Tuesday. Tuesday...I never thought next Tuesday would ever happen. Way back in the wee days of the internet, I was on the Recoil official mailing list--back when that meant daily emails of conversing with other fans, and sometimes Alan Wilder himself, who is surprisingly approachable for someone who used to be a very key member in one of the most important electronic bands ever.
We begged, and begged, but he said it couldn't be done. Recoil could never tour, could never even do a live show... there were just
I guess Alan changed his mind, because he's on tour, and he's coming to
Though nearly impossible given all the options, I choose Recoil's first single and most well-known track, a cover of the
*trivia: Foetus also covered this song on Rife, ergo this track is often mistaken for a Foetus cover, not to say that Thirwell's version didn't influence this one.
Posted: October 23rd, 2010
at 1:38pm by qbot
Tagged with 1992, alan wilder, bloodline, british, bukka white, concerts, covers, curve, depeche mode, diamanda galas, douglas mccarthy, electro, foetus, goth, hepzibah sessa, hildia cambell, industrial, jim thirwell, liquid, maggie estep, moby, nicole blackman, nitzer ebb, plane crashes, recoil, samantha coerbell, sensational alex harvey band, siobhan lynch, speaking in tongues, synthpop, toni halliday
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It was quite a long time later that I found out that Marcos actually made music. As Rayaline, he's on Kompute, one of Chicago's best electronic dance music labels. His output is as broad as his interests, with everything from electro bangers to thoughtful techno. He's supposed to put out an album soon, but I won't hold my breath; with all of his djing and vjing gigs, he's a busy guy. We're lucky to have him as a guest at Atomic this week, and I expect he'll be one of our best guest djs to date.
He sent me a couple of tracks, but I had to post "Ashland", as it reminds me just a wee bit of Yello. See you Thursday!
If you go back far enough in electronic music, it all sort of starts to sound like one genre--and in the very early '80s, it sort of was. Before Justice and The Presets, THIS was the original electro.
Juan Atkins will be performing live as Model 500 at Movement on May 31.
Note: Whether you've never been to Detroit or a seasoned DEMF-goer, if you're planning on attending, I highly recommend reading this article from our friends at
Posted: May 14th, 2010
at 11:36am by qbot
Tagged with 1983, 1985, american, cosmic cars, cybotron, demf, detroit, detroit electronic music festival, djs, electro, juan atkins, just quality music, justice, kraftwerk, metroplex, model 500, movement, new wave, night drive, richard davis, robots, techno, the presets
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It's 6am and the sun is coming up. Kamar just dropped me off and these potato things from Dunkin Donuts are soooo good, you have no idea...
Such a great evening at
I should probably go to bed, but I can't stop listening to this Lykke Li remix lately, which may have something to do with me starting off my set with it Thursday night.
Here's to hoping your weekend is going as well as mine.
Posted: February 28th, 2010
at 6:24am by qbot
Tagged with 2008, 6am, atomic, britpop, css, dave roberts, dunkin donuts, electro, kamar, late bar, lykke li, maker's mark, panic, Peroxide, potatoes, saturday night, scary lady sarah, stormy, sunrise, swedish, synthpop, up all night, whisky
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Portion Control are one of the most influential artists in the canon of electronic music, and name-checked by some of the biggest underground artists in electronic music, including Front 242, Skinny Puppy, and Depeche Mode. Even Trent Reznor cited them recently as a major influence. Yet for some reason, Portion Control are still virtually unknown to many; which is a crime, because they wrote some of the best hard rhythmic electronic anthems ever during the years of 1982-1986.
This south London trio started their rhythmic chaos in 1980. Their earliest cassettes resembled sounds of layered cut up industrial noise that the geniuses Cabaret Voltaire manipulated. As PC progressed further, their sound got harder. Imagine if you will the furious noise of Throbbing Gristle spliced into the electro funk of Grand Master Flash. Combine hard analogue keyboards with propulsive beats, noises, but several melodic elements. Add Dean Piavani's voice, rather punk and gruff to contrast the cold machines. It's the perfect foil that gave rise to a new genre of music coined by the UK music press in '84, "electro punk".
However, it was 1985 when Portion Control flirted with possible stardom with the seminal 12 inch single, The Great Divide. What was so great about this song was that it bridged a gap musically to very diverse sub-cultures. Nihilistic post-industrialists, B-Boy rappers, punk rockers, and house DJs all were mesmerized by how Portion Control used and abused the beat. In fact, back in the day, the cool kids used to break dance in the clubs to the "The Great Divide." Even to this day, one can go to a club, and chances are the DJ might have a copy of "The Great Divide". In 1986, after the release of "Psycho-Bod Saves the World," they stopped recording music under the name, and tried a different project called Solar Enemy. The legend grew around the band only for them to re-surface in 2004. Since their return to 'rapid response electronics,' Portion Control has been very busy releasing a double album, two full lengths, EPs, and a 7" rebuild version of one of their biggest hits, "Chew You To Bits. There are some people that would argue that Portion Control are better than ever. The counting continues once more.