Unusual deliver late-night euphoria on Push It, a sleek melodic house cut balancing hypnotic atmosphere with undeniable dancefloor momentum. Built around shimmering synth layers, pulsating basslines, and a memorable melodic hook, the track steadily unfolds into an uplifting club experience that feels equally emotional and driving. Collaborating with Dennis Reif, Unusual tap into the modern melodic house aesthetic with polished precision, crafting a sound that glows somewhere between peak-time energy and afterhours introspection. Smooth, immersive, and effortlessly addictive, Push It is tailor-made for neon-lit nights and open-air dancefloors.
Paul McCartney turned down being in the hot seat for the Netflix roast, but he’ll serve as a musical guest on SNL this weekend for the season finale. It’ll be Sir Paul’s fifth time as musical guest, but he is a longtime friend of creator/showrunner Lorne Michaels and has made several additional cameos over the years. It’ll be former cast member Ferrell’s sixth time hosting. The promo clip is here now.
In January 1982, Siouxsie Sioux stepped into Sheila Rock’s Ladbroke Grove studio and into a set of clothes that seemed to understand her before the camera even had its say. The result became one of the defining images of early 80s British style: Siouxsie on the cover of The Face, Nick Logan’s ground-breaking magazine of music, fashion, and metropolitan mischief, caught at a point when post-punk had begun to look outward, eastward, sideways, and everywhere at once.
Now, more than four decades later, Siouxsie: Exposures -1982 returns to that session with the patience of a contact sheet and the charge of a rediscovered relic. Slated for release on 23 June 2026 by Moonboy, the limited-edition monograph will be restricted to 1,323 individually numbered copies, gathering 68 rare and previously unpublished photographs from a shoot that has long held a privileged place in the visual mythology of British post-punk.
The familiar image may have become part of the furniture of subcultural memory, but Rock’s private archive held far more than a single cover. Nearly two hundred photographs from the session remained unseen for over forty years, sealed away from public view while Siouxsie’s influence traveled through decades of goth, post-punk, fashion, performance, and every kid who ever learned that eyeliner could be a weapon, a mask, or a magnificent refusal of plain living.
The seed of the shoot was planted in Japan. In autumn 1981, Rock spent two months traveling through the country, and in Tokyo’s Harajuku district, she encountered theatrically dressed teenagers gathering to dance to their favorite music. The link between Japanese street style and British youth tribes was immediate. Rock saw a current running from Harajuku to Kensington Market, from Tokyo teenagers to the clothes-conscious crowds of King’s Road, Chelsea. Siouxsie, already a severe and singular presence in British music, was the obvious figure to carry that idea into a British post-punk frame.
The session became a collaboration between Rock, Siouxsie, and London designer Lloyd Johnson, whose ‘Rock ’n’Roll Suicide’ collection supplied graphic lines, bold fabrics, and a sense of theatrical precision. Johnson’s clothes met Siouxsie’s poise with the force of flint against steel. Nothing about the styling feels incidental. It belongs to a Britain where club culture, punk fallout, New Romantic excess, and street fashion were cross-pollinating at speed, producing looks that felt assembled from record sleeves, market stalls, imported fantasy, and private nerve.
“When Siouxsie stepped into the clothes, it was like a light bulb came on. If you give an idea to someone who has as much style as Siouxsie, they just run with it.”
Rock understood that charge and captured it with her camera. Since the early 1970s, she has been an essential witness to British subculture, documenting punk, post-punk, New Romantic glamour, and the many unruly forms that gathered at the margins of mainstream taste before being absorbed, softened, and sold back to the world. Her images have always had a special feel for clothes as declarations: the jacket as an argument, the haircut as a manifesto, the stare as social weather.
Siouxsie: Exposures -1982 restores this particular exchange to its fuller shape. Across the restored photographs, the session can be seen as a sequence rather than a frozen emblem. The book offers a close look at a moment when music press photography still carried the risk and romance of invention, when a magazine cover could help define a mood before the culture around it had learned what to call itself.
The volume also includes exclusive new interviews with Sheila Rock and Lloyd Johnson, alongside a review of Siouxsie’s enduring legacy in the post-punk landscape. It is published by Moonboy Ltd, an independent company based in London and Paris, specializing in high-quality limited edition photo books on bands, performers, and creative cultural movements. Moonboy’s previous publications include The Cure Stills with Robert Smith and Paul Cox, New Romantics with Sheila Rock, Looking For Trouble with John Ingledew, 3rd Dimension with Corin Johnson, and Dead Or Alive with Paul Cox and Lynne Burns.
The special edition book is available for order here and features a fine art Giclee print signed by Sheila Rock (a numbered edition of 323 only).
In 2024, Neil Young began performing with a backing band called the Chrome Hearts. The following year, he released an album with them called Talkin To The Trees. Luxury fashion brand Chrome Hearts was not happy about this, and sued the legendary singer-songwriter and the band last fall. Now, they’ve dropped the lawsuit.
My daughter, who is not from hell as far as I know, was delighted to learn this week of a new Gracie Abrams album called Daughter From Hell. I’m pretty interested in hearing it too. Abrams had some passive-aggressive folk-pop jams on her last Aaron Dessner-produced album, 2024’s The Secret Of Us. She’s back with…
“Slipping into new disguise,
Your eyes know, your body lies.
This fascination. This fascination. This, fascination.”
In the 1986 film Ferris Bueller’s Day Off, Ferris’ teenage bedroom has always raised two serious questions. How, exactly, does a suburban high-school scam artist afford an E-mu Emulator II, a sampler that cost as much as a decent car in the mid-eighties? And why does he have a Cabaret Voltaire poster on his wall? The first question answers the second. Of course, the kid with the state-of-the-art (and wildly expensive) sampling keyboard would be a Cabaret Voltaire fan.
For most fans, though, Cabaret Voltaire have spent decades feeling less like a band one might actually see than a signal picked up through imported records via Wax Trax!—in Bueller’s home turf of Chicago, late-night video transmissions, bootlegs, and half-remembered MTV weirdness. Their current Final USA and Canada Tour marks their first North American run in more than 30 years, and their first U.S. shows with Stephen Mallinder at the front of the mic and machines since the early 1990s. That alone made Tuesday night’s stop at The Bellwether in Los Angeles feel less like a standard tour date than a breach in the timeline.
The Cabs were no longer a poster on a wall, a secret handshake for synth obsessives, or a ghostly VHS afterimage. They were in the room, physically moving air. For many in attendance, myself included, this was a bucket-list show of the highest order. I never really thought I would see Cabaret Voltaire live.
That impossibility is part of what made the evening feel charged before a note had even hit. Cabaret Voltaire were initially active from 1973 to 1994, with Chris Watson departing in 1981 and Stephen Mallinder staying until the original run’s end; Richard H. Kirk later revived the name as its sole remaining member with a performance at Berlin Atonal in 2014, followed by a run of late-period releases before his death in 2021. Mallinder and Watson have since made clear that there will be no new studio recordings under the Cabaret Voltaire name without Kirk.
That history matters because Cabaret Voltaire were never simply “industrial” in the retro-tag sense. By 1980, their early archival cassette 1974–1976 appeared on Industrial Records, but they were there before the map had been drawn: post-punk before post-punk became a neat shelf marker at the record store, industrial before industrial became a uniform, electronic body music before the body knew what had hit it. In a 2016 interview with Post-Punk.com, Mallinder reflected that the group was not conscious of a “movement” because so few people were doing anything like it at the time; the attitude, he said, was essentially: “this is what we do, take it or leave it.”
Their proximity to Joy Division and Factory Records is not mere trivia; it’s more like family history. Cabaret Voltaire were never quite a Factory band in the canonical sense, but they passed through that orbit more than once, with releases on both Factory and Factory Benelux, including 2×45 and the “Yashar” single. Mallinder recalled in the interview that Factory’s Tony Wilson was putting his funds into Joy Division’s Unknown Pleasures, which helped steer Cabaret Voltaire toward Rough Trade. The connection nearly crossed the Atlantic in 1980: in a BBC Blackburn interview, Ian Curtis said Joy Division were planning a short American tour, organized by Rough Trade, adding, “I think we’re going with Cabaret Voltaire. I like them, they’re a good group.” After Richard H. Kirk’s death decades later, New Orderpaid tribute to Kirk by noting that Cabaret Voltaire were “good friends” and “very influential electronic musicians,” adding that they had “a large influence on Joy Division” and “helped us enormously after Ian’s death.”
With that in mind, it seemed like most of the Los Angeles music scene understood the weight of the moment. The Bellwether felt packed with musicians, lifers, goths, synth heads, industrial survivors, post-punk devotees, and people who had the look of having waited decades for this exact configuration of bass, synth, funk, and old future dread.
Opening the night was I Speak Machine, the audiovisual project of Los Angeles-based Tara Busch. Founded in 2013, I Speak Machine’s work has moved through live film scores, horror/sci-fi atmospheres, and synth-punk violence, with the 2022 album WAR and later singles like “Bring Me the Girl” sharpening that persona into something feral and theatrical. Busch has also toured extensively with Gary Numan, and her 2025 single “Guts of Love” features Numan alongside Ministry drummer Roy Mayorga.
Her set was impressive: a compact 35-minute burst whose setlist included “Eat You Alive,” “Santa Monica,” “Metal of My Hell,” a new song noted as “pray to god for blood,” “Guts of Love,” “War,” and “Bring Me the Girl,” with two songs still listed as unknown. Busch performed with the kind of command that turns solitude into spectacle—alone among machines, slipping from shriek to swoop, rage to ritual, cinema to club. By the end of her set, it was obvious why she was not just opening the night but stepping into the Cabs’ machinery itself.
I Speak Machine
For the North American shows, Cabaret Voltaire’s live lineup is Stephen Mallinder on vocals, bass, keyboards, and samples; Benge on keyboards and electronic drums; Eric Random on keyboards and guitar; and Tara Busch on keyboards and samples. Chris Watson is not performing the American dates, with Mallinder explaining that Watson “can’t do the American shows because travel is difficult for him”; Busch is performing Watson’s parts from stems Watson created.
That lineup also gives the current Cabs a deeper continuity than the word “replacement” would suggest. Benge is no hired hand in the usual sense: he has spent years working alongside Mallinder in Wrangler, the analogue-electronic trio with Phil Winter, and in Creep Show, the wonderfully warped project that brought Wrangler together with John Grant. He also brings his own heavy history of synth-world scholarship and studio sorcery, most notably through John Foxx and the Maths, his long-running project with the former Ultravox frontman, and production or collaborative work connected to artists including The Soft Moon. So while Chris Watson’s absence from the North American dates is significant, the current formation is not some loose touring approximation. It is a carefully wired network of Mallinder’s post-Cabs life, early electronic lineage, and present-tense analogue muscle.
What followed was not nostalgia. It was not a museum reconstruction. It was more like seeing an old machine rewired in front of you: still dangerous, still strange, but with more torque than expected.
The Bellwether set largely mirrored the sequence of the new live album, But What Time Is It Really?, released April 24, 2026, and recorded during the UK tour in October and November 2025. The album includes 16 live versions drawn from across the Cabs’ catalog, including “24-24,” “Animation,” “Why Kill Time,” “Crackdown,” “Spies in the Wires,” “Yashar,” “Do Right,” “Nag Nag Nag,” and “Sensoria.” But the Los Angeles set made a few pointed alterations: “Theme From Earthshaker” opened the show from tape, “Seconds Too Late” appeared in place of Watson’s musique concrète piece “Tinsley Viaduct,” and a snippet of “Theme from Doublevision” introduced the encore before “Nag Nag Nag” and “Sensoria.”
After “Theme From Earthshaker”—a Micro-Phonies-era transmission that also appears in the #8385 Collected Works box—set the room on edge, “24/24” hit with pitch-perfect gothic Kraftwerkian funk. It began with a tight opening blast from 1983’s The Crackdown, each track sounding fuller, stranger, and more urgent than expected. From the first moments, it was clear the arrangements had been invigorated rather than merely updated. To my ears, this live configuration made that material feel heavier in the body, brighter in the nerves, and more alive in the bones.
Cabaret Voltaire
Next was “Animation,” and my Fitness Watch informed me that my heart rate had spiked. I had always wanted to hear that song live. “Animation” sits in the same steel corridor as Joy Division’s “Isolation”: nervous rhythm, synthetic chill, and the feeling of a human voice trying to keep its shape inside a machine. But this live version had a bounce and warmth that changed the temperature of the song.
“Why Kill Time (When You Can Kill Yourself)” followed with its high, horn-like synths—brassy, clipped, somewhere between synthetic siren and industrial fanfare. The original has always carried a wonderfully strange proto-Mighty Boosh energy: nerdy, deadpan, theatrical, as if industrial funk-laced synthpop had wandered into a surreal comedy club and refused to leave. Live, however, it became richer and far more danceable. “Why Kill Time” never sounded so fun.
From there, the set reached back further. “The Set Up,” from the band’s 1978 Extended Play EP, pulled the tempo down into gothic unease, its icy guitar repetition and poetic vocal delivery cooling the room after the igniting first blast. Then “Landslide,” from 1981’s Red Mecca, arrived as a darker, funkier undertow, followed by “Seconds Too Late,” the 1980 Rough Trade single and one of the evening’s most effective reminders of early Cabaret Voltaire’s talent for industrial dub unease. The replacement made sense in the absence of Watson’s musique concrète piece “Tinsley Viaduct.”
The set then snapped back to The Crackdown with the title track, an industrial-funk stomp with marching dance-floor menace: strict, clipped, coercive, and still powered by rubberized groove. Rhythmically, one could hear kinship with Kraftwerk, Bowie’s Low, and the metallic pressure that would later course through Nine Inch Nails. Mallinder’s vocal cadence here was especially striking. It is hard not to imagine Trent Reznor somewhere down the line, knowingly or not, finding a reference point in Mal’s forlorn delivery of the line, “Somewhere, someone, somewhere, cracks down.”
That sense carried into “Spies in the Wires,” from 1984’s Micro-Phonies, a classic that came alive with brutal clarity. Dancing with a heavy camera in hand, I kept having the same thought once again: I cannot believe I am hearing this live.
“Just Fascination” then returned the set to The Crackdown, arriving with denser, richer synths than the album version and a more forceful vocal delivery, punctuated by distorted vocal effects that felt less like ornament than interrogation. “Taxi Music,” from the Johnny Yesno soundtrack, opened a different corridor in the Cabs’ audiovisual history, calling back to the band’s entanglement with Peter Care’sJohnny Yesno and the Doublevision world. Care’s own biography notes that his 1979 short film Johnny Yesno, with a Cabaret Voltaire soundtrack, led him into making projections for the band’s live performances and compilations for their Doublevision video company.
That thread was significant because its visuals were impressive throughout. Dan Conway’s live visuals gave the show a Dada-digital skin: glitches, signal decay, surveillance texture, hard-edged abstraction, and flashes of classic Cabaret Voltaire video language. The live album credits note that its artwork by Dan Conway and Paul Burgess is based on Conway’s live visuals from the tour. There were also clips that celebrated Peter Care’s groundbreaking work with the band; Mallinder even shouted Care out from the stage, noting that he lives in Los Angeles. Care’s “Sensoria” video, famously, became legendary in the United States, landing on MTV’s Viewer’s Chart and entering MoMA’s collection.
Cabaret Voltaire
“Yashar,” originally from the 1982 2×45 release and later reworked through its Factory and Factory Benelux single life, pushed the room fully into motion. The live version leaned even further into dance-floor propulsion, closer in spirit to the John Robie single remix, and by that point, anyone still on the fence about dancing had run out of excuses. The song’s otherworldly electronic pulse felt both ancient and modern, like club music transmitted through a Cold War satellite.
“Sex, Money, Freaks,” from 1987’s Code, brought an industrial Kraftwerk-meets-hip-hop groove, followed by the atmospheric, dubbed-out electro-funk drift of “Easy Life,” from 1990’s Groovy, Laidback and Nasty. Then the main set closed by returning to Micro-Phonies with “Do Right,” whose stripped, disciplined electro-funk architecture glowed brighter in this live arrangement. The band’s rhythmic control was remarkable. Nothing felt overplayed. Nothing felt embalmed. The arrangements had muscle, but also space.
Mallinder commanded the stage with subdued funk. His presence was not flamboyant in the obvious sense; it was all minor gestures, head shakes, pointed flips of the hand, small movements that redirected the groove. When not stationed solo at the mic or docked at his synths, he played a Höfner-style violin bass, giving the machine funk a human hinge. He looked, at times, restrainedly chuffed by the force coming back from the audience—a warm grin breaking across his face as the room sent five decades of love toward the stage.
The encore changeover was quick, just long enough to grab a breath of water, before “Theme from Doublevision” flickered in as a snippet and “Nag Nag Nag,” the band’s 1979 Rough Trade single, tore through the room. What a strange and perfect encore move: one of the band’s most primitive, demo-like early provocations remade as a polished post-punk attack. It says a lot about Cabaret Voltaire that they could begin the evening with more danceable and comparatively pop material, then make “Nag Nag Nag” feel like the legendary fan-service eruption it deserved to be.
Cabaret Voltaire
And then came “Sensoria,” the Micro-Phonies masterpiece.
The closer landed as Cabaret Voltaire’s sleek industrial-dance machine in full motion: bright synthetic hooks, clipped electro-funk propulsion, and that wiry post-punk riff sharpened into a richer, more sustained live-wire bite. It was ecstatic without being sentimental, precise without being sterile. The room loved it. More than that, the room seemed to need it.
By the end, the feeling among everyone I spoke with was the same: we could have done another hour, or started the whole thing over from the beginning. The arrangements were so alive that they surpassed the experience of simply listening to the album versions. They made Cabaret Voltaire feel, perhaps unexpectedly, like an essential live band—not just an essential historical band, not just one of the first names in post-punk and industrial music, but a group whose work still twitches, grooves, and mutates in real time.
It took me a few hours to shake the euphoric stupor. Many in the audience, including musicians from well-known bands, seemed equally stunned. This was not just a good legacy show. It was one of those rare performances where history becomes physical, where influence stops being an abstract chain of references and becomes bass pressure, sweat, light, and collective disbelief.
For those who can still see this tour, go. For those who cannot, the next best thing is picking up the amazing live album But What Time Is It Really? It captures much of this current configuration’s sound, sequence, and intent, and is a fantastic document of the Cabs’ late-live power. But like any great live album, it also proves the thing it cannot fully replace: there is no substitute for feeling the twitch and groove of Cabaret Voltaire live in your bones.
Listen to the album But What Time Is It Really? below, and order it here.
Cabaret Voltaire’s Final USA + Canada Tour continues with one more West Coast date this spring, taking over The Warfield in San Francisco on May 15th, before the tour resumes in September for a run through Dallas, Chicago, Toronto, Montreal, Boston, Washington, DC, New York, and Philadelphia.
Final USA + Canada Tour — May 2026:
May 15, 2026 – San Francisco, CA – The Warfield
Final USA + Canada Tour — September 2026:
September 11, 2026 – Dallas, TX – Granada Theater
September 15, 2026 – Chicago, IL – Metro
September 16, 2026 – Chicago, IL – Metro
September 18, 2026 – Toronto, ON – Phoenix Concert Theatre
September 19, 2026 – Montreal, QC – SAT
September 21, 2026 – Boston, MA – The Wilbur
September 23, 2026 – Washington, DC – The Howard Theatre
September 25, 2026 – New York, NY – Knockdown Center
September 26, 2026 – Philadelphia, PA – Underground Arts
The titans of hard rock are back. Deep Purple have officially launched their new era with the release of a hard-hitting new single, “Arrogant Boy”. This track serves as the first taste of their highly anticipated 24th studio album, SPLAT!, which is scheduled to arrive on July 3, 2026, via earMUSIC.
“Arrogant Boy” is a testament to the band’s enduring creative fire. Frontman Ian Gillan describes the track as a story-driven piece, centered around a character named Billy who is at odds with the world around him. The song features the signature Hammond organ swells of Don Airey and the razor-sharp guitar work of Simon McBride, who has seamlessly integrated into the band’s legendary soundscape.
The “SPLAT!” Era Begins
The upcoming album, SPLAT!, was conceived by Ian Gillan with a unique philosophical approach, treating the “end” not as destruction, but as a new form of creation. The album was produced with the band’s long-standing commitment to raw, authentic performances, capturing the energy that has made them a staple of the rock and metal scene for over five decades.
Accompanying the single is a cinematic music video that perfectly captures the track’s moody and introspective atmosphere. As the band prepares for a massive world tour that will take them across Europe and Mexico later this year, “Arrogant Boy” proves that Deep Purple is far from finished with their legacy.
SPLAT! is available for pre-order now, and “Arrogant Boy” can be streamed on all major platforms. The legends have returned, and the sound is as vibrant as ever.
