Nov 292012

CHAIN D.L.K.: As with every interview, I’d like to start with a little bit of history. How have you met (besides the fact that you, Fred and Cyrille, are brothers) and when have you started to play?

Fred: We met 10 years ago with Chrsitelle and this is how everything started! Chrsitelle and I were working at the same place, we started to talk about music and we realized we liked the same artists like Björk, New Order or Clients and even others. But with Cyrille, we were already playing music on our side. So we decided to experience a new musical project with Chrsitelle, her brother Patrice and her friend William: this is how the musical formation began and how the name was found.

Christelle: We worked together and we had opportunities to speak about different things and discovered that we had a common passion: music, and specifically certain types of music. He told me that he played music with his brother… We met to do some vocal try outs on one of their creations: “Venise”. We enjoyed creating together and that’s how our Happy Project began!


CHAIN D.L.K.: On both of your albums there’s more than just electronic instruments, one can also find some bass guitar lines here and there as well as some guitars, so, considering this, along with the fact that you have your peculiar sound, I can’t think of you strictly as a synthpop band. What is your perception of your own sound?

Cyrille: I think that we belong to no school, this is why we used to say that we’ve got a real DIY attitude in Happiness Project. We don’t try to sound like someone, we just want to have our personal musical universe.

Christelle: Actually, our inspiration came from different sources: electronic music, but also from other types of music… That’s the reason why our music is so eclectic! We use electronic instruments as well as more sensuous ones, where all the instruments are combined in harmony.

Fred: You are right: I think we are more than simply an electronic band! Actually electronic music was how we started and we didn’t want to give it up. But we are aware of other instruments and atmospheres.


CHAIN D.L.K.: On your new website I couldn’t find your first album “Remove Or Disable” in the album section. Why? I still think that it’s a great album…

Cyrille: Thank you, I really like “Remove or Disable”! Of course you can find our first album at the bottom of our web page. It is still available and can be ordered directly from Happiness Project.


CHAIN D.L.K.: As far as I remember at one point, after releasing your first album, you had an album ready for the Clogsontronics label, who were ready to release new music besides the Störung and Ensemble Pittoresque re-issues, but after the ADN’ Ckrystall 7″ I didn’t hear anything about that any longer… silence. Can you tell us what happened?

Cyrille: Clogsontronics was a nice project, but I know that Ton Willekes (Ensemble Pittoresque) had some health issues, so he decided to step aside and give him some room. We were very sorry for him, the album was ready and thanks to BOREDOMproduct that album became “9th Heaven”!


CHAIN D.L.K.: What about those songs? Have you used them?

Cyrille: Yes! Our new label has kept all the initial songs and we’ve added 2 new tracks: “Desillusion” and “Heights”!


CHAIN D.L.K.: After some years, you’re back with your second album “9th Heaven”. What’s the concept behind that title?

Cyrille: The album “9th Heaven” talks about the idea of a progress, an ascent. Each song is an additional step, which gradually drives the listener towards the different stratum of our musical universe.


CHAIN D.L.K.: Can you tell us something about the different phases that brought you to the album production and post-production?

Cyrille: After contacting BOREDOMproduct, we started to work with then long-distance. I sent the tracks by mail, Member u-0176 worked alone on our tracks in his “synthélabo” and sent us back his propositions of production. The entire band listened to the new versions and we gave back our different points of view. When we arrived at the point of the mastering, we went (Fred and I) to Marseille to finish the production of “9th Heaven”, it was a great moment, because we could hear and touch the result of our efforts. Our work ended in August and BOREDOMproduct did all the post-production job, so we are happy! 😉


CHAIN D.L.K.: The different songs seems to touch upon personal relationships. What aspects do you like to cover in your lyrics, usually?

Fred: Not really personal relationships: “9th Heaven” is about experiences. So we wanted to cover a large range of them, and of course some of our personal relationships might have influenced our lyrics. But we wanted to deal with what anyone may have to face, once in his or her life.

Christelle: In my opinion “9th Heaven” deals with 2 main topics: Our current world and its crisis which brings frustration and sadness (Desillsuion, Heights, Poupée Mécanique…); as well as our personal wish to re connect with our true and deep reality (Flesh and Bones, No name, Something…). “9th Heaven” is really an album which talks about the tension between these two aspects in our lives.


CHAIN D.L.K.: Am I wrong to say that they are a bit darker compared to the ones in “Remove Or Disable”?

Fred: No, you are right! It’s much darker, but it’s probably because there is more maturity in our words and also in the way we play our music. We definitely wanted “9th Heaven” to sound like something more serious.

Christelle: Indeed, the songs in “9th Heaven” are somehow darker, more melancholic because we want to give another hue to our new project.


CHAIN D.L.K.: What about your gear? Is there a synth you won’t ever sell and why?

Cyrille: There are certainly a lot of synthesizers which I’d like to buy to improve the sound of Happiness Project! 😉 But yes there are two instruments which became great friends of mine: my Korg (Triton LE) and my bass! I know them well now, I know how they react, what kind of sounds I can expect from them, and I can maybe dream that these two instruments know me well too!

Fred: We could never sell our Korg LE Station synthesizer! It has shaped our sound for ten years! It’s part of our DIY process! We could never give it away!


CHAIN D.L.K.: How did you get in contact with Boredom Products and do you think that you have finally found a label that you feel at home with?

Cyrille: We met them a very simple way: our new album was composed and I published some new demos on Facebook and SoundCloud. People who had listened to these new tracks told us to contact the french synth-pop label BOREDOMproduct, because they thought that our new stuff was very close to the label’s productions. They were right, I contacted Member U-0176 (Celluloide) and sent him our first album and some demos. He saw the video of our first version of “Blue Eyed Boy” and told me: «Ok we’ll work together for your future album!».


CHAIN D.L.K.: What are your future live and studio projects?

Christelle: At the moment, we are promoting our LP. We are doing a lot of interviews on the radio, on the web or in newspapers. We are looking for venues to play showcases and festivals. Live concerts are a way to share our music, to live it, to give it more meaning thanks to visuals from our designer Emmanuel. We are composing new titles but we don’t intend to record in the studio for the moment. Maybe later for our next album !

Fred:  We’ll certainly perform some concerts here in our hometown Limoges! There is also a date in Bordeaux. We already have new tracks, new music, and new ideas. As for me, I’d like to intensify the experimental side of our music, like in No Name!

Cyrille: For the studio project, I’d like to compose new things that are a bit more “dance”. I know that Fred wants new experimental songs and Christelle certainly more electronic sounds…  I’m sure that our next album will be a pure DIY project again!


visit the artist on the web at:

Nov 292012


Originally a one-man band by Gianni Giublena Rosacroce who mixed together mediterranean folklore, middle eastern melodies and exotic elements on the first cassette he issued, Turin-based La Piramide di Sangue (Italian for The Pyramid of Blood) is now a seven piece psychedelic rock band with clear middle eastern influences and an impressive cinematic hook. Their last (very impressive) release, “Tebe“, might sound like a bloody blob, which started from the Egyptian Museum to invade the city streets with furiously cinematic anthems. Recorded in one take, “Tebe” has been released in a 500-copies red vinyl limited edition (I warmly recommend to grab one of them!) by Italian label Boring Machines and Berlin-based imprint Sound of Cobra. Let’s burrow our way under the Pyramid…

Chain D.L.K.
: Hi there. How are you?

La Piramide Di Sangue:   We’re fine, we’re stoned, thanks for this interview!


Chain D.L.K.: How did you all get together? How did you lay the foundation for La Piramide di Sangue?

La Piramide Di Sangue:   We all knew each other for a while and we decided to play together after the release of our clarinet player GG Rosacroce, we thought it was a good idea to arrange his songs in a more psychedelic way…

Chain D.L.K.: Turin has been considered an occult or magical city. Does Turin influence your sound in a way or another?

La Piramide Di Sangue: Turin (with Lyon and Prague) are part of a satanic triangle above Europe that existed for ages, we have a lot of metal bands here and, yes, I think that this may have inflenced our sound, we are all into this esoteric and masonic mood…

interview picture 1Chain D.L.K.: You melt together psychedelic rock with middle eastern influences. The cinematic hooks of your sound made me think of a historical moment of modern music which was the subject of an interesting essay by Adinolfi – “Exotica Generation” -, when exotic elements got re-processed and combined with western musical tradition due to the charm of some distant cultures. What about your sound? Would you speak about a renewed “exotism”?

La Piramide Di Sangue:  What we combine is nothing new, we just try to do it in our own way, a lot of kraut bands melted mid east influences with psychedelic rock, think about Agitation Free, or one of the best etno psychedelic bands in Italy, Aktuala. It’s very difficult in these times to invent something completely new, but if you are true to yourself and to your roots you can still do something good and original. And now with the Internet and blogs it is way easier to find amazing music from other cultures…

Chain D.L.K.
: “Tebe” sounds really catchy. I’ve read you recorded it in one take. I should surmise you already knew each other from the performative viewpoint…

La Piramide Di Sangue: We all know and love each other’s side projects so, yes, we already knew each other’s limits… we practiced a lot before the recordings of the album, when we arrived in the studio we were pretty sure of how to do it, and it was pretty fast…

Chain D.L.K.
: Have you tested it live on stage? What was the reaction?

La Piramide Di Sangue: We played and toured a little bit and we are about to play some other shows in Italy next month. Live is very good cause it’s usually very loud, and we always got good reactions from the audience… the show is wild but it’s meditative too, its very colorful.

Chain D.L.K.
:  The titles of the tracks look like titles of chapters of a script… is there any plot behind “Tebe”?

La Piramide Di Sangue: Not really. Some titles comes from the first release of our clarinet player GG Rosacroce, the rest of the titles came out in a very dumb and natural way…

Chain D.L.K.
: During my first listening, a friend, who was there for a coffee and a chat, asked me if I had reveiced a promo from “some Area cover band who got overexcited by Tahrir Square’s riots”… I limited myself to mumble with a look of disapproval while sipping my coffee… how would you have reacted to such a comment?

La Piramide Di Sangue: Hahaha! We’ll take it as a compliment, it’s cool to be compared with Tahrir Square’s riots!  interview picture 2

Chain D.L.K.:
I’ve read the funny monikers of your members… You managed to engage Mubarak’s nephew in your line-up… what’s the tear-jerking story related to his hiring? Who eliminated him for an elitarian immaculate casting?

La Piramide Di Sangue: That story relates to a Berlusconi gossip you may not know about… Years ago they found him with a beautiful prostitute named Ruby, he was about to be processed and he said that that girl wasn’t a working girl but that she was Mubarak’s granddaughter, a friend.

Chain D.L.K.
: There are many skilled Italian underground bands with such a collagist attitude and an explosive wit… what are the main obstacles that prevent you from coming out of the dark?

La Piramide Di Sangue:  Money I think, we are pretty broke here, but there’s a lot of good underground bands that tour Europe and put out great records, think about In Zaire, Father Murphy, Trans Upper Egypt.

Chain D.L.K.
: “Tebe” has been co-produced by Boring Machines and Sound of Cobra. How come?

La Piramide Di Sangue: We’ve known Ricky since he was booking shows in a cool squat in Bologna, he lives in Berlin now… We just sent him the record and he said “Yeah! I’ll do it with Boring Machines…” I think these are 2 of the best experimental labels we’ve got in Italy now.

Chain D.L.K.
: What about the cover artwork?

La Piramide Di Sangue: The artwork is made by a friend of Ricky that takes care of most of Sound of Cobra releases.

Chain D.L.K.
: Is there any funny anectode related to the recording sessions of “Tebe”?

La Piramide Di Sangue:  No, but last time we played in Rome we forgot a member of the band at the club and went back home without him… you know,we are 7, sometimes it’s difficult to count…

Chain D.L.K.
: Any work in progress?

La Piramide Di Sangue: We will record the new album next spring I hope, we already wrote most of it, and hopefully we’ll tour Europe.


visit La Piramide Di Sangue’s Soundcloud here:

Nov 292012


interview picture 2One might speak of a one-man orchestra when introducing Clockwork Orchestra, an amazing project by young Irish songwriter Paul Mangan, whose first release “Friends Without Names”, entirely recorded within the confines of his bedroom studio, was put out by White Label Music, an independent Windsor-based record label, co-run by Ann Shenton, a founding member of seminal art-rockers Add N To (X). My baby nephew happens to love this stuff, and yet I’m pretty sure his meaningful and funny mix of lyrical storytelling, vintage keyboard instruments and nursery rhymes are going to be appreciated and welcomed by many mature listeners as well!

Chain D.L.K.: Hi Paul. How are you?

Paul Mangan:  Tired after a very busy few months but looking forward to Christmas and a less hectic period ahead.

Chain D.L.K.
: If my little nephew (who’s turning 1 in a few days) were to recommend a bunch of records on the basis of his reactions during me listening, your last album would rank very high on his list, whereas he got nervous when I was listening to child plays or Raymond Scott’s “Soothing Sounds for Baby”… how come? 😉

Paul Mangan: That’s very nice to hear! Sometimes it’s the less obvious which things appeal more to the senses I suppose. I’m greatly influenced by memories from my own childhood such as TV show theme tunes, nursery rhymes and even things like the music that would play on those coin operated rides for children that you sometimes find inside or outside of shops. Perhaps children should be my target audience?


Chain D.L.K.: Could you explain why you named your one-man project “Clockwork Orchestra”?

Paul Mangan:  The name originates from the clockwork musicians featured in the film The Abominable Dr Phibes which stars Vincent Price and it also relates to the complex and sometimes orchestral nature of the music itself. Actually, I’m not very fond of the name but everyone else seems to like it and I’m stuck with it now!


Chain D.L.K.: You were raised in North Dublin… how did that vibrating city influence your artistic path?

Paul Mangan: I spent a lot of time with my grandparents as a child, reading old books and playing with old toys which certainly helped to shape the rather nostalgic person that I am today. I went to Mount Temple Comprehensive, which is probably a more fertile ground for creative people than most schools and after that I studied at the National College of Art and Design. Everyone is influenced by their surroundings but in terms of the Dublin music scene I don’t think that anything I heard made much of an impression on me. I was always more interested in things further afield.


Chain D.L.K.: What about your musical background?

Paul Mangan:   I was never formally educated in music so I just learned how to play guitar and keyboard instruments through trial and error. I began making music in my teens using half-broken keyboards in conjunction with a 4-track recorder and subsequently produced a lot of very weird and hissy demos on tapes. I was quite weary about making these recordings available to anyone outside of my immediate circle of friends but in hindsight the music I was creating back then would be comparable to what lo-fi artists like Ariel Pink and John Maus were doing around the same time. During my art college days I recorded a fairly primitive album which was distributed amongst friends on black CD-R’s but it wasn’t until after I graduated that I felt capable of bringing the quality of my recordings to a level I deemed presentable to a wider demographic.


Chain D.L.K.: You said that most of your lyrics were inspired by personal experiences that you turned into various fable-like stories… well, what about stories behind bizarre songs such as “Paper Purse” (one of my personal favorites) or “The Book That Won’t Be Read”?

Paul Mangan: “Paper Purse” is about the difficulties of sustaining relationships in the present day. It’s also concerned with the notion of perfectionism and suggests that even when we find perfection (in this case, when a frustrated girl makes her ideal man out of paper), we can mistreat and ultimately destroy what we have created. “The Book That Won’t Be Read” is largely based on my own experiences with recorded music but I decided to switch the role of the song’s protagonist from a musician to a writer (which incidentally is the opposite of what director Luchino Visconti did with Dirk Bogarde’s character when adapting Thomas Mann’s “Death In Venice” from a novella into a film). It largely deals with the uncertainty and self-doubt most creative people go through at some point. In the final verse I couldn’t decide whether I should use the word “geniuses” or “idiots” so in the end I kept both vocal tracks with the two words overlapping which is a technique that the band Love used for several songs on “Forever Changes”.


Chain D.L.K.: Have you managed to name some of those friends? Did some of them come from dreams without numbers?

Paul Mangan:  The title “Friends Without Names” comes from a lyric in “Zebedee” but it also relates to the fact that many of the songs on the album are at least partially based on aspects of my friends or relatives, so after a while it became obvious to me that this would be a suitable title.


Chain D.L.K.: Besides lyrical contents, one of the nicest aspect of your music is the way you embellished pop-songs with 8-bits… or would you rather say you embellished 8 bits with synth-pop structures?

Paul Mangan: The 8-bit element is just one of the many ingredients that make up the sonic assault of “Friends Without Names”, so I would say that the former of the two statements is more accurate. I’m wary of being labelled as an 8-bit musician as while many of the “true” 8-bit artists are extremely talented I find that the genre is somewhat limited and lacking in personality.


interview picture 2

Chain D.L.K.: On “Skeleton Skeleton”, you sing “Skeleton skeleton inside of me/Show me the person that I’ve always wanted to become/In you I confide/What would you do if you could get outside?” …any replies?

Paul Mangan: This song is sung from the perspective of someone close to me who lacks self-confidence. It’s like a cry for help, calling on your skeleton to show you what to do. This was the last song recorded for the album and tends to go down quite well at our live shows.


Chain D.L.K.: Along with the more obvious influences you listed (Serge Gainsbourg, Brian Eno, Wall Of Voodoo, The Residents, Yello, Roxy Music, The Stranglers and so on…), some might think you were partially influenced by some undefined vintage video games’ scores… is it so? Do you have a passion for electronic games?

Paul Mangan: I think it’s inevitable that musicians from my generation are influenced by video games as they’ve been a big part of so many childhoods from that era. In my case, I was an ardent SEGA follower and obsessively played my Mega Drive in the early nineties. Soundtracks from that period which I’m particularly fond of include Decap Attack, ToeJam & Earl and Kid Chameleon. There was also a scene in the game Dynamite Headdy where you had to battle a gigantic balloon dog to a demented version of “March Of The Toy Soldiers” by Tchaikovsky which made a big impact on me at the time.


Chain D.L.K.: Have you played some concerts yet? What was the audience response?

Paul Mangan:  We’ve played a couple of concerts in Germany as well as in my native Ireland and the response has been surprisingly good so far. I think that even if it’s not necessarily the type of music that the audience would normally listen to, they appreciate the melodies and catchy hooks in the songs. I am typically joined on stage by the very tall Sean Maynard-Smith on bass and the very hairy Paul O’Byrne on laptop so visually we make for an interesting trio.


Chain D.L.K.: Any chances to see you perform somewhere in Europe or  in the USA or is it too early to plan it?

Paul Mangan:  This week we will play a couple of gigs in the UK and on December the 8th I will perform at the thirtieth edition of Gifgrond in the Netherlands. Gifgrond is an independent platform for experimental music and art rock artists and they apparently make their own brand of “toxic” alcoholic drinks which I’m looking forward to sampling!


Chain D.L.K.: One of the aspects I like the most about your sound is your personal re-styling of synth-pop… there’s no trace of silly generalization or banalities in order to please as many people as possible… do you think today’s music is lacking in content?

Paul Mangan: There has always been music that lacked content but previously it was sometimes possible for the cream to rise to the top and become commercially successful. For example, would a band like Roxy Music be as successful as they were in the seventies and early eighties if they came out in the present day? What seems to have happened in recent times is that whilst the mainstream has become increasingly predictable and drab, the underground appears to be unearthing more and more interesting characters. A prime example would be the YouTube sensation Tonetta who has utilized the Internet to become a cult phenomenon after decades of obscurity. As for electronic music, I feel as though many electro artists seem to be more focused on production values and the desire to sound like a robot rather than putting their own stamp on their material. The last thing I want to sound like is a robot.


Chain D.L.K.: Do you think it makes sense to speak of copyright or plagiarism in electronic music? What’s your point of view on those matters?

Paul Mangan: I have no problem with sampling in principle but it’s never been something that I was particularly intrigued by. Everything on “Friends Without Names” was played manually and edited or manipulated afterwards. In terms of plagiarism, obviously I’m against knowingly ripping something off and presenting it as your own but at this point in history, after so many years of written and recorded music it becomes increasingly difficult to be one hundred percent certain that you are not covering old ground. Nothing was ever completely original and everything was influenced by something that came before so as I see it, creating music is just a matter of arranging different elements in interesting ways.


Chain D.L.K.:Any pieces of advice for my nephew?

Paul Mangan:   Listen to your skeleton!


visit Clockwork Orchestra on the web at:

Nov 292012

Chain D.L.K. sits down with lead singer Chibi of The Birthday Massacre to hear about Hide and Seek, their most recent North American tour, and where they are headed from here.

Chain D.L.K.: Can you tell us a little about your upcoming album? What inspired the name Hide and Seek?

ChibiHide and Seek of course is a game that kids play, so there’s a light-heartedness to the title. But there are also darker implications – the idea of hiding. Whether you are hiding from something, or hiding something from people, everyone is hiding in their lives in some way. And we’re all looking for something too. I think everyone has encountered at least one person in their lives whom they care about very much, and then you find something out, and you realize you didn’t know that person at all. Maybe that sounds sort of nihilist but we really don’t know anything about anyone, truly, except ourselves.

Chain D.L.K.: Many of the themes in your music deal with childhood, isolation, and conformity – how do you see these themes affecting adults in today’s society?

Chibi:   I think in today’s society, people don’t have to grow up as quickly as in past generations. People continue their education nowadays, travel, make different choices than past generations were able to. In our society anyway. People talk a lot about “first world problems” – we’re very spoiled in a lot of ways, which gives us the time allowance to sort of explore creative interests if we want to, or reflect on our lives, or focus on relatively superficial things. And with the internet – I feel like we don’t know how to communicate with people as intimately as we’re meant to. We’re all wired in and writing emails and text messages. People would prefer to text message instead of make phone calls. We’re all very cut off from one another despite the “global community” of electronic communication.

Chain D.L.K.: What was the most intense part of putting this album together?

Chibi: For me personally, my voice. I found out just as we went into the recording process that I had polyps on my vocal cords. There was no time for surgery and the necessary healing period, so I went in to record with a raspy and hoarse voice. Which isn’t ideal. We got some amazing takes, we got what we wanted, but it required a lot of patience, time, and stress. And through that there’s some great emotion on the record. Listening to certain parts of this record still stresses me out because I remember how upset I was trying to record them. So frustrating, because it’s stuff that I’d easily be able to do if I hadn’t had the polyps. I’ve had the surgery now and am recovering, so I’ll be fine for performing, but it was a very intense experience.

Chain D.L.K.: You’ve said that the tracks on Hide and Seek were very emotional for you in a lot of ways – can you explain what heightened this for you on this particular album?

Chibi: Well, for one, like I said above – the vocal cord situation. It’s very difficult to literally have your voice taken away from you. Even my speaking voice – I didn’t sound like me, which was very jarring. But it wasn’t just that. Thematically, we incorporated some ideas that I’m very interested in. I’ve always been fascinated by true crime, unsolved mysteries, disappearances. Some of the lyrics on this record are inspired by true cases from nearby. The stuff that’s sort of haunted me over the years. I like to visit places where horrible things have happened and just absorb the contrasts – a field where someone was found, for example, and it’s full of people playing ball or having picnics. Oblivious to this thing, this horrible thing that happened right there. Time passes and these things are forgotten. That’s so tragic to me.

Chain D.L.K.: You all have toured all around the world – how have different audiences reacted to your shows? Do you have a favorite location/venue that you enjoy?

Chibi: I’d say for the most part, people dance and sing along and have fun at our shows. I definitely can’t remember a show where everyone hated us and booed or threw tomatoes or something. So I guess that’s a good thing! And in terms of a favourite venue or location, I mean, I’m just happy to be wherever fun people are. It’s the people who come out who make the shows fun. Not the venues. Of course, if a venue has laundry and a shower and a place backstage to sit down that hasn’t been soaked in beer and/or urine, you know – you remember that forever. [laughs]

Chain D.L.K.: Starting with Napster, you all have used the internet to get your music out there – how do you think this has affected your ability to get your music distributed on a wider scale? Has your view of this type of distribution changed over time?

Chibi: Nobody pays for music anymore. And, sad to say, that limits what bands are going to be able to do. You hear about different ways to make the necessary money – touring, selling VIP packages, selling old drum sticks – I’ve even seen small bands saying they will never charge for their music, they give it away. That’s great, I hope that works out. But I mean, I don’t see how. If you want the band you like to come play in your city, to make merchandise you think is cool, and to keep putting out records without years-long gaps in between – well, that takes money. It’s the sad truth.

Chain D.L.K.: Should audiences expect any changes in the performance art of your shows on the coming tour?

Chibi: We’ll keep things going at the energy level we always have, it’s fun for us that way and everyone enjoys themselves. I’m not really sure how to mix it up. I might cut my hair – that always seems to cause a bit of a scandal.

Chain D.L.K.: What’s next for The Birthday Massacre?

Chibi: Mexico and United States/Canada tour.


Visit the artist on the web at

Nov 292012

we have some exciting news to bring you for 2013. First there is the launch of the new
UK Decay album ‘New Hope For The Dead’ on February 16th at the Electrowerks in London,
with UK Decay’s first London gig in over thirty years – with very special guests.
Doors open at 7pm and tickets and other details are available here

There are only 300 tickets and they are going fast so if you are interested in attending you
better hurry and book them online now.

A fortnight before that on Friday February 1st UK Decay will be appearing at the Concord2 in
Brighton alongside The Legendary Cravats. Tickets and more information are available here.

For our Finnish friends UK Decay shall also be playing in Helsinki on Friday January 18th
Please keep an eye on the our websites for further details of this show and more

Now we have some very special offers for you


SPECIAL OFFERS! Available until December 15th 2012 or whilst stocks last

UK Decay Early Period Wall Calendar

uk dk Calendar

Only £12.99 Including free shipping to the UK and reduced shipping to everywhere else

A unique UK Decay gift idea for 2013

UK Decay Early Period 2013 Calendar1979 – 1982

Cover art and rare photo’s. Each month includes either a relevant to the month –
hi resolution scanned image of Early Period UK DK single or album cover artwork.
Or rare photo’s of the band or flyers for the bands concerts. Key dates relevant to
important historical events by the band in their early period are noted within the
calendar dates.

So how about a unique gift for the avid collector or lover of things UK Decay?

All the early period record cover’s are scanned in high resolution with great
attention paid to detail. The genuine ‘rustic’ quality of a 30 year old source.
Even the slight yellowing with age adds to ‘the look’.


Size: 280 x 215 mm (11″ x 8.5″)
Glossy 200 g/m² Card

Purchase or further info


UK Decay Official Bootleg Set Offer: 3 x Live CD’s + Live DVD

ukdk box set

NOW HALF PRICE! – for a fortnight only Available until December 10th 2012 or whilst stocks last

ONLY £15.99 Including free shipping
to the UK and everywhere else! While stocks last.

– Usual Price £31.99

For those that missed out on the recent ‘Pledge Music’ offer, we can now bring you a 4 item set
from the UK Decay ‘Official Bootleg’ series as a special limited package at an amazing price!

The Set includes

The Music Machine and the Berlin Excess Club 1980 – music CD

The Rue Des Cascades,Rock Squat, Paris 1982 – music CD

The Rebellion Punk Festival 2009 – Music CD

The Moonlight Festival, Rimini, 2011 – DVD

All five performances are important moments in the history UK Decay.
The Music Machine show saw UK DK hitting London in support of the Dead Kennedy’s
on the culmination of that all important first major UK tour for both UK Decay and the
Dead Kennedy’s. Berlin was the highlight of the bands first European tour, the moment
the band felt an affinity with Berlin and Decadance!

The Rue Des Cascades was the final gig and climax of the last early period European tour.
The band were firing on all four cylinders. According to Spon,

this was one of the very best and most enjoyable gigs I ever played…it was mad
but the tension brought on by the fact that the gig could have been busted at any
moment by the riot police added to the fire in our show..a true night for celebration”

The first 2009 Rebellion Festival performance at the Empress Ballroom at the Winter Gardens
saw UK DK returning and proving they still had fire in their bellies. The 2011 Moonlight Festival
in Rimini was the better of two shows played in that year. Bone the Roady set a camera up on the
front of house mixing desk and filmed the show, the band played one of the longest sets to date,
it was exhausting but “one hell of a show”.

This is truly an unbeatable offer, at half it’s usual price.
This set is exclusively available from UK Decay Communities New Merchandise Store and is
only available until Monday 10th December 2012 or whilst stocks last! The usual price is £31.99.

Link for purchase or further info


Selected sizes and designs of UK Decay T-Shirts reduced to just £9.99
including free shipping to the UK and reduced shipping cost elsewhere!

t shirt offers

T Shirt offers more info


UK Decay live bootleg series (As fulfilled on our recent Pledge)

The Music Machine and the Berlin Excess Club 1980 – music CD Offer – £7.49

The Rue Des Cascades,Rock Squatt, Paris 1982 – music CD – Offer – £7.49

The Music Machine and the Berlin Excess Club 1980 – music CD – Offer – £7.49

The Moonlight Festival, Rimini, August 2011 – DVD – Offer – £7.49

All including free shipping world wide – whilst stocks last or until Monday December 10th 2012


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