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The Brian Jonestown Massacre Announces Fall 2023 Tour Dates

Cait Stoddard

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333 S. Boylston St., Los Angeles, CA

The Bellwether

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The Brian Jonestown Massacre

Melody's echo chamber.

This event is all ages.

$49.50 – General Admission

*plus applicable service fees

For an additional $85.00, you can opt in to upgrade your experience to include access to the exclusive Looking Glass Lounge before, during and after the show! Please note all Looking Glass Lounge upgrades are subject to availability.

All doors & show times subject to change

The Brian Jonestown Massacre was formed in San Francisco in 1990. The band has had over 40 members since then, but its driving force and main songwriter is Anton Newcombe. Other prominent members have included Matt Hollywood, Dean Taylor, Jeff Davies, Brian Glaze, and Joel Gion. Their sound is heavily influenced by the psychedelic sounds of the 1960s, but also carries influences from shoegaze, jangle pop, garage rock, and lo-fi genres.

Much has been made of the fact that Newcombe is head strong and has just one vision in mind: his own. However, many of the musicians who quit his band have stayed in his orbit and continue working with him in some capacity. Newcombe was, at one point, a drummer in Hecksher’s Warlocks. Campanella produces or engineers many of the records on Newcombe’s record label, the Committee to Keep Music Evil and has also been on the last 2 highly successful European tours, playing keyboards and on occasion, guitar. Gion is forever showing back up shaking the tambourine at BJM shows. Even the Dandy Warhols appear to have buried the hatchet with Newcombe, as he joined them onstage at Lollapalooza in July of 2005.

In 2015, Newcombe returned to the themes of Aufheben with Musique de film imaginé, a collection of soundtrack cues for a nonexistent movie, inspired by his love of classic French cinema. A seven-song collection of new, more rock-based material arrived later that year under the amusing title of Mini Album Thingy Wingy.

Melody’s Echo Chamber

It’s now been ten years since Melody Prochet burst into our consciousness with her enchanting, psychedelic pop, and much has happened since. Her third studio album, Emotional Eternal, is a glorious consolidation of the lessons learned along the way, seen through the eyes of someone who has taken a step back, and who can see clearly as a result. The fact it is with us at all is a minor miracle. It was no coincidence that the last album was called Bon Voyage, as Prochet had had every intention of saying au revoir and not just à bientôt.

Since Bon Voyage came out in 2018, Melody has swapped Paris for the clean air of the French Alps. That sense of equilibrium is detectable in the new record. If Bon Voyage was anarchic in its unruliness, then Emotional Eternal is the more cohesive and orderly of these siblings, though it too is full of sonic surprises.

Melody’s Swedish accomplices, who she met by chance at The Levitation Festival in Angers in 2015, Reine Fiske of Dungen and Fredrik Swahn of The Amazing reuniting the ‘Bermuda Triangle’—the nickname they gave themselves due to their ability to get lost in music together. That trio have grown into a production powerhouse, working closely together and refining what was already sublime.

To celebrate the 10th anniversary of the Melody’s Echo Chamber’s debut album Domino and Fat Possum have reissued the record alongside ‘Unfold’, a collection of long lost and previously unreleased songs from 2013.

In March 2023 Melody has returned with a handful of intimate shows in London, Paris, Los Angeles and New York. The live band consists of her accomplices on the two last albums: Reine Fiske from Dungen and Fredrik Swahn from The Amazing. Johan Holmegard, also from Dungen, will play the drums and Jérôme Pichon will play guitar.

@thebellwetherla

Brian Jonestown Massacre’s Anton Newcombe: ‘People make me out to be a loser when I’m not’

Notorious for their onstage brawls and their imperious frontman, the San Francisco band have managed to survive 30 years of drink, drugs and drama. We catch up with them on tour

O ver more than 30 years, the Brian Jonestown Massacre have garnered a reputation like that of few other bands. The San Francisco group, led by Anton Newcombe, are known for their fecund creativity, violent volatility, chaos and magic – all of which are woven together to create music spanning psychedelia, shoegaze, country and garage rock. I have joined them for part of their UK tour. “Stop putting off a genius, you cocksucking dickhead!” yells Newcombe to a heckler during one of many guitar-tuning breaks in Brighton. “Go fuck yourself!” he spits to another.

Much of their reputation was cemented in the 2004 documentary Dig! , in which Newcombe delivered lines such as: “You fucking broke my sitar, motherfucker,” after an onstage brawl with his own band. The film is a maelstrom of drama, addiction, blown opportunities and a friendship turned rivalry with the Dandy Warhols.

The Dandy Warhols frontman, Courtney Taylor-Taylor, is the film’s narrator. He describes Newcombe as “the most craziest and talented musician I have ever met”. Of the band, he adds: “I’ve never seen them eat. All I’ve seen them do is drink liquor and snort drugs.”

Setting up for a show in Brighton.

Almost 20 years on, a few days before the release of the band’s 20th album, Your Future Is Your Past , the vibe backstage at a BJM show is more hummus than heroin. Newcombe kicked his habit many years ago. He describes quitting as “like running a marathon with the flu and then having Bruce Lee kick you in the chest”.

Today, Newcombe sips vodka sodas slowly and hurtles through packs of filterless cigarettes, on which he puffs as we walk from the soundcheck to the tour bus in Bristol. He is dressed in pyjamas, slippers and a Stetson, staying in this outfit until showtime, when he swaps the nightwear for denim, has a quick armpit wash in the tour bus sink, pulls on his cowboy boots, adds mounds of dangling jewellery and dabs on patchouli oil.

At 55, Newcombe has done what few expected of him – survive – and what even fewer thought possible – thrive. BJM are a self-sufficient outfit: they run their own label and studio, own their back catalogue and sell out their shows with ease. Despite being a cult band since their formation in 1990, their appeal has trickled down through generations. The crowd in Bristol is a sea of pogoing twentysomethings singing every word. Anemone , a cut from 1996, has become an unexpected hit, racking up nearly 80m streams on Spotify alone. Despite its slow-burn groove, it goes off like a bomb when they play it live. It was a favourite of Anthony Bourdain , who invited Newcombe to be in the Berlin episode of his TV show Parts Unknown. “Drenched in opiates and regret, I heard this song once and became besotted by it,” Bourdain once told Rolling Stone.

The band’s Ryan Carlson Van Kriedt (left) and guitar tech Shea Roberts prep for sound check.

It’s one of very few concessions to the past the band make live; mostly, they choose to play new material. “Some bands are happy to resign themselves to playing the hits, but that’s not me,” Newcombe says.

On the bus, Newcombe shows me his favourite bar-fight move: deliberately dropping his glass on the floor, causing the aggravator to look down, “then bam”, throwing his fist down. But Newcombe says he is done with bar brawls – even though someone threw a lit candle at him recently after an argument. “I don’t go to bars, because people want to provoke me and pick fights,” he says. “I see red. My natural tendency is to want to grab people by the throat and not stop. I can’t control how I react and nobody deserves what I am capable of unleashing just because they said something stupid. I’m much happier cooking and making music.”

Joel Gion and Anton Newcombe backstage.

Despite seemingly being a magnet for drama, one on one, Newcombe is welcoming and softly spoken. In Falmouth, we sit quietly and talk as the rest of the band disappear to a house party with some fans. They return at 6am; the tambourine player, Joel Gion, sleeps through the 5pm soundcheck later that day. “Oh man,” he says. “I fell out of my bunk while sleeping and didn’t even wake up.” He points to a badge he has sewn on to his bag that reads “Bushido” – literally, the way of the warrior, the moral code of the samurai rooted in discipline, loyalty and other virtues. “To remind myself not to get too fucked up on tour,” he says, laughing.

Gion has written a memoir, a task he says was assisted by the high-quality amphetamines he used to take in San Francisco. “That provided me with a memory sharpness,” he says. “I was able to remember far more than I expected.”

Is this the same speed given to Oasis on their first US tour, as documented in the 2016 documentary Supersonic, which caused Noel Gallagher to go missing and the band to break up briefly? “That’s it, baby! Ninja speed, Noel called it.”

Guitarist Ricky Maymi.

Newcombe and Gion on stage.

BJM were the support band at one show back then. “I knocked on the tour bus and Noel answered. I’m like: ‘Hey man, I have most righteous fucking crystal meth that you’re ever going to do,’” Gion recalls. Noel passed, but Liam was up for it; the substance was soon liberally distributed among the band. “They do all these coke-sized lines of this shit that you just need a little pinky of,” he says. “They stayed up for three days. On stage, they were just gone. Their jaws were working like old-fashioned train crankshafts.”

There is love in the band, but also palpable tension. On stage, Newcombe stops songs and lambasts members, declaring their playing to be “shitty” and “sloppy”. “Sometimes you gotta crack the whip – you’re only as good as your weakest link,” he says after a testy exchange in Brighton, before making an analogy of Ronaldo (himself) playing on a team of six-year-olds (the rest of the band).

Fans in Brighton pay homage.

It can create visible unease on stage – it’s like watching a storm cloud, waiting for thunder to crack. Sometimes the thunder is Newcombe’s ire; at others it’s the sound of a band locked into ferocious, immersive grooves. At their best, the band are mesmerising. But the constant stopping can kill the show’s momentum. “I have perfect pitch and it really bugs me,” Newcombe says, as we zigzag the streets of Brighton looking for hippy shops in which to buy more jewellery, before settling in a bar. “It’s better to stop a song in the first seconds and play it correctly than to play some bullshit for hours. The Rolling Stones do it every single concert – they sound nothing like the record.”

Newcombe gives off the aura of someone who feels he has beaten the system. “I’ve got a better deal than anybody in the world,” he says. “You don’t need validation from other people.”

As we toast to good health with a shot of Grey Goose, I ask if he feels that people hold misconceptions about him. “I’ve got this wild reputation,” he says. “But I’ve found it advantageous that people underestimate your intelligence.” Newcombe is apparently contradictory in this area. He is prone to bursts of boastful proclamations: “I’m a fucking genius, like one of these Mozart guys,” he says one minute, before offering: “I’m not saying I’m so great, or I cured polio, or whatever.”

The Brian Jonestown Massacre.

He is consistent in his fervent dedication to forging his own path. “I knew from being very young that I didn’t want to be like anybody that I knew,” he says. “I noticed people were just generally unhappy because they weren’t doing what they wanted to do. I decided I’m never going to be that person. Do what you want, it’s fine to be yourself. All the way you.”

The band briefly danced with record labels in the 1990s. “It went to shit,” says Gion. Newcombe says circumventing – and in some instances tormenting – the industry was a tactic. “I thought since everybody says yes, I’ll just say no,” he says. “It’s counterintuitive, but smart.”

This has led to accusations of self-sabotage. “Everyone’s like: ‘Oh, he throws it all away,’” he begins. “But the postscript of Dig! is that the whole industry collapsed. All the king’s horses and men, they’re gone. None of those people in that movie have a job in the business. People make me out to be a loser when I’m not.”

Taking a stroll on the prom.

That said, it’s clear he would like a taste of some of that world. “I would love to do Jools Holland,” he says. “I watch all the shit on there and laugh, because I could play 50 songs in a row that are better. Even if I could summon up enough composure to stand there and just be deadpan, it would be more intellectually stimulating, artistically relevant or historically fucking important.”

In the opening scene of Dig!, shot in 1995, a young Newcombe leans into the lens of a camera with wild, glaring eyes and declares: “I’m going to destroy this fucked up system. Let’s burn it to the ground.”

So, did he do it? He leans over, those same eyes staring at me through yellow sunglasses, the whiff of patchouli ever present. “That’s just what I did.”

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Order The Brian Jonestown Massacre Fire Doesn’t Grow On Trees HERE

  THE BRIAN JONESTOWN MASSACRE

The Brian Jonestown Massacre 

  Available on 180 grm clear vinyl LP , comes in superb deluxe packaging  

Brian Jonestown Massacre burst into 2019 with the release of their 18th full-length album, just 7 months after their last one. The self-titled 9-track album is released on Anton Newcombe’s A Recordings on 15th March 2019. It was recorded and produced at Anton’s Cobra Studio in Berlin. 

The album was originally going to be released in September, but due to a hugely successful global tour – taking in USA, Canada, Australia, New Zealand and Europe the release was delayed. 

Recorded this time last year, the album features Sara Neidorf on drums, Heike Marie Radeker (LeVent) on bass, Hakon Adalsteinsson (BJM / Third Sound & Gunman & Holy Ghost) on guitar and Anton Newcombe on multiple instruments. Also making a guest vocal appearance on ‘Tombes Oubliées’ is Rike Bienert who has sung on previous BJM albums. The band performed songs from the album throughout the European leg of the 2018 tour. 

Anton Newcombe has been a very busy man these past 5 years, having released 4 critically acclaimed Brian Jonestown Massacre albums and an EP, 1 soundtrack album and 2 albums with Tess Parks. All releases were fully recorded and produced at Anton’s studio. 

The Brian Jonestown Massacre track ‘Bon Bon’ was used in the 2015 Palm D’Or winner Dheepan. Anton penned the soundtrack for ‘Moon Dogs’, a film directed by multi-BAFTA nominated Philip John (Svengali, Downton Abbey, Being Human). 

Tracklisting 

1) Drained , 2) Tombes Oubliées , 3) My Mind Is Filled With Stuff , 4) Cannot Be Saved , 5) A Word , 6) We Never Had a Chance , 7) Too Sad To Tell You , 8) Remember Me This , 9) What Can I Say 

The Brian Jonestown Massacre full show live @ Festival La Route du Rock 2018 

[embedyt] https://www.youtube.com/watch?v=Ktqwum3PBJQ[/embedyt]

THE BRIAN JONESTOWN MASSACRE ‘HOLD THAT THOUGHT’

White vinyl 10″.

Release Date: 18/05/2018

Available on white 180 grm vinyl .

Pre Order Here or by clicking above image.

This is the new single which announces the band’s forthcoming two albums to be released this year.

The first track is “Hold That Thought” which comes from the album “Something Else” which is to be released on 1st June 2018.

The second track is “Drained” which will come from the self titled album that will be released in September of 2018.

Both tracks were recorded in Berlin & the band are announcing tours of the USA, Canada, Australasia & Europe throughout the year.

All tracks were recorded at Cobra Studios , Berlin in 2017 .

Tracklisting: Side A: Hold That Thought

SIDE B: Drained

THE BRIAN JONESTOWN MASSACRE ‘POL POT’S PLEASURE PENTHOUSE’ VINYL 2XLP

First time available on vinyl , the only ever time this album has been officially released was on  Burger Records  (which was limited to 500 cassettes) .

Recorded in 1990/91 on a 4 track at Anton’s home in San Francisco, it is best described in Anton’s own words. “when I left home and moved to san francisco, first thing on my mind was joining a band… the problem for me was that there were not any bands that would have me or even played the type of music I imagined I wanted to hear… so I decided to start my own… I would make small down payments at pawnshops for gear, buy recording machines, amps, guitars, whatever. within 3 months of teaching myself the 7 folk chords I use nonstop to this day, I had already taught a few new friends how to play as well and we were off. I used to make up songs everyday on the 4 track just to teach myself how to write… I understood what i liked about music, I just didn’t know how to pull it out of the ether and bring them into being. At the same time, I would make demo tapes and share them with friends… endless demo tapes… I would send them to magazines and record labels with no return address, just for the fuck of it. It was never my intention to actually release this music… for instance if i came up with a country song, I would finish it just to learn more about writing… I didn’t want to be in a classic country group, this is a document of my learning process. good times… this album is one such tape from 1990/91 I can’t remember. enjoy.”

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• Anemone ( 234 )
• Servo ( 208 )
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• That Girl Suicide ( 175 )
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Thursday 05 October 2023

The Brian Jonestown Massacre

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The Brian Jonestown Massacre Announce 2023 Australian Tour Dates

By Jules LeFevre

Psych-rock outfit The Brian Jonestown Massacre will return to Australia in November this year. The band will play a run of dates around the country starting in Hobart on Saturday, 11th November, with dates in all major cities and regional centres to follow. They’ll wrap it up at the UOW Unibar in Wollongong on Friday, 24th November.

The dates are in support of their latest album, The Future Is Your Past , which landed earlier this year. It followed 2022’s Fire Doesn’t Grow On Trees and 2019’s self-titled effort. Listen to ‘The Light Is About to Change’ from The Future… below.

The Brian Jonestown Massacre: ‘The Light Is About To Change’

The band – comprised of frontman Anton Newcombe and a revolving cast of band members – were last in Australia in 2018, where they ran into controversy after Newcombe made a joke about sexual assault on stage in Sydney . Newcombe was booed by the audience, and later a petition was circulated demanding the rest of the band’s tour be cancelled immediately .

Newcombe doubled-down on his comments and labelled the backlash “fascist PC [c]rap and trial by internet”, and wrote on Twitter that he didn’t think he’d ever return to Australia .

The Brian Jonestown Massacre 2023 Tour Dates

• Saturday, 11th November – Odeon Theatre, Hobart
• Monday, 13th November – Astor Theatre Perth
• Wednesday, 15th November – The Gov Adelaide
• Thursday, 16th November – Enmore Theatre Sydney
• Friday, 17th November – The Northern Byron Bay
• Saturday, 18th November – The Princess Theatre Brisbane
• Sunday, 19th November – Kambri ANU Canberra
• Tuesday, 21st November – Forum Melbourne
• Wednesday, 22nd November – Theatre Royal Castlemaine
• Friday, 24th November – UOW Unibar Wollongong

Tickets are on sale now.

Further Reading

The Brian Jonestown Massacre’s Anton Newcombe Says He May Not Return To Australia

Brian Jonestown Massacre Frontman Makes Gross Rape Joke At Sydney Gig

The Vanns Have Announced Their Biggest Headline Tour Yet

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THE BRIAN JONESTOWN MASSACRE Australian Tour 2023

30 July 2023 The Rockpit

Psychedelic rock legends The Brian Jonestown Massacre return to Australia in 2023 bringing favourites and as ever, new material from their storied career.

Lead by the singular visioned drive of Anton Newcombe and a revolving cohort, The Brian Jonestown Massacre have delivered an unrelenting schedule of recorded output, some 20 studio albums, 14 EPs, five live albums, six compilation albums and 22 singles, a majority independently through the band’s self-sustaining A Records.

Brooklyn Vegan commented on the latest studio album release The Future is Your Past, “Newcombe is clearly energized and that comes through loud and clear”.

Album number 20, The Future is Your Past which, like its 2022 predecessor Fire Doesn’t Grow on Trees, came out of an intense prolific streak during the height of covid with Newcombe writing and recording a song a day for 70 days straight. His amalgam of classic lysergic rock, hazy shoe gaze and mellow drone continues to be refined as the writer shows he inhabits a rarefied stratosphere of endless inspiration.

After extensive US and European tours since the re-opening of the planet, The Brian Jonestown Massacre are now set to play dates across Australia. Get your tickets HERE

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The Brian Jonestown Massacre

13 November 2023 Monday

13 November 2023

Doors open: 7:30pm

Show time: 8:00pm - 11:00pm

Astor Theatre

Psychedelic rock legends The Brian Jonestown Massacre return to Australia in 2023 bringing favourites and as ever, new material from their storied career.  

Lead by the singular visioned drive of Anton Newcombe and a revolving cohort, The Brian Jonestown Massacre have delivered an unrelenting schedule of recorded output, some 20 studio albums, 14 EPs, five live albums, six compilation albums and 22 singles, a majority independently through the band’s self-sustaining A Records.  

Brooklyn Vegan commented on the latest studio album release The Future is Your Past, “Newcombe is clearly energized and that comes through loud and clear”.  

Album number 20, The Future is Your Past which, like its 2022 predecessor Fire Doesn’t Grow on Trees, came out of an intense prolific streak during the height of covid with Newcombe writing and recording a song a day for 70 days straight. His amalgam of classic lysergic rock, hazy shoe gaze and mellow drone continues to be refined as the writer shows he inhabits a rarefied stratosphere of endless inspiration.  

After extensive US and European tours since the re-opening of the planet, The Brian Jonestown Massacre are now set to play dates across Australia.

ASTOR THEATRE – CONCERT MODE: Stalls – General Admission Standing & Unreserved Seating Balcony – Reserved Seating Licensed All Ages – Patrons under 18 can only attend with parent/guardian (over 18) with a valid ticket. Infants not admitted.

TICKETS: General Admission: $99.90 A Reserve: $149.90 B Reserve: $119.90 Door: $120 (Plus Transaction Fee)

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jellyskin - 'In Brine' In Spring Tour 2024 - Leeds

jellyskin are bringing the In Brine  In Spring Tour 2024 to their homeground Leeds on the 6th of May, with a host of excellent and righteous support acts in tow.

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jellyskin are a seafaring duo formed of Zia and Will, plus their bank of bastardised drum samples and found sound. Their music combines abrasive techno, sinewy electronica, sparkling percussion and cut-glass vocals, drawing on influences from sixties girl groups and the chansonnier tradition to pummeling electronics, PC Music and kosmische. Through merging pickled industrial beats with spiky guitar lines, lush harmonies and striking synth leads, the duo have gained a reputation for remaining stubbornly genreless.

jellyskin’s debut album In Brine was released in June 2023, and has already gained traction via 6Music plays and a live session for Marc Riley and Gideon Coe. ‘In Brine’ is one of the Albums of the Year in The Quietus, Echoes & Dust and Norman Records. In Brine ’s lead-out single 'Bringer Of Brine' is featured in Rough Trade's 'Counter Culture 23' vinyl compilation album, and was placed at 14 in The Quietus' 'Top 75 Tracks of 2023'. Heavenly Records put 'I Was The First Tetrapod' in their end of year list.

jellyskin have played all over England, to audiences of two to two thousand, supporting artists such as Sleaford Mods, The Brian Jonestown Massacre, Warmduscher, Sea Power, The Moonlandingz, Scalping, Sink Ya Teeth, and many more. Their songs have been played on 6 Music, Amazing Radio, and BBC Introducing in West Yorkshire, and featured in Clash, the ‘i’ newspaper, Line Of Best Fit, The Quietus, and Get Into This.

"By coalescing pop and experimental formulas through a decidedly contemporary lens, In Brine inhabits a strange, but brilliant, world of its own."  The Quietus

" Not only an essential electronic magnum opus, jellyskin’s debut is a listening imperative for 2023 and beyond. " Louder Than War

" In Brine is a veritable fruits de mer plateau of swampy synths, techno-tronics, tripped-out psych, and left-field pop" Norman Records

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The Brian Jonestown Massacre ‘Don’t Get Lost”

Release date: 24th february 2017 order here.

Available on 180 grm yellow coloured vinyl 2LP .

Don’t Get Lost was fully recorded & produced at Anton’s new Cobra Studio in Berlin . It is the 16th full length release from the Brian Jonestown Massacre recorded from March 2016 to October 2016 . With band members Ricky Maymi , Dan Allaire , Collin Hegna & Ryan Van Kriedt .Also Emil Nikolaisen from the Norwegian band Serena-Maneesh & Pete Fraser (The Pogues .New Young Pony Club) on saxophone joins the band on this album , plus vocal performances from Tim Burgess (Charlatans) , Tess Parks and Shaun Rivers . A new dynamic is heard on this album mixing the shoegaze/psychedelic sound with more experimental twists on some tracks you might hear PIL (Metalbox) , Primal Scream , or even Ornette Coleman . 14 tracks that will twist and turn through the known and the unknown Brian Jonestown Massacre . Anton Newcombe has been a very busy man these past 2 years, kicking off with the critically acclaimed Brian Jonestown Massacre album ‘Revelation’ in May 2014. After a successful UK and European tour, the BJM followed this up with the ‘+-‘ EP (Nov 2014). 2015 saw the release of ‘Musique de film imaginé’ (April); an imaginary film soundtrack album featuring the track ‘Bonbon’ which has, ironically, been used in ‘Dheepan’; the Palme D’or winner at Cannes film festival 2015. In June, Anton and Tess Parks embarked on a well received tour of the UK and Europe to support the release of ‘I Declare Nothing’. Anton finished the 2015 with a BJM mini-album release entitled ‘Mini-Album Thingy Wingy’ . In 2016 The band released 2 singles and the critically acclaimed Third World Pyramid .

The band have been touring the world since November 2015 ,playing Australia , New Zealand , and then in 2016 USA , Canada , Europe , Chile & Argentina. A small US tour is happening in March 2017 please click here for more information.

Tracklisting SIDE A – 1) – Open Minds Now Close , 2)Melodys Actual Echo Chamber , 3) Resist Much Obey Little , 4) Charmed I’m Sure , SIDE B – 5) Groove Is In The Heart , 6) One Slow Breath , 7) Throbbing Gristle , SIDE C 8) Fact 67 , 9) Dropping Bombs On The Sun , 10) UFO Paycheck , SIDE D – 11) Geldenes Herz Menz , 12) Acid 2 Me Is No Worse Than War , 13) Nothing New To Trash Like You , 14) Ich Bin Klang CD – Tracklisting 1) – Open Minds Now Close , 2) Melodys Actual Echo Chamber , 3) Resist Much Obey Little , 4) Charmed I’m Sure , 5) Groove Is In The Heart , 6) One Slow Breath , 7) Throbbing Gristle , 8) Fact 67 , 9) Dropping Bombs On The Sun , 10) UFO Paycheck , 11) Geldenes Herz Menz , 12) Acid 2 Me Is No Worse Than War , 13) Nothing New To Trash Like You ,14) Ich Bin Klang