Barry first found music when he borrowed his sister's record collection when he was about eight and was hooked. When Caroline started it was a new beginning, and he listened to all the stations, but Caroline was his favourite by far. Later he became a singer in a band, then started doing discos when he was 18. He joined Caroline in 1977, touring the country with the Caroline Roadshow for 10 years, having great fun. Barry helped with tender trips and worked on the Ross Revenge in '84 and '85. ...
Manage episode 267814631 series 2744409
- Bess — “Dragonfly”, 2019.
Luscious femme-forward electro that echoes Switchblade Symphony but with far more emphasis on the switchblades.
- Sierra — “Gone”, 2019.
Criminally perfect retro wave electro funk that holds you by the hair and forces you to nod along with every deep black barb-wired hook. Physicists have determined that this song’s kick drum will appear as the new heaviest element on the Periodic Table.
- Silent Runners — “Forgotten”, 2019.
I love the metronomic build of this song, but that drop at 3 minutes, the low rolling tension and the retaliatory backhand before the curtains close is fucking auditory cinema. A highlight song from a highlight album.
- Tor Lundvall — “The Night Watch”, 2019.
This passionate, gloomy synthpop poem feels like summer at 9 pm where the sun recedes and the ghosts shimmer at the edge of the trees.
- Rhys Fulber & Blush Response — “Dissipate”, 2019.
The rolling bowels and bleak pad work of this song are the soundtrack to every slow-motion vampire rave. Play this over the opening scene of “Blade” instead of that trash New Order remix.
- Panther Modern — “Body//reaction”, 2019.
The high-water mark of modern synthpunk with production so tight it could shelter life in outer space.
- Einstürzende Neubauten — “Feurio!”, 1989.
I my love/hate for this band swings hard for “love” on this track, a sonic wall of bedlam that plows through a sound system like a heaving, steaming 18-wheeler that blew half its tires on its climb out of hell.
- Grauzone — “Eisbaer”, 1980.
Stone classic German coldwave. Come for the gimmick, stay for the bass, collapse with that closing saxophone.
- Individual Totem — “Subsistence”, 1997.
This track — crunchy beats, immaculate sound design, emotive singing — is mother electro’s warmest embrace. No one else except Haujobb and Forme Tadre had perfected the science of this sound in the 90s.
- Sabotage Q.C.Q.C. — “Les fleurs du mal”, 1995.
Second only to maybe Die Form when it comes to beats, latex and sweat.
- Mascarpone — “Faceless”, 2019.
The horror scream is a dumb trope, but the demonic acid-drenched bassline and skull-slapping kick drum more than cover for the sins of cliched sampling. The less obvious beauty is the chameleon-shifting melodies and rhythms that keep the water roiling across every moment.
- Kontravoid — “Hold Nothing”, 2018.
It’s hard not to unclench your jaw in this tough-as-nails EBM workout. The tension between kicks hangs like blood in the air, and the ripping body blows don’t relinquish their assault until your bones hit the floor.
- Skinny Puppy — “Tin Omen 1”, 1990.
One of the absolute gems in Puppy’s canon, this descent into hell is all three members unleashed and unhinged, a free fall of righteous fury and vengeful intent. (This version, from the “Worlock” single, removes the production muck of the album cut.)
- And One — “Ghama Voodoo”, 1995.
A b-side to the “Deutschmaschine” single, this is the soundtrack to sinking, a long, slow immersion into a sensory-deprived abyss of grey.