Deluxe Edition

Disc One: The Age of Consent – The Album Plus

1. Why?
2. It Ain’t Necessarily So
3. Screaming
4. No More War
5. Love and Money
6. Smalltown Boy
7. Heatwave
8. Junk
9. Need a Man Blues
10. I Feel Love / Johnny Remember Me
11. Smalltown Boy (DJ 7” Edit) – Bonus track
12. Why? (Remix) – Bonus track
13. It Ain’t Necessarily So (7” Version) – Bonus track
14. I Feel Love (7” Version) with Marc Almond – Bonus track
15. Run from Love (Radio Version) – Bonus track
16. Hard Rain (NME 7” Version) – Bonus track

Disc Two: Hundreds & Thousands – The Remix Plus

1. Heatwave (Harvey Goldberg Remix)
2. Why (Harvey Goldberg Remix)
3. Run from Love (Dominic Maita Remix)
4. Hard Rain (Harvey Goldberg Remix)
5. Smalltown Boy (Harvey Goldberg Remix)
6. Junk (Harvey Goldberg Remix)
7. Love and Money (Hundreds & Thousands Remix) – Bonus track
8. Infatuation / Memories – Bonus track
9. Close to the Edge – Bonus track
10. I Feel Love (Cake Mix) with Marc Almond – Bonus track
11. Cadillac Car (Extended) – Bonus track

Disc Three: Consent Extended – The 12 Inches Plus

1. Smalltown Boy (12” Version)
2. Why? (12” Version)
3. It Ain’t Necessarily So (12” Version)
4. I Feel Love (12” Version) with Marc Almond
5. Run from Love (US Club Remix ‘85) – Bonus track
6. Smalltown Boy (US Club Remix ‘84) – Bonus track
7. Red Dance
8. The Potato Fields
9. Puit D’Amour
10. Signs (And Wonders)
11. I Feel Love (Fruit Mix)

Disc Four: Ignore at Your Peril – The Rarities Plus

1. Smalltown Boy (Capital Radio Session, May ‘84) – Bonus track
2. Heatwave (Capital Radio Session, May ‘84) – Bonus track
3. Hard Rain (Capital Radio Session, May ‘84) – Bonus track
4. Why? (Early Version, March ‘84) – Bonus track
5. Crazy Maraquitta (Studio Session) – Bonus track
6. It Ain’t Necessarily So (Early Version) – Bonus track
7. Upside Down (Studio Session) – Bonus track
8. Screaming (Early Version, March ‘84) – Bonus track
9. The Power of the Gold (Studio Session) – Bonus track
10. Love and Money (Early Version) – Bonus track
11. First Church (Feel Love) (Studio Session) – Bonus track
12. Junk (Early Version 2) – Bonus track
13. Walking (Studio Session) – Bonus track
14. No More War (Early Version) – Bonus track
15. Go (You & Me) (Studio Session) – Bonus track
16. Close to the Edge (Early Alternate Extended Mix) – Bonus track
17. Heatwave (Early Version) – Bonus track
18. The Other Side of the Tracks (Studio Session) – Bonus track
19. Smalltown Boy (Early Version, March ‘84) – Bonus track

Disc Five: The First Chapter – The Videos Plus [DVD]

1. Official Music Videos
   • Smalltown Boy (Restored Promo)
   • Why? (Restored Promo)
   • It Ain’t Necessarily So (Restored Promo)
   • I Feel Love (Restored Promo) with Marc Almond
2. Top of the Pops Performances
   • Smalltown Boy (BBC ‘Top of the Pops’, June ‘84)
   • Why? (BBC ‘Top of the Pops’, September ‘84)
   • It Ain’t Necessarily So (BBC ‘Top of the Pops’, December ‘84)
   • I Feel Love (BBC ‘Top of the Pops’, April ‘85) with Marc Almond
3. Original TV Adverts
   • The Age of Consent – TV Advert #1 (December ‘84) – Bonus track
   • The Age of Consent – TV Advert #2 (January ‘85) – Bonus track

About Bronski Beat

Formed in 1983 in London, Bronski Beat was an influential British synthpop trio known for their groundbreaking music and outspoken advocacy for LGBTQ+ rights. The original lineup included Steve Bronski (keyboards, percussion), Larry Steinbachek (keyboards, percussion), and Jimmy Somerville (vocals).

Their debut single, “Smalltown Boy”, released in 1984, became an instant hit. The song’s poignant narrative about a young gay man facing homophobia and isolation resonated deeply with listeners. It climbed the charts, reaching number three in the UK. Later in 1984, Bronski Beat released their debut album, “The Age of Consent”. The inner sleeve listed the ages of consent for homosexual acts worldwide. The album produced other hits like “Why?” and “It Ain’t Necessarily So”.

In 1985, lead vocalist Jimmy Somerville left Bronski Beat to form The Communards with Richard Coles. Despite his departure, Bronski Beat continued, recruiting John Foster (also known as Jon Jon) as their new lead singer. The band released the album “Truthdare Doubledare” in 1986, which included the hit single “Hit That Perfect Beat”.

Throughout the late 1980s and early 1990s, Bronski Beat underwent several lineup changes, with the late Steve Bronski remaining the constant member. They continued to release music, though with less commercial success than their early years. In the 2010s, Steve Bronski reformed the band with new members and continued to perform and release new music.

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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Out on Metropolis Records on 19 July 2024 is the brand new album by the post-punk/goth legends The March Violets. The band signed to Metropolis Records in early 2024 and will release a brand new studio album entitled “Crocodile Promises” on 19th July. A single and video is available now, “Hammer The Last Nail”.

Describing the track’s lyrical content, singer Rosie Garland states: “There’s no time like now to break free of gaslighting; no time like now to untangle from toxic people. The March Violets are set to Hammer the Last Nail into damaging relationships that keep us in prison.”

The band will play seven UK dates in late July and early August prior to a US tour. Their schedule includes shows in London and Glasgow, the latter immediately preceded by a slot at Rebellion Festival in Blackpool (2nd August).

Regarding the band’s current line-up, Mat Thorpe (bass, vocals) joined band founders Rosie Garland (vocals) and Tom Ashton (guitar) as a permanent member of The March Violets in early 2024.

About The March Violets

The March Violets are a British post-punk band that emerged from the Leeds music scene in the early 1980s. They are often associated with the gothic rock movement and were contemporaries of bands like The Sisters of Mercy and Bauhaus.

The March Violets were formed in 1981 by Tom Ashton (guitar), Laurence “Loz” Elliott (bass), Simon “Si” Denbigh (vocals), and Rosie Garland (vocals). The band quickly gained a following with their unique sound characterized by a dual vocal approach and a blend of post-punk and gothic rock elements.

Their early singles, released on the independent label Merciful Release, which was also associated with The Sisters of Mercy, included tracks like “Religious as Hell” (1982) and “Grooving in Green” (1983). These releases helped establish the band’s dark and atmospheric style, marked by prominent bass lines, guitar riffs, and haunting vocals.

In 1984, The March Violets signed with a major label, London Records, and released the “Natural History” compilation, which included a mix of their earlier singles and new material.

Despite their early success, The March Violets faced numerous lineup changes and internal conflicts, which affected their stability and output. They released their only full-length album of the original era, “Electric Shades,” in 1985. The band disbanded in the mid-1980s but left a lasting impact on the gothic rock and post-punk scenes.

The March Violets reformed in 2007 and have since performed at various festivals and released new music. They released the album “Made Glorious” in 2013, which was funded through a successful crowdfunding campaign. The band’s recent work has continued to blend their signature gothic rock sound with modern influences. Read the review of ‘Crocodile Promises’.

The March Violets Discography

• Religious as Hell (1982)
• Grooving in Green (1983)
• Natural History (1984)
• Electric Shades (1985)
• Made Glorious (2013)
• Crocodile Promises (2024)

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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(By Janos Janurik) Temperatures are dropping, days are getting shorter and from now on the umbrella is a permanent accessory when you leave the house. Nevertheless, you can also love autumn. One reason for this can be a good book that you can pick up and read in front of the fireplace without a feeling guilty.

For us, lovers of electric music, the book by Richard Evans, published on 17^th November, would be the perfect read.

Setting out to chart a unique chapter in the history of popular music, “Listening To The Music The Machines Make” tells the story of a single generation of post-punk musicians, mavericks, visionaries and opportunists tinkering with primitive synthesisers in bedrooms, bedsits and basements around Britain, who assembled a potent cocktail of ideas and influences, took them apart, mixed them up, and reassembled them in entirely new ways to create a genuine golden age of British pop, and along the way creating some of the most enduring, iconic and influential records in pop history.

Drawing from years of extensive research, as well as from conversations with many of the movement’s key movers and shakers, “Listening To The Music The Machines Make” sets out to examine the multitude of influences that led to the synthpop revolution that spanned 1978 to 1983; tell the definitive story of a true golden age of British pop through the careers, releases and stories of the movement’s pioneers, mavericks and superstars; and explores the era’s lasting musical impact and enduring influence, including it’s role in the development of hip-hop, house, techno and beyond.

Richard Evans has worked in the music industry for over thirty years in a variety of roles, including positions at London Records, Factory Records and MTV Europe. In 1998 he set up marketing consultancy The Fan Base and has been connecting musical artists with their audiences ever since. He is the founder of the This Is Not Retro website and record label and has worked for Andy Bell, Vince Clarke and Erasure since 2009. Richard is based in Dorset where he lives in perpetual fear of being asked what his favourite record is.

I have known Richard for several years as a result of being an Erasure fan for many years. I emailed him a few questions about his upcoming book and you can read his answers here. Of course, I also asked him about his favourite record.

SL: Richard, you have been the leader of the international Erasure fan club (EIS) and the webmaster of Erasure’s homepage for several years. I think your name has become known to the general public through this activity. Did you make it to the top of your career?

It’s quite complicated to talk about my career as at any given time I’m usually working on a few different projects simultaneously and it’s always very likely that they are all shooting off in different directions. But you’re right that Richard from the EIS is much better known than the Richard Evans who wrote the book! I also think that having worked with Erasure for as many years as I have definitely represents a career peak.

SL: With a background like that, one would have thought that you would write a book about Vince and Andy, about Erasure. Have you ever thought about anything like that?

Vince and Andy get offers to write books every year, on their own or as part of Erasure, but at this point in time neither of them feel the time is right to tell their stories. However when the time is right I very much hope that I will be involved in some way.

SL: You must have a lot of funny or exciting stories about your collaboration with Erasure. Could you tell us a short story that you particularly like to think back to?

I think the best stories are the ones that I can’t tell…

SL: Have you always been a big fan of electro music? Where did your interest in this music genre come from?

I kind of have and I haven’t. My book covers the period 1978-1983 which coincides with the time I was starting to discover music for myself and I always  consider my musical tastes extremely varied. Looking back however and I can see that the music that I was drawn to often had a very noticeable electronic element even when it wasn’t electronic music as such, so although I would enjoy, for example, rock music, the actual songs I was listening to would be things like ‘Owner Of A Lonely Heart’ by Yes, or tracks from ZZ Top’s ‘Eliminator’ album. It turns out that those electronic elements run through a huge amount of my favourite music but I hadn’t really noticed it before. But I did always love ‘pure’ electronic music too. I can remember being blown away the first time I heard things like Donna Summer’s ‘I Feel Love’ and Kraftwerk’s ‘The Model’ for example.

SL: On 6^th November there will be a special event in London to launch your book “Listening To The Music The Machines Make” where you will interview Andy Bell and Martyn Ware (The Human League, BEF, Heaven 17) about their lives in electronic music. We already know about your connection with Andy, but what about Martyn? Have you known him for a while too?

I first met Martyn through a website I used to run called This Is Not Retro and I interviewed him a few times for that website, but I got to know him better through Vince Clarke who has a side-project with Martyn called Illustrious. Illustrious released a boxset called ‘House Of Illustrious’ under the name The Clarke & Ware Experiment a few years go and I was involved on the periphery of that release and got to know Martyn a little better through doing that. Then Martyn was working on his book, ‘Electronically Yours Vol. 1’, at the same time I was working on mine and I was able to introduce him to some helpful publishing people and also to share some of my research with him. We’ve only met in real life a couple of times so I’m looking forward to doing that at my launch in London and then again when we’re doing a joint event at the Louder Than Words Festival in Manchester the following week.

SL: Both Martyn Ware and Vince Clarke have special podcasts and radio programmes where they talk about synthesizer music, play such tracks and talk to famous artists. Do you listen to these programmes regularly?

I always listen to The Synthesizer Show, Vince’s radio show with Reed Hays, for pleasure of course because it can be very entertaining, but also so I can talk about it in the Erasure newsletter. I try to keep up with Martyn’s podcast Electronically Yours but he does so many of them that I’m always a few episodes behind!

SL: The foreword in your book was written by Vince Clarke who has been a living legend in the music industry over the last 40 years. How did he like your book? Has he already read it?

I sent Vince the manuscript so he would have an idea about what was in my book and I know that he has dipped into it, but I don’t know if he’s actually read it all… the book is 528 pages long so it takes a lot of reading and Vince is a busy man with a lot on his plate. I was delighted that he agreed to do the foreword though, as you say he is a legend and I’m extremely lucky to be able to call him a friend.

SL: Could you please name artists you met during your research or with whom you had conversations on the topic? By the way, who is your biggest hero from the electro music scene?

When I first started work on the book I did intend to talk to as many people from that time as possible, but I actually changed direction quite early on in the process simply because a lot of those people don’t actually remember the details very well after all these years. Instead I went to the original music and popular culture media from 1978 to 1983 and collected as many interviews, reviews, features and news pieces as I could – literally thousands of them – from magazines and papers from the NME, Sounds and Melody Maker to Smash Hits, The Face and ZigZag and constructed the narrative of the book from those original materials. Where I was fortunate was in having access to a number of those people who were available to answer questions, join the dots and provide extra clarification when I needed it. Vince Clarke and Andy Bell of course but also people like Martyn Ware, Neil Arthur, Rusty Egan and Daniel Miller.

I don’t know that I have a biggest hero as such, but in the summer Karl Bartos from Kraftwerk published a book, ‘The Sound of the Machine’, with Omnibus Press, the same publishers who are putting out my book ‘Listening to the Music the Machines Make’, and I was able to go to one of Karl’s events and was introduced to him afterwards which was a huge thrill. He was absolutely lovely and very funny.

SL: You jokingly said about yourself that you live in constant fear that people will ask you about your favourite record. Is that really such a difficult question to answer? Could you name at least three records that have had a big impact on your life?

It really is a difficult question to answer. There are so many great records and my favourite one day might not be favourite the next day depending on what I’m listening to, how I’m feeling and what sort of a mood I’m in. So here are three electronic records which I absolutely love and which I never get tired of listening to: The League Unlimited Orchestra’s ‘Love & Dancing’, Propaganda’s ‘A Secret Wish’ and Depeche Mode’s ‘Ultra’… but it really is an impossible question. If you were to ask me again in half an hour I would probably choose three completely different records!

SL: In the last two years, the music industry has also been hit hard by the pandemic. Many tours had to be cancelled or postponed. Which band did you see live for the last time from the electro music scene? Are there still concerts on your personal wish list?

A few weeks ago I saw Front 242’s concert in London which I think I was supposed to see in 2020 and which had been rescheduled four or maybe five times before it finally happened. It was a great show though. And I’m off to see Blancmange next week which I’m looking forward to as I really like their new album. As for a concerts wish list, I never saw the Eurythmics so I think they would be top of the list for me.

SL: We, electro music fans, are already very excited about your upcoming book. And what are you reading right now when you have a little “me time”?

I’m currently reading Martyn Ware’s ‘Electronically Yours Vol. 1’ as I will be interviewing him about the book at my event in a few weeks time. It’s very good, he has done some extraordinary things and has been involved in some amazing projects, so I’m very much enjoying it.

János Janurik

I began my career in online music journalism in 2001, writing about artists I had followed since the late ’80s and early ’90s, including Depeche Mode, Erasure and The Cure. I later edited the Hungarian Mute microsite for EMI Music Hungary. This led to interviews with Erasure, Nitzer Ebb and Alan Wilder, and some of those collaborations developed into lasting friendships. Since 2014, I have been part of the editorial team of depechemode.de. I also contribute interviews to Reflections of Darkness, Peek-A-Boo Magazine and Kaput Mag. I maintain a close connection to Mute Records artists and have also supported releases on Very Records. I am proud to collaborate with Side-Line Magazine, where I regularly publish interviews and features.

(Photo by Al Pulford) On the eve of the release of a 5CD retrospective box set, Leeds based English post-punk/gothic rock act The March Violets have announced a reunion. They plan to tour and make new recordings through 2023-2024. Here’s what they just announced: “Founder-members Rosie Garland and Tom Ashton are joined again by William Faith (musician and vocalist with Faith & the Muse, Conflict and The Bellwether Syndicate) and we are excited to be back in the studio creating brand new material & planning live dates for 2023- 2024.”

A digital single of “Walk into the Sun” (the 7″ version) – out now – will be followed by the 2LP vinyl “Play Loud Play Purple” which compiles all their 1980’s releases and more – on purple vinyl. Next is the 2LP vinyl “Big Soul Kiss” holding 23 BBC session tracks with 9 unreleased songs, on yellow vinyl. And finally there’s the 5CD box set with all their indie releases, the BBC Sessions and two discs of unreleased rarities.

About The March Violets

The March Violets formed in December 1981 with the following line-up: Tom Ashton (guitar), Laurence “Loz” Elliot (bass), Simon “Detroit” Denbigh (vocals) and Rosie Garland (vocals). Percussion was provided by a drum machine, nicknamed “Dr. Rhythm”, a feature they had in common with many of the bands in the Leeds scene at the time. Fellow student Andrew Eldritch, lead singer of the Sisters of Mercy, released the band’s debut 7″, the four-track “Religious as Hell” EP, on his Merciful Release label on 28 August 1982. A second single on Merciful Release, “Grooving in Green”, followed on 27 November 1982.

The band then established their own Rebirth record label, releasing the “Crow Baby” single on 30 April 1983. Cleo Murray joined as second female vocalist for the next single, “Snake Dance”, issued in December 1983. Garland left after “Snake Dance”, and Murray took over as sole female singer for “Walk Into the Sun”, issued 4 August 1984. That October, the band released their first compilation album, “Natural History”, which collected the first four singles plus two tracks from a 1983 BBC Peel Session.

The March Violets shifted towards a more pop-oriented sound, and Denbigh left the band in early February 1985, prior to the band’s first American tour in March 1985. Denbigh did appear on the next single, “Deep”, released 11 May 1985 but that was recorded prior to his departure. A second compilation album, “Electric Shades”, was issued in the US by Relativity Records that year; it collected the contents of the “Snake Dance”, “Walk Into the Sun” and “Deep” singles, including a piano-laden remix of “Snake Dance”.

The band then signed to major label London Records, adding drummer Andy Tolson to the lineup. The “Turn to the Sky” single was released 24 February 1986 on London, although still bearing the Rebirth imprint. The song (and their cover of “Miss Amanda Jones” by the Rolling Stones) was featured on the soundtrack to the 1987 film “Some Kind of Wonderful”, which included a live performance by the band of “Turn to the Sky.” Although groomed for greater success, it didn’t work out as planned and only one single came out.

In 1993, the band’s first CD compilation, The Botanic Verses, was released by Jungle Records in the UK and Cleopatra Records in the US; it covered their entire 1982-1984 catalogue.

The band reformed 25 years later, successfully touring the UK, USA and Europe and making new recordings through Pledge Music. However, illness twice beset that phase and it ended in 2016.

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 Helen Kincaid) Out on 30 September via London Records is Blancmange’s upcoming album “Private View”. Benge returns as a key collaborator, and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) returns as the guitarist, having previously performed with the band on 1982’s debut “Happy Families” (as well as several other Blancmange albums). The new album will be followed by an extensive UK tour that runs from 1 October through to a London Assembly Hall appearance on 10 December, with Stephen Mallinder, Bernholz, Oblong, Rodney Cromwell and Alice Hubble as special guests across the tour.

But first they release a new single, “Reduced Voltage”, alongside a John Grant remix of the track. You can view the accompanying video, created by Harvey Wise, right below.

The new single is accompanied by a remix from long-time collaborator, John Grant who adds: “I have loved Blancmange for close to four decades, so it’s such an honor to be asked to remix a track off the new record. It was a blast and it’s my first. Hope you enjoy.”

You can listen to the John Grant remix below.

Blancmange formed in Harrow, London, in 1979. The band were a duo for much of their career, composed of Neil Arthur (vocals) and Stephen Luscombe (keyboards). Their first real exposure came via the track “Sad Day” on the “Some Bizzare Album” compilation, alongside acts such as Soft Cell and Depeche Mode. This led to them signing a recording contract with London Records. In December 1981 they supported Japan on their “Visions of China” UK tour. What followed were five UK top-20 singles: “Living on the Ceiling”, “Waves”, “Blind Vision”, “Don’t Tell Me” (their best single we would say) and of course also their excellent cover of ABBA’s “The Day Before You Came”. They released three albums during that decade: “Happy Families” (1982), “Mange Tout” (1984) and “Believe You Me” (1985).

The duo parted in 1986 but reformed in the late 2000s, and in 2011 released their fourth album, “Blanc Burn”. Luscombe left following the release due to ill health, and since then Arthur alone has continued to perform under the Blancmange name, releasing nine new studio albums along with a re-recording of the band’s debut album, titled “Happy Families Too…”. He has also been involved in a further three collaborative albums as Fader (with Benge) and Near Future (with Jez Bernholz).

An instrumental album by Blancmange, “Nil by Mouth II”, was released on 22 November 2019 as a limited-edition run of 1000 copies. The album was released on a larger scale on cd in June 2020. A new album, titled “Mindset”, preceded by a single with the same title in February, was released in June 2020.

Extensive UK tour throughout October, November and December

Here are the upcoming UK dates.

• 1 Oct – Rough Trade East, London
• 6 Oct – The HMV Empire, Coventry – w/ Bernholz
• 7 Oct – The Junction, Cambridge – w/ Oblong
• 8 Oct – Subscription Rooms, Stroud – w/ Oblong
• 13 Oct – Arts Centre, Colchester – w/ Oblong
• 14 Oct – University Y Plas, Cardiff – w/ Oblong
• 15 Oct – Cheese and Grain, Frome – w/ Oblong
• 20 Oct – Sub 89, Reading – w/ Oblong
• 21 Oct – The Level, Nottingham – w/ Oblong
• 22 Oct – Glassbox Theatre, Gillingham – w/ Oblong
• 27 Oct – The Fleece, Bristol – w/ Alice Hubble
• 28 Oct – The Boilerroom, Guildford – w/ Alice Hubble
• 29 Oct – Tivoli Theatre, Wimborne – w/ Alice Hubble
• 4 Nov – Exeter Theatre, Exeter – w/ Rodney Cromwell
• 5 Nov – The Brook, Southampton – w/ Rodney Cromwell
• 10 Nov – The Mill, Birmingham – w/ Alice Hubble
• 11 Nov – Kanteena, Lancaster – w/ Alice Hubble
• 12 Nov – The Forum Theatre, Barrow-in-Furness – w/ Alice Hubble
• 17 Nov – Corn Hall, Diss – w/ Rodney Cromwell
• 18 Nov – Gorilla, Manchester – w/ Stephen Mallinder
• 19 Nov – Hangar 34, Liverpool – w/ Stephen Mallinder
• 24 Nov – The Wardrobe, Leeds – w/ Stephen Mallinder
• 25 Nov – The Leadmill, Sheffield – w/ Stephen Mallinder
• 26 Nov – The Riverside, Newcastle – w/ Stephen Mallinder
• 1 Dec – The Lemon Tree, Aberdeen – w/ Stephen Mallinder
• 2 Dec – The Liquid Room, Edinburgh – w/ Stephen Mallinder
• 3 Dec – Queen Margaret Union, Glasgow – w/ Stephen Mallinder
• 9 Dec – Concorde 2, Brighton – w/ Stephen Mallinder
• 10 Dec – Islington Assembly Hall, London – w/ Stephen Mallinder

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 Helen Kincaid) Blancmange have announced details of a new album, “Private View”, and a return to London Records that released the band’s debut album. “Private View” will be out on vinyl, cassette, CD and digitally on 30 September 2022. The album launches today with the release of the first single “Some Times These”.

Watch the video for “Some Times These”, with art direction and production by Harvey Wise right below.

For this release Benge returns as a key collaborator, and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) returns as the guitarist, having previously performed with the band on 1982’s “Happy Families” as well as several other Blancmange albums.

Here are the various formats.

Blancmange are an English synth-pop band formed in Harrow, London, in 1979. The band were a duo for much of their career, composed of Neil Arthur (vocals) and Stephen Luscombe (keyboards). They came to prominence in the early 1980s, releasing four UK top-20 singles: “Living on the Ceiling”, “Waves”, “Blind Vision” and “Don’t Tell Me”. They released three albums during that decade: “Happy Families” (1982), “Mange Tout” (1984) and “Believe You Me” (1985).

The duo amicably parted in 1986 but reformed in the late 2000s, and in 2011 released their fourth album, “Blanc Burn”. Luscombe left following the release due to ill health, and since then Arthur alone has continued to perform under the Blancmange name, releasing nine new studio albums along with a re-recording of the band’s debut album, titled “Happy Families Too”. He has also been involved in a further three collaborative albums as Fader (with Benge) and Near Future (with Jez Bernholz).

Private View Tour

• 17 June – Grace Jones’ Meltdown – Southbank Centre, London
• 6 Oct – The HMV Empire, Coventry – w/ Bernholz
• 7 Oct – The Junction, Cambridge – w/ Oblong
• 8 Oct – Subscription Rooms, Stroud – w/ Oblong
• 13 Oct – Arts Centre, Colchester – w/ Oblong
• 14 Oct – University Y Plas, Cardiff – w/ Oblong
• 15 Oct – Cheese and Grain, Frome – w/ Oblong
• 20 Oct – Sub 89, Reading – w/ Oblong
• 21 Oct – The Level, Nottingham – w/ Oblong
• 22 Oct – Glassbox Theatre, Gillingham – w/ Oblong
• 27 Oct – The Fleece, Bristol – w/ Alice Hubble
• 28 Oct – The Boilerroom, Guildford – w/ Alice Hubble
• 29 Oct – Tivoli Theatre, Wimborne – w/ Alice Hubble
• 4 Nov – Exeter Theatre, Exeter
• 5 Nov – The Brook, Southampton
• 10 Nov – The Mill, Birmingham – w/ Alice Hubble
• 11 Nov – Kanteena, Lancaster – w/ Alice Hubble
• 12 Nov – The Forum Theatre, Barrow-in-Furness – w/ Alice Hubble
• 17 Nov – Corn Hall, Diss
• 18 Nov – Gorilla, Manchester – w/ Stephen Mallinder
• 19 Nov – Hangar 34, Liverpool – w/ Stephen Mallinder
• 24 Nov – The Wardrobe, Leeds – w/ Stephen Mallinder
• 25 Nov – The Leadmill, Sheffield – w/ Stephen Mallinder
• 26 Nov – The Riverside, Newcastle – w/ Stephen Mallinder
• 1 Dec – The Lemon Tree, Aberdeen – w/ Stephen Mallinder
• 2 Dec – The Liquid Room, Edinburgh – w/ Stephen Mallinder
• 3 Dec – Queen Margaret Union, Glasgow – w/ Stephen Mallinder
• 9 Dec – Concorde 2, Brighton – w/ Stephen Mallinder
• 10 Dec – Islington Assembly Hall, London – w/ Stephen Mallinder

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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Factory Records was a Manchester-based British independent record label founded in 1978 by Tony Wilson and Alan Erasmus. The label featured several important acts on its roster, including Joy Division, New Order, A Certain Ratio, the Durutti Column, Happy Mondays, Northside, and (briefly) Orchestral Manoeuvres in the Dark and James. Factory also ran The Haçienda nightclub, in partnership with New Order.

By 1992, the label’s two most successful bands caused the label serious financial trouble. The Happy Mondays were recording their troubled fourth album “Yes Please!” in Barbados and overspent their initial £150,000 budget with £230,000 reaching £380,000 in total. New Order from their side spent £430,000 on recording their comeback album “Republic”. London Records were interested in taking over Factory but the deal fell through when it emerged that, due to Factory’s early practice of eschewing contracts (New Order never had a formal contract with Factory), New Order rather than the label owned New Order’s back catalogue.

Factory Communications Ltd, the company formed in 1981, declared bankruptcy in November 1992. In 1994, Wilson attempted to revive Factory Records, in collaboration with London Records, as “Factory Too”. The first release was by Factory stalwarts the Durutti Column; the other main acts on the label were Hopper and Space Monkeys, and the label gave a UK release to the first album by Stephin Merritt’s side project the 6ths, Wasps’ Nests. A further release ensued: a compilation EP featuring previously unsigned Manchester acts East West Coast, the Orch, Italian Love Party, and K-Track. This collection of 8 tracks (2 per band) was simply entitled A Factory Sample Too (FACD2.02). The label was active until the late 1990s, latterly independent of London Records, as was “Factory Once”, which organised reissues of Factory material. Wilson founded a short-lived fourth incarnation, F4 Records, in the early 2000s.

Broken arms and drugs

Happy Mondays’ “Yes Please!” recordings are a story in itself. This was the fourth studio album by the Happy Mondays and Factory Records reckoned that following the succes of the non-album single “Judge Fudge”, the band deserved a budget of £150,000 for their next album, and as you read above, they didn’t spent £150,000, but £380,000 on their album.

After settling on producers Chris Frantz and Tina Weymouth, both members of Talking Heads and Tom Tom Club, Happy Mondays decamped to Blue Wave Studio in Saint Philip, Barbados in February 1992 where the sessions were plagued by a variety of issues. Frontman Shaun Ryder for instance developed a crack habit. A public relations representative from the band’s label Factory Records even had to issue a statement on Ryder’s behalf, denouncing his drug use. Dancer Bez from his side broke his arm three (!!) times. With little finished material and a lack of lyrics the band returned to the United Kingdom where Ryder was admitted into a detox centre. Recording continued for two weeks in May 1992 at Comfort’s Place Studio in Lingfield, Surrey, where Ryder did his vocals.

The album “Yes Please!” received mixed reviews from music critics. It did sell 50,000 copies by the end of the year but that wasn’t enough by far to keep Factory Records afloat. The band disbanded in 1993, and have reformed several times in subsequent decades.

Here’s some MTV coverage on the band’s “Yes Please!” from a time when the channel still was worth checking out.

And New Order?

They signed with London Records, the label that was initially going to save Factory Records. Apart from New Order also Morris and Gilbert separately signed with the label for their side project The Other Two, whose debut album was originally intended for release on Factory. “Republic”, released around the world in 1993, spawned the singles “Regret”, “Ruined in a Day”, “World”, and “Spooky”.

Tony Wilson made little money from Factory Records or the Haçienda

In the end Factory Records owner Tony Wilson made little money from Factory Records or the Haçienda, despite the enormous popularity and cultural significance of both endeavours. Both Factory Records and the Haçienda came to an abrupt end in the late 1990s.

Wilson died of a heart attack in Manchester’s Christie Hospital on 10 August 2007 aged 57 following kidney cancer for which he was unable to pay the treatment. A number of Wilson’s music industry friends, including former Happy Mondays manager Nathan McGough, their current manager Elliot Rashman and TV stars Richard Madeley and Judy Finnegan, formed a fund to help pay for Wilson’s medical treatment.

Here’s a very rare interview with Wilson, one year before the label would fold followed by a splendid BBC documentary on Factory Records.

About New Order

New Order formed in Manchester, England, in 1980, founded by Bernard Sumner (vocals, guitar, keyboards), Peter Hook (bass) and Stephen Morris (drums), all former members of Joy Division, following the death of Joy Division vocalist Ian Curtis on 18 May 1980. Keyboardist Gillian Gilbert joined shortly after. Joy Division had released two studio albums on Factory Records, “Unknown Pleasures” (1979) and “Closer” (1980); New Order continued on the same label, releasing “Movement” (1981), “Power, Corruption & Lies” (1983), “Low-Life” (1985), “Brotherhood” (1986) and “Technique” (1989). The 1983 single “Blue Monday” became the best-selling twelve-inch single of all time.

Factory Communications Ltd declared bankruptcy in November 1992 with debts exceeding two million pounds, driven substantially by two of its flagship acts overspending on recordings: Happy Mondays’ budget for “Yes Please!” rose to around 380,000 pounds recording in Barbados, while New Order spent roughly 430,000 pounds on its comeback album, “Republic,” ultimately released in May 1993 via London Records rather than Factory. A proposed takeover by London Records fell through when it emerged that, because Factory had operated without formal contracts, New Order owned its own back catalogue, leaving the label nothing to acquire. In 2025, New Order issued expanded archival reissues of its four Factory-era albums via Warner Music.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

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Ricky Gervais (yes, THE Ricky Gervais) and youth friend Bill Macrae once formed the new wave/new romantic act Seona Dancing. They released 2 singles (“More To Lose” and “Bitter Heart”) via London Records but only had little success in the UK and most of the world although their first single “More To Lose” became an instant #1 hit in the Philippines.

You can watch the 2 Seona Dancing videos below.

Managing Suede and going on the road as David Brent

It didn’t stop there for Gervais as he became the manager for Suede before they became successful in the 1990s before turning to comedy.

In 2013, he decided it was time to do his own Spinal Tap when he performed a live tour as David Brent along with his band Foregone Conclusion, Brent’s fictional band in “The Office”. Gervais also produced a series of YouTube videos, “Learn Guitar with David Brent”, featuring acoustic guitar versions of nine songs.

In 2016, as part of the “Life on the Road” film promotion, Gervais published the David Brent Songbook of 15 songs, which he also recorded for the album “Life on the Road” as David Brent and Foregone Conclusion.

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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Out via London Records is a limited vinyl boxset of Blancmange, called “The Blanc Tapes”. The boxset holds all three albums released in the eighties with each album being a double 12” black vinyl in gatefold sleeve with printed inner-sleeves. A download card is also included.

Each album includes the original album (remastered), plus B-sides, extended versions, remixes, previously unreleased tracks and demos. It also includes the band’s last ever EP under London Records, “I can see it”.

3 albums in the 80s, huge legacy

The English synth-pop band Blancmange formed in Harrow, London, in 1979. The band were a duo for most of their career, composed of Neil Arthur (vocals) and Stephen Luscombe (keyboards). They came to prominence in the early 1980s releasing four highly well scoringsingles, such as “Living on the Ceiling”, “Waves”, “Blind Vision” and “Don’t Tell Me”. They would go on to release three albums during the eighties: “Happy Families” (1982), “Mange Tout” (1984) and “Believe You Me” (1985).

The duo broke up in 1986 but reformed in 2011 and released their fourth album “Blanc Burn” (2011). Luscombe left following the release and since then Arthur has continued to perform under the Blancmange name. He has released three further studio albums and a number of compilations, including a re-recording of the band’s debut album, titled “Happy Families Too”.

Below you can listen to the 3 albums in their extended new edition.

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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