"Front 242" is a pioneering Belgian electronic body music group that came i… Read Full Bio ↴"Front 242" is a pioneering Belgian electronic body music group that came into prominence during the 1980s. For years to come they took the lead in electronic music composition. During their most active period (they decided to quit EBM in 1993 with the albums "06:21:03:11 UP EVIL" and "05:22:09:12 OFF") they were influential to many electro-industrial and electronic artists.
The origin of "Front 242" should be understood within the rise of industrial music, which originated in England in 1975 with the first performances of "Cabaret Voltaire" and "Throbbing Gristle". These revolutionary groups introduced elements of style later taken up by "Front 242" such as electronic instrumentation, overwhelming percussion often with found objects, and looped samples of found soundbites. Going back earlier, these innovations can be seen as an extension of the work of William S. Burroughs and of Edgard Varèse, the first significant composer to adopt electronic sources of sound as musical instruments, and who also used overwhelming percussion including with found objects. It is perhaps no coincidence that Varese's great mark on the music world took place at the "1958 World Fair" in Brussels, where Front 242 would work a few decades later.
Front 242 was created in 1981 in Aarschot, Belgium by Daniel Bressanutti and Dirk Bergen, who originally went by the name "Prothese". They were interested in creating both music and graphic design using emerging electronic tools, and reportedly decided on changing their name to "Front 242" because the name had greater potential as a subject of graphic design. The first single to be released was "Principles", late in that year. Patrick Codenys and Jean-Luc De Meyer had separately formed a group called "Under Viewer" at about the same time. Codenys said his father received a lottery winning and shared enough of it with him so that he could buy a car, but he bought his first synthesizer instead. Contact between Bressanutti and Codenys led the two duos to join together in 1982. Bressanutti, Codenys and De Meyer all took turns on vocals at first, until they settled on De Meyer as the lead vocalist; only recently have early recordings with Bressanutti on vocals been widely released. De Meyer also came to write almost all of the lyrics. They also decided during this formative period never to use the regular waveform settings on their synthesizers, saying instead that creating the waveform itself for each note was part of the creative process.
Their next single, "U-Men", would be released in 1982, followed by the band's first album "Geography" in 1983. These first releases, while cited as influential by a number of other artists in the genre, were not as characteristically strong and hard-hitting as the group's later efforts.
In 1983, Dirk Bergen left the band to pursue graphic design full time, and Richard Jonckheere was admitted to the group as a loosely backing vocalist and charismatic stage presence. Jonkheere was usually referred to by the name Richard 23. "Front 242" was becoming the most popular musical group in Belgium; their next album, "No Comment" would cement the group's place in electronic music, and was the first to introduce the term "Electronic Body Music" in association with their sound. "Front 242" signed with the legendary Wax Trax label in 1984, and started their first tour in the United States with "Ministry". This tour led to the creation of "Revolting Cocks" by Richard 23, Luc Van Acker, Alain Jourgensen of "Ministry" and others.
The 1985 album "Back Catalogue" collected material from the group's earlier years, but their international breakthrough didn't occur until the release of "Official Version" in 1986, on the Red Rhino Europe label, followed by their "Official Warfare" tour in support of the album. Their popularity would reach even higher with the 1988 "Headhunter" single and video by Anton Corbijn, and its accompanying album "Front By Front". By this point, "Front 242" had developed a style of strong backbeats, slices, samples, and ominous vocals. "Headhunter" is possibly one of the most popularly played and remixed songs of the entire genre.
During these releases "Front 242" also presented a style and imagery which was political in a decidedly apolitical style. They would use militaristic samples, preachers and the TV as a source for inspiration, but refused to admit to having any message. The message, admittedly, was the listener's to imagine. As they put it, they were merely presenting the world around them as it was. Possibly due to this rather in-your-face approach, they have often been falsely accused of being neo-Nazis or extreme right-wing. In fact the complete opposite is true, with them famously saying that "Neo-Nazis couldn't make the music we do. They're too stupid!"
With the turn of the decade the band went through many changes. "Tyranny >For You<", released in 1991, brought the world a much denser, multi-layered sound which would push them straight into the 1990s. This album, like "Front by Front" was a huge success and it seemed as if the Frontmen could just go from strength to strength. "Tyranny" was also the first album they released in North America under contract with a major corporate label, Sony/Epic. After the widespread popularity of "Front by Front", Sony/ Epic also issued re-released versions of Front 242's five earlier albums, with several E.P.'s and singles consolidated as extra tracks on the albums.
1992 saw Bressanutti return his focus on combining graphic arts with music, with a tour of his lithographs to three U.S. galleries. Bressanutti also composed a solo half-hour atmospheric recording called Art and Strategy (or The Art Corporation) to play during viewings of the lithographs, and released this in a limited edition of 1,000 CDs. This is the only known solo work from any of Front 242's members.
Front 242's style shifted abruptly with each of their next two albums, released in rapid succession in 1993 (originally planned as a double-CD). "06:21:03:11 UP EVIL" and "05:22:09:12 OFF" were brilliant releases musically and once again showed that "Front 242" did not need to follow existing trends to stay fresh and original, even using a female vocalist (the numbers correspond to letters, spelling "FUCK UP EVIL" and "EVIL OFF"). However at this point there were strains emerging, with the band members apparently having different artistic views about how to progress. Neither of these albums had significant input from Richard 23, and "05:22:09:12 OFF" only intermittently included their lead vocalist, Jean-Luc De Meyer. On the other hand, a variety of new contributors were listed as members of "Front 242" on these albums: Jean-Marc Pauly and Pierre Pauly on "Up Evil", and 99 Kowalski and Eran Westwood on "Off" ("99 Kowalski" is the assumed name of Kristin Kowalski, making a tradition out of Richard 23's idea of number-as-name). Kowalski, Westwood, and percussionist John Dubs were members of a short-lived New York City based band called "Spill" who were temporarily integrated into "Front 242" after their recording sessions as the former band fell apart .
A broader segment of the non-industrial-music-loving public was exposed to "Front 242" in 1992 in the film "Single White Female" starring Bridget Fonda and Jennifer Jason Leigh, when evil roommate Leigh ties up good roommate Fonda to a chair, and then turns the volume way up on the T.V. to drown out the sound of Fonda calling for help; the T.V. is playing the "Front 242" video for "Rhythm Of Time" from the album "Tyranny >For You<." Also in 1992, the T.V. commercials for the film "K2" were set to the Front 242 song "Moldavia", from the album "Tyranny >For You<," although there was no "Front 242" in the film itself.
To the disappointment of many, the years following "06:21:03:11 Up Evil" and "05:22:09:12 Off" would be bereft of new material from "Front 242" under any lineup, filled instead with a stream of live recordings and remixes. However, this period also saw a proliferation of side projects, an inordinate number of which involved De Meyer.
Earlier, Richard 23 had a side project as a member of Revolting Cocks, and De Meyer had a side project doing vocals for "Bigod 20" for their debut single, "The Bog" in 1990. In 1995, De Meyer met Marc Heal of "Cubanate" at a "Front Line Assembly" concert, and the two of them collaborated along with Ged Denton and Jonathan Sharp, to record as "Cyber-Tec Project" for the new (and short-lived) Cyber-Tec record label. After the departure of Sharp and the demise of the Cyber-Tec label, the remaining group continued working under the name "C-Tec". De Meyer also took over as vocalist for "Birmingham 6" for their 1996 album "Error of Judgment". 1996 also saw the debut album "Elemental" from "Cobalt 60", which De Meyer formed with the members of "Kriegbereit", i.e. Dominique Lallement and Frederic Sebastien of Reims, France. This was the start of a number of releases from Cobalt 60. Meanwhile, Richard 23 recorded with the groups "Holy Gang" and later "LeTschak".
The four core members of "Front 242" regrouped in 1998 to compose radically reworked versions of many of their songs, which they then performed on their first tour in five years, appropriately called the "RE:BOOT tour". They acknowledged the influence of "The Prodigy" and their "Fat of the Land" album in crafting the new, more techno style of "RE:BOOT LIVE". The new tour material was the subject of Front 242's new recording contract in the U.S. with Metropolis Records. "Front 242" also indicated at this time that they were recording new material. However, they once again seemed to become only minimally active after 1998, making occasional appearances in Europe and Mexico, while Codenys recorded under the name "Gaiden" with Steve Stoll in 2001.
Then 2002 saw the beginning of a wave of new material from Bressanutti and Codenys, and then of "Front 242" itself. This began in August 2002 with the release of a DVD/CD two-disc set called "Speed Tribe," released by Dance.com. The DVD was a collaboration with experimental documentary filmmakers Rod Chong and Sharon Matarazzo filming the 2001 24 Hour Le Mans, in which the race cars, clouds, rain and spectators are all used as impressionist elements of a visual backdrop for the music. Within three months of "Speed Tribe" was the first release from "Male or Female", a.k.a. "Morf", a new guise for Bressanutti and Codenys along with vocalist Elko Blijweert. In 2002 and 2003, "Morf" released an album, an E.P., a double album, and a DVD/CD two-disc combo, on the Belgian record label Alfa Matrix, and went on tour through the U.S. Then, 2002 and 2003 also saw the release of the long-awaited first new material from "Front 242" proper in a decade: the E.P. "Still and Raw" and the album "Pulse", released on XIII Bis Records in Europe and Metropolis Records in the U.S. These represented another iteration of Front 242's explicitly stated goal of reinventing itself on almost every new album, as it has done through its history. The style of the two new releases tends to be a little more mellow than some of their past work, and makes revelatory use of glitchy and bleepy notes, while it also introduces a whole new level of manipulating De Meyer's vocals to achieve novel effects of the human voice as musical instrument. The new releases also feature a much more emotional style from De Meyer than his previous "Front 242" work, but which was presaged in his later recordings with "C-Tec" and particularly "Cobalt 60" on its album "Twelve".
"Front 242" also promised a new U.S. tour showcasing the new material from "Still and Raw" and "Pulse," originally indicating that it would take place in autumn 2004, though that has been pushed back. They have made occasional appearances in Latin America and Europe, even being rejoined by Dirk Bergen for a reunion concert in Aarschot in 2004 under the original lineup of Bressanutti, Bergen, Codenys and De Meyer (kept secret until two days before the show). They have also recently issued another re-release of their first album "Geography" on Alfa-Matrix, this time newly remastered personally by Bressanutti to surprisingly powerful effect, and with extra tracks and a second disc filled with very early material that had never before been released. Meanwhile their enthusiasm for side projects has continued, as Patrick Codenys started appearing with a new group called "Red Sniper", Bressanutti started recording with a new group called "Troissoeur", Codenys and Richard 23 formed a quasi-DJ project called "Coder23" which is touring in late 2004 and early 2005 as the opening act for "VNV Nation", and De Meyer collaborated as a vocalist with "Glis" in 2005.
"Front 242" toured through twenty venues in North America in November 2005, their first tour as the full band since 2000.
On June 4 2008, Alfa Matrix announced the imminent release of "Moments... 1", a 'Live' recording encompassing the very best of Front 242's compositions. The release is presented as a 2CD boxset and as 1CD which holds 4 tracks in alternative versions not featured on the 2CD box edition. And as a bonus with the limited 2CD boxset, Alfa Matrix will also include the free 18-track CD compilation "Sounds from the Matrix 007" with unreleased songs.
The origin of "Front 242" should be understood within the rise of industrial music, which originated in England in 1975 with the first performances of "Cabaret Voltaire" and "Throbbing Gristle". These revolutionary groups introduced elements of style later taken up by "Front 242" such as electronic instrumentation, overwhelming percussion often with found objects, and looped samples of found soundbites. Going back earlier, these innovations can be seen as an extension of the work of William S. Burroughs and of Edgard Varèse, the first significant composer to adopt electronic sources of sound as musical instruments, and who also used overwhelming percussion including with found objects. It is perhaps no coincidence that Varese's great mark on the music world took place at the "1958 World Fair" in Brussels, where Front 242 would work a few decades later.
Front 242 was created in 1981 in Aarschot, Belgium by Daniel Bressanutti and Dirk Bergen, who originally went by the name "Prothese". They were interested in creating both music and graphic design using emerging electronic tools, and reportedly decided on changing their name to "Front 242" because the name had greater potential as a subject of graphic design. The first single to be released was "Principles", late in that year. Patrick Codenys and Jean-Luc De Meyer had separately formed a group called "Under Viewer" at about the same time. Codenys said his father received a lottery winning and shared enough of it with him so that he could buy a car, but he bought his first synthesizer instead. Contact between Bressanutti and Codenys led the two duos to join together in 1982. Bressanutti, Codenys and De Meyer all took turns on vocals at first, until they settled on De Meyer as the lead vocalist; only recently have early recordings with Bressanutti on vocals been widely released. De Meyer also came to write almost all of the lyrics. They also decided during this formative period never to use the regular waveform settings on their synthesizers, saying instead that creating the waveform itself for each note was part of the creative process.
Their next single, "U-Men", would be released in 1982, followed by the band's first album "Geography" in 1983. These first releases, while cited as influential by a number of other artists in the genre, were not as characteristically strong and hard-hitting as the group's later efforts.
In 1983, Dirk Bergen left the band to pursue graphic design full time, and Richard Jonckheere was admitted to the group as a loosely backing vocalist and charismatic stage presence. Jonkheere was usually referred to by the name Richard 23. "Front 242" was becoming the most popular musical group in Belgium; their next album, "No Comment" would cement the group's place in electronic music, and was the first to introduce the term "Electronic Body Music" in association with their sound. "Front 242" signed with the legendary Wax Trax label in 1984, and started their first tour in the United States with "Ministry". This tour led to the creation of "Revolting Cocks" by Richard 23, Luc Van Acker, Alain Jourgensen of "Ministry" and others.
The 1985 album "Back Catalogue" collected material from the group's earlier years, but their international breakthrough didn't occur until the release of "Official Version" in 1986, on the Red Rhino Europe label, followed by their "Official Warfare" tour in support of the album. Their popularity would reach even higher with the 1988 "Headhunter" single and video by Anton Corbijn, and its accompanying album "Front By Front". By this point, "Front 242" had developed a style of strong backbeats, slices, samples, and ominous vocals. "Headhunter" is possibly one of the most popularly played and remixed songs of the entire genre.
During these releases "Front 242" also presented a style and imagery which was political in a decidedly apolitical style. They would use militaristic samples, preachers and the TV as a source for inspiration, but refused to admit to having any message. The message, admittedly, was the listener's to imagine. As they put it, they were merely presenting the world around them as it was. Possibly due to this rather in-your-face approach, they have often been falsely accused of being neo-Nazis or extreme right-wing. In fact the complete opposite is true, with them famously saying that "Neo-Nazis couldn't make the music we do. They're too stupid!"
With the turn of the decade the band went through many changes. "Tyranny >For You<", released in 1991, brought the world a much denser, multi-layered sound which would push them straight into the 1990s. This album, like "Front by Front" was a huge success and it seemed as if the Frontmen could just go from strength to strength. "Tyranny" was also the first album they released in North America under contract with a major corporate label, Sony/Epic. After the widespread popularity of "Front by Front", Sony/ Epic also issued re-released versions of Front 242's five earlier albums, with several E.P.'s and singles consolidated as extra tracks on the albums.
1992 saw Bressanutti return his focus on combining graphic arts with music, with a tour of his lithographs to three U.S. galleries. Bressanutti also composed a solo half-hour atmospheric recording called Art and Strategy (or The Art Corporation) to play during viewings of the lithographs, and released this in a limited edition of 1,000 CDs. This is the only known solo work from any of Front 242's members.
Front 242's style shifted abruptly with each of their next two albums, released in rapid succession in 1993 (originally planned as a double-CD). "06:21:03:11 UP EVIL" and "05:22:09:12 OFF" were brilliant releases musically and once again showed that "Front 242" did not need to follow existing trends to stay fresh and original, even using a female vocalist (the numbers correspond to letters, spelling "FUCK UP EVIL" and "EVIL OFF"). However at this point there were strains emerging, with the band members apparently having different artistic views about how to progress. Neither of these albums had significant input from Richard 23, and "05:22:09:12 OFF" only intermittently included their lead vocalist, Jean-Luc De Meyer. On the other hand, a variety of new contributors were listed as members of "Front 242" on these albums: Jean-Marc Pauly and Pierre Pauly on "Up Evil", and 99 Kowalski and Eran Westwood on "Off" ("99 Kowalski" is the assumed name of Kristin Kowalski, making a tradition out of Richard 23's idea of number-as-name). Kowalski, Westwood, and percussionist John Dubs were members of a short-lived New York City based band called "Spill" who were temporarily integrated into "Front 242" after their recording sessions as the former band fell apart .
A broader segment of the non-industrial-music-loving public was exposed to "Front 242" in 1992 in the film "Single White Female" starring Bridget Fonda and Jennifer Jason Leigh, when evil roommate Leigh ties up good roommate Fonda to a chair, and then turns the volume way up on the T.V. to drown out the sound of Fonda calling for help; the T.V. is playing the "Front 242" video for "Rhythm Of Time" from the album "Tyranny >For You<." Also in 1992, the T.V. commercials for the film "K2" were set to the Front 242 song "Moldavia", from the album "Tyranny >For You<," although there was no "Front 242" in the film itself.
To the disappointment of many, the years following "06:21:03:11 Up Evil" and "05:22:09:12 Off" would be bereft of new material from "Front 242" under any lineup, filled instead with a stream of live recordings and remixes. However, this period also saw a proliferation of side projects, an inordinate number of which involved De Meyer.
Earlier, Richard 23 had a side project as a member of Revolting Cocks, and De Meyer had a side project doing vocals for "Bigod 20" for their debut single, "The Bog" in 1990. In 1995, De Meyer met Marc Heal of "Cubanate" at a "Front Line Assembly" concert, and the two of them collaborated along with Ged Denton and Jonathan Sharp, to record as "Cyber-Tec Project" for the new (and short-lived) Cyber-Tec record label. After the departure of Sharp and the demise of the Cyber-Tec label, the remaining group continued working under the name "C-Tec". De Meyer also took over as vocalist for "Birmingham 6" for their 1996 album "Error of Judgment". 1996 also saw the debut album "Elemental" from "Cobalt 60", which De Meyer formed with the members of "Kriegbereit", i.e. Dominique Lallement and Frederic Sebastien of Reims, France. This was the start of a number of releases from Cobalt 60. Meanwhile, Richard 23 recorded with the groups "Holy Gang" and later "LeTschak".
The four core members of "Front 242" regrouped in 1998 to compose radically reworked versions of many of their songs, which they then performed on their first tour in five years, appropriately called the "RE:BOOT tour". They acknowledged the influence of "The Prodigy" and their "Fat of the Land" album in crafting the new, more techno style of "RE:BOOT LIVE". The new tour material was the subject of Front 242's new recording contract in the U.S. with Metropolis Records. "Front 242" also indicated at this time that they were recording new material. However, they once again seemed to become only minimally active after 1998, making occasional appearances in Europe and Mexico, while Codenys recorded under the name "Gaiden" with Steve Stoll in 2001.
Then 2002 saw the beginning of a wave of new material from Bressanutti and Codenys, and then of "Front 242" itself. This began in August 2002 with the release of a DVD/CD two-disc set called "Speed Tribe," released by Dance.com. The DVD was a collaboration with experimental documentary filmmakers Rod Chong and Sharon Matarazzo filming the 2001 24 Hour Le Mans, in which the race cars, clouds, rain and spectators are all used as impressionist elements of a visual backdrop for the music. Within three months of "Speed Tribe" was the first release from "Male or Female", a.k.a. "Morf", a new guise for Bressanutti and Codenys along with vocalist Elko Blijweert. In 2002 and 2003, "Morf" released an album, an E.P., a double album, and a DVD/CD two-disc combo, on the Belgian record label Alfa Matrix, and went on tour through the U.S. Then, 2002 and 2003 also saw the release of the long-awaited first new material from "Front 242" proper in a decade: the E.P. "Still and Raw" and the album "Pulse", released on XIII Bis Records in Europe and Metropolis Records in the U.S. These represented another iteration of Front 242's explicitly stated goal of reinventing itself on almost every new album, as it has done through its history. The style of the two new releases tends to be a little more mellow than some of their past work, and makes revelatory use of glitchy and bleepy notes, while it also introduces a whole new level of manipulating De Meyer's vocals to achieve novel effects of the human voice as musical instrument. The new releases also feature a much more emotional style from De Meyer than his previous "Front 242" work, but which was presaged in his later recordings with "C-Tec" and particularly "Cobalt 60" on its album "Twelve".
"Front 242" also promised a new U.S. tour showcasing the new material from "Still and Raw" and "Pulse," originally indicating that it would take place in autumn 2004, though that has been pushed back. They have made occasional appearances in Latin America and Europe, even being rejoined by Dirk Bergen for a reunion concert in Aarschot in 2004 under the original lineup of Bressanutti, Bergen, Codenys and De Meyer (kept secret until two days before the show). They have also recently issued another re-release of their first album "Geography" on Alfa-Matrix, this time newly remastered personally by Bressanutti to surprisingly powerful effect, and with extra tracks and a second disc filled with very early material that had never before been released. Meanwhile their enthusiasm for side projects has continued, as Patrick Codenys started appearing with a new group called "Red Sniper", Bressanutti started recording with a new group called "Troissoeur", Codenys and Richard 23 formed a quasi-DJ project called "Coder23" which is touring in late 2004 and early 2005 as the opening act for "VNV Nation", and De Meyer collaborated as a vocalist with "Glis" in 2005.
"Front 242" toured through twenty venues in North America in November 2005, their first tour as the full band since 2000.
On June 4 2008, Alfa Matrix announced the imminent release of "Moments... 1", a 'Live' recording encompassing the very best of Front 242's compositions. The release is presented as a 2CD boxset and as 1CD which holds 4 tracks in alternative versions not featured on the 2CD box edition. And as a bonus with the limited 2CD boxset, Alfa Matrix will also include the free 18-track CD compilation "Sounds from the Matrix 007" with unreleased songs.
Take One
Front 242 Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Oh no don't take
This is our last order
Last order
If you're (physical youth)
You say you're moving youth
So why don't you feel?
So why don't you feel the beat
Say how you could!
Give me...
Another one
My old regrets
Can't stay always (alone)
You feel the beat
This is...
One day the grounds will sway
Divine body, look right!
This is...
Give me another one
And take my old regrets
Can't stay always alone
Why don't you feel the beat?
Oh why don't you feel the beat?
This is our last order
Last order
If you're (physical youth)
You say you're moving youth
So why don't you feel?
So why don't you feel the beat
Say how you could!
Another one
My old regrets
Can't stay always (alone)
You feel the beat
This is...
One day the grounds will sway
Divine body, look right!
This is...
Give me another one
And take my old regrets
Can't stay always alone
Why don't you feel the beat?
Oh why don't you feel the beat?
The lyrics to Front 242's song "Take One" seem to be a plea to a person to not take something away from the singer or their group, possibly referring to their music or their way of life. The repeated use of the phrase "last order" reinforces the idea that time is running out for them. The reference to "physical youth" suggests that the person they are addressing is young and full of energy, yet they don't seem to be fully engaged or connected to the music, hence the repeated question of why they don't feel the beat. The line "my old regrets" implies that the singer has some personal issues they are trying to overcome, and the music seems to be their escape. The final lines of the song speak of a future event, suggesting that things may change and that whatever they are fighting to keep may be lost. The use of the phrase "divine body" is interesting as it can be interpreted in different ways, possibly referring to a person, an ideal or even the music itself.
Overall, the lyrics to "Take One" are open to interpretation and can be seen as a plea by the band for their audience to connect with them and their music on a deeper level, despite the obstacles they may face.
Line by Line Meaning
Oh no don't take
Do not confiscate or remove something from the singer
This is our last order
The singer issues their final directive
Last order
The final direction or request
If you're (physical youth)
Assuming you possess a youthful physicality
You say you're moving youth
You claim to be progressing in youthfulness
So why don't you feel?
Why are you not experiencing sensations or emotions?
So why don't you feel the beat
Why are you not sensing the rhythm?
Say how you could!
Tell or explain how one is capable of doing something
Give me...
Requesting something from an unspecified source
Another one
A different or additional item or person
My old regrets
Past actions or decisions causing remorse or guilt
Can't stay always (alone)
Unable to remain in solitude for an extended period
You feel the beat
You are perceiving the rhythm
This is...
Expressing the identity of something
One day the grounds will sway
At some point in the future, the earth's surface will tremble
Divine body, look right!
A body of superior quality, focus attention to the right
Give me another one
Provide another unspecified item or person
And take my old regrets
Removing or relieving oneself of previous feelings of guilt or remorse
Can't stay always alone
Another reference to the singer's inability to remain in isolation
Why don't you feel the beat?
The artist's recurring question about the listener's inability to perceive the rhythm
Oh why don't you feel the beat?
Repetition of the same question with added emphasis and emotion
Lyrics © BMG RIGHTS MANAGEMENT US, LLC
Written by: CARRIE NEWCOMER
Lyrics Licensed & Provided by LyricFind
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@svens2715
God gave us :
F242, Nitzer Ebb and Depeche Mode
...
48 years old now (and stilll waisting time ;-) )but still they impact me enormously
I saw those three bands over 300 times live and my body still quivers and shivers !
Some prefer love songs, those guys sung about the opposite but never closed the doors to a another, better and new world...
@Havoc2027
30 years ago, Belgium act FRONT 242 coined the term “EBM –
Electronic Body Music - to describe the musical of their second album
“No Comment” (Another Side/1984), inspired by a variety of artists such
as Suicide, Throbbing Gristle, Cabaret Voltaire, Kratwerk, Wire or Joy
Division. In a similar fashion to the germano-hispanic combo Liaisons
Dangereuses or D.A.F., the band distilled a blend of disjointed
electronic bass lines, steep minimalist rhythms and mechanical vocals
chanted with a martial attitude, perfectly succeeding at the time to
encompass and blend icy cold wave with disco groove on an industrial
background. The original EBM (which, when I was a teenager, was
called “Techno Music”) raged all over the 80’s indie clubs. Chrislo
Haas's productions made the genre evolve towards more hard and rhythmic
sounds. But it started to lose its appeal with the arrival of the more
commercial sounding New Beat (1988) and the more aggressive “Aggrepo”
(1990). Although, around 1987, English duo “Nitzer Ebb” carried the
torch with panache, signing its album “That Total Age” on Mute Record
and, just like Front 242 had done before them, landing a spot as opening
act for a Depeche Mode tour. At the same time when electronic music reached the masses in the mid 90’s rave parties, the domination of machines in FRONT 242 music started to wane with the introduction of guitars and drum kits as early as 1993. Disappointed, the bulk of their
fans felt betrayed by those changes and the arrival of US crossover
bands from Chicago and Wax Trax label (Ministry, Revolting Cocks, NIN)
or Vancouver/Canada (Skinny Puppy, Front Line Assembly). Totally
hackneyed since the end of the 90’s following the appropriation of the
EBM name by unscrupulous German record labels which flooded the market
with increasingly mediocre bands producing cliché dark-techno-trance
soup (VNV Nation, Suicide Commando, Combichrist...), the genre was
eventually totally discredited in the eyes of purists. Like me, many of them turned to french producers such as Thomas P. Heckmann, The Hacker, Terence Fixmer, David Carretta, Millimetric, Gesaffelstein,
Maelstrom, all emerging from the Techno scene and who remained faithful
to the European roots of electronic music in general and EBM in
particular. Now totally ruined by thousands of retarded bands eructing
stupid onomatopoeia over bass lines heard thousands of times, the EBM
genre has wilted over the first decade of the century, losing both its
futurist and visionary aspects to turn into some low-end electro-punk
for beer drinkers in Doc Martens. At the dawn of yet another revival from deep USA (Youth Code, High Functioning Flesh, //Tense//) let’s render unto Caesar the things that are Caesar's: EBM is
essentially Front 242, DAF, early Neon Judgement, Absolute Body Control
and Nitzer Ebb! All the others bands are just pale imitations or pure plagiarism of their aforementioned elders.
Pedro (Unknown Pleasures Records)
http://hivmusic1.bandcamp.com/album/suicide-tribute-to-iconic-new-york-legends-cd-upr010
@e92acj75
That glorious synth bass line between 1:45 and 1:56 🤩
@svens2715
God gave us :
F242, Nitzer Ebb and Depeche Mode
...
48 years old now (and stilll waisting time ;-) )but still they impact me enormously
I saw those three bands over 300 times live and my body still quivers and shivers !
Some prefer love songs, those guys sung about the opposite but never closed the doors to a another, better and new world...
@rexdv8
And Ministry
@JaffaGaffa
Feel you brother
@svens2715
@@JaffaGaffa went with Richard, Patrick, jean-luc with some of my best friends to the Brussels leg of nitzer ebb.
Now Thanks to ex member of NE i am invited backstage for DM
@kenpokarate4187
@@svens2715 NICE!
@svens2715
@@kenpokarate4187 https://youtu.be/E99NNvo8nW4
Front 242. Brussels rules !
@GGSGuitar
Front 242 reminds me of an Army whos mission is to make you dance and have a good time
@nivramvirus6755
exactly. they didnt rely on radio play, they hoped their records landed on the decks of club djs
@GodWeenSatan
In a post apocalyptic world