Episode 129: 9/6/2020
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We started this one with a batch of new industrial and goth tracks. That was followed with a set of tracks themed around work, etc. in honor of Labor Day. Then we played a set of industrial, post-punk, and noise rock tracks about viruses, infections, etc. because we’re still in the grips of a global pandemic. That was followed with some synthpop tracks, including a mini-set of Soviet Russian synthpop/new wave that was a tribute to the late Oleg Parastaev of Al’yans and NRG. We went all-out for a set of power electronics at midnight, and we closed the show with a mix of shoegaze, experimental, and ambient.
- Half Machine Lip Moves Introduction [0:00:00 - 0:06:21]
- Einstürzende Neubauten: Ten Grand Goldie (Alles In Allem, 2020, Potomak) [0:06:21 - 0:11:38]
- Klack: Rhythm of the System (Probably, 2020, Klack Produkt/Null Device Media Industries) [0:11:38 - 0:16:31]
- Panic Priest: Nighthunter (Second Seduction, 2020, Negative Gain) [0:16:31 - 0:20:34]
- Terminal Gods: Electric Eyes (Electric Eyes, 2012, Heavy Leather Sex) [0:20:34 - 0:24:18]
- Coil: The Sewage Workers’ Birthday Party (Scatology, 1984, Force & Form/K.422/Threshold House) [0:27:36 - 0:31:52]
- The Neon Judgement: Factory Walk (1981-1984, 1985, Scarface/Play It Again Sam Records) [0:31:52 - 0:35:33]
- Mofungo: Migrant Assembly Line Workers (Out of Line, 1983, ZOAR Records) [0:35:33 - 0:38:42]
- Saccharine Trust: Mad At the Co. (PaganIcons, 1981, SST Records) [0:38:42 - 0:39:17]
- Snog: Corporate Slave (Sixteen Easy Tunes For the End Times, 2006, Metropolis/Karmic Hit/Solzne Records) [0:39:17 - 0:44:12]
- Worm Quartet: My Job Gave Me a Poncho (The FuMP Volume 66: November-December 2017 Compilation, 2017, FIDIM Interactive) [0:44:12 - 0:47:42]
- The Locust: God Wants Us All to Work in Factories (New Erections, 2007, Anti-/Radio Surgery) [0:47:42 - 0:49:38]
- USA Nails: Revolution Worker (Revolution Worker, 2020, Bigoût Records/Hex Records) [0:49:38 - 0:52:00]
- KMFDM: Virus (Pestilence Mix) (Naive, 1990, Wax Trax!/ Records/Metropolis) [0:56:20 - 1:01:25]
- Deadjump: Infected (Aghast View Remix) (Trendsetter, 2002, DSBP) [1:01:25 - 1:05:56]
- Horskh: Virus (The Truth No Longer Matters) (Gate, 2017, Audiotrauma) [1:05:56 - 1:09:32]
- Melt-Banana: Stimulus For Revolting Virus (Charlie, 1998, A-Zap Records) [1:09:32 - 1:11:32]
- Visions: Future Disease (Visions, 2020, Ebullition Records/Old City Records) [1:11:32 - 1:14:19]
- The Cure: Pornography (Pornography, 1982, Fiction Records) [1:14:19 - 1:20:46]
- SRSQ: Temporal Love (Temporal Love/Unkempt, 2019, Dais Records) [1:24:49 - 1:29:52]
- Al’yans: Falstart (NRG/Al’yans Split, 1991, Melodiya) [1:29:52 - 1:35:42]
- Al’yans: Na Zare (At Dawn) (", “, “) [1:35:42 - 1:41:23]
- NRG (Novaya Russkaya Gruppa): Trevozhnye Sny (Prosnis, 1996, Soyuz/Electric Records/Nika-Master/Maschina Records) [1:41:23 - 1:44:48]
- Riki: Napoleon (Riki, 2020, Dais Records) [1:44:48 - 1:49:35]
- Terror Cell Unit: Fear God/Hate Man (Psalm 137:9, 2018, Bacteria Field/Found Remains) [1:53:47 - 1:57:50]
- Koufar: Kiss the Hand You Cannot Bite and Implore God to Break It (Lebanon For Lebanese, 2015, Fusty Cunt) [1:57:50 - 2:05:44]
- Axebreaker: Part 2: Patriot Act (Eliminationism, 2020, Deathbomb Arc) [2:05:44 - 2:12:18]
- Pharmakon: Self-Regulating System (Devour, 2019, Sacred Bones Records) [2:12:18 - 2:18:40]
- The Gun Club: The Breaking Hands (Mother Juno, 1987, Red Rhino/What’s So Funny About…/2.13.61 Records/Cooking Vinyl/Bang! Records) [2:20:59 - 2:25:09]
- Gush: Cradle Song (Wilderness Years 1984-89, 1989, Final Image) [2:25:09 - 2:30:29]
- Belong: Late Night (Colorloss Record, 2008, St. Ives) [2:30:29 - 2:33:54]
- Grouper: Headache (Paradise Valley, 2016, Yellow Electric) [2:33:54 - 2:38:34]
- Michele Mercure: Dreamplay 2 (Beside Herself, 2018, RVNG Intl.) [2:38:34 - 2:41:18]
- Umberto: Everything is Going to Be Okay (Prophecy of the Black Widow, 2010, Not Not Fun Records/Sonic Meditations/Burka For Everybody) [2:41:18 - 2:45:18]
Bonus Material
The video for “Na Zare” by Al’yans. Members of the band Biokonstruktor are in the audience at around 3:11