It was a decade ago I wandered into my local record store, saw this CD/DVD release, and immediately proceeded to checkout. I knew it was going to be crucial. What I didn't know was that it would soon be my favorite live concert video of all time. I've not strayed from that opinion in all these years. Wire, in that era, was something that could neither be matched, nor improved upon. I'm still in awe of the creativity displayed with guitar, bass, drums and vocals. They are the kings of angular art house snob music, both for the proles and those at university. If you've not seen it, I urge you to do so now. Masters at work.
I've included a great review by Craig Grannell from the 2004 release:
"The gig happened between Chairs Missing and 154, and finds Wire in typically abrasive mood. In front of a polite, but nonplussed German television audience, Wire race through a set of proto-154 numbers and some older tracks, devoid of Mike Thorne's sometimes heavy-handed production. It's testament to the band's creativity and unique vision that the gig still stands up well today and doesn't sound terribly dated, despite it being over two decades old.
Amusingly, the band's on-stage persona seems to be little different from today: Newman a proto-Kraktwerk robot (albeit wearing a tie in those days), barking lyrics, wrestling with his guitar, then twisting like a marionette, dancing in staccato; Lewis flinging his bass around with merry abandon, with eyes that suggest if anyone wants to start anything, he's all-too ready; Gotobed, the metronome—eyes closed, keeping the beat; and Gilbert, at the back of the stage, carefully and purposely adding counterpoint to the Newman guitar.
Although a little bass-heavy, the remixed soundtrack pleases, as does the video, which while having some artefacts and colour distortion, is perhaps as good as you'd expect from a 20-year-old television show. Unfortunately, someone saw fit to ignore one of the main bonuses of DVD: the gig has no track markers whatsoever. We presume that Wire's argument will be something like the gig is a whole entity—a complete performance—and should be watched as such, in one sitting. However, part of the magic of DVD is the viewer having the ability to skip to where they want to. Also, track markers to specific tracks would have made sense, seeing as the DVD retains the original broadcast's rather erratic titling.
Two extras, both desirable, come with this package. The first is an amusing interview conducted with the band after the gig. Wire are their usual obstructive selves, making life difficult for the interviewer and providing succinct, sometimes abstract answers. The video quality of the interview is notably inferior to the gig, but this matters little: the soundtrack is fine, and Gotobed fans will be interested to note that he offers a few well-chosen words part-way through.
The other extra is a CD of the entire gig soundtrack—a nice touch, enabling you to listen to the audio wherever you want, rather than being glued to your TV set. Thankfully, the track marker issue doesn't extend to the CD, which enables you to skip tracks as you'd expect.
Overall, this is a promising start to the archive series. We hope the lack of track markets will be addressed on future releases, such as the forthcoming Send DVD, but the CD is a welcome bonus, and the gig itself still manages to excite after all these years."
One of the greatest tortured genius assholes in the music business has been hard at work, not with his own band, but with several others under the guise of his own label A Records. 
No More is yet another German band from the 80's I just discovered that is now blowing my mind. 
After the demise of Scottish punk / new wave band "The Freeze", David Clancy and Gordon Sharp formed Cindytalk in 1982. This project is something Sharp described as ambidustrial. I know that doesn't really roll off the tongue but it does summarize how he took elements of Editions EG's ambient releases and fused them with the then hip and new industrial sound.
I've recently fallen in love with the Dark Entries label. They are re-issuing a ludicrous amount of early 80's synth-based acts that fell through the cracks. Limiting the LP's to 500 hand-numbered copies, they are creating a bit of hysteria. Here is a cassette release that is blowing my mind. By the time of this, their second album, Nagamatzu had moved from Ipswich to London, Stephen Jarvis (SETI, Legion, Terror Against Terror) & Andrew Lagowski (Pure Motorised Instinct, Terraform) were on a distinctive coldwave / post-punk / synthwave tip manifested by hollow-feeling drum machines, cheap synths, minimal guitars and sparsely placed vocals. The name is taken from J.G. Ballard's novel "Atrocity Exhibition" (seems to have been the most influential book of the coldwave scene) and sounds as dystopian as you would imagine.
This is the most exciting and possibly the best rock band in Chicago. There, I said it. I will not get tired of them...ever. 
Imagine one oddly attractive female writhing around singing as if in mid-sex and simultaneous epileptic fit occasionally messing with a pile of vocal effects pedals at her feet. Imagine awkward new wave looking male looking gothically disinterested in front of a synth rack. Put these two in a claustrophobic feeling room and voila, you have Tearist. 
So how do YOU feel about nuclear warfare with the accompaniment of imperialism? Yeah, it make for an unsettling feeling somewhere between the throat and stomach. By all means, worry, This Heat can help you. The 1982 album “Deceit” is the second release for post-rock artists This Heat. The album is a cluster of dystopian contemplation through chants and screams that demands a further look into the development of Western historical powers. The production quality of this album continues to surprise me with every listen and due to the many layers of sounds, I seem to pick out phrases and textures that I had previously over heard. If you are one to listen or read about current world events and maybe be interested in the history that has propelled these events to construct the power grid in which we all live under, then the proverb filled melodies of “Deceit” will be of great comfort. Look further.
This was meant to be the final Wipers album but just resulted in a five year hiatus for the band. Its often hated for lacking the chemistry, magic and spark of the earlier releases. I don't care if its not punk enough for all the haters. This will always be my favorite due to its mature and interesting production. 
Awww, there's just not much cuter than a couple Goth kids in love. Toby and Shiloe Grave retired their brutally depressive Blessure Grave project (sadly) and lightened up with Soft Kill. Apparently, the couple describe this record as "an open dialog love letter in song form". Its Death Rock, Post-Punk and New Wave all in one tidy package. 
Luis Vasquez has crafted an engaging retro 80's tribute album....sort of. He's a one man band who incorporates Post-Punk, New Wave, Shoegaze, Goth and some early Cure. Quite the perfect sound for me.
Taking their name after the condition known as Down Syndrome (for reasons unknown to me), Brothers Phillipe and Herve eventually created this definitive French Coldwave classic. The first two records are also solid but this is the one I find most cohesive and accessible.
When Patrick Mata founded Kommunity FK in 1978, not many knew the terms Gothic or Industrial. In the process he also founded the L.A. Deathrock scene. This album is the best documentation of his work. upon listening to this you'll hear many elements of other Goth, Darkwave and Industrial acts that you're familiar with. The difference is that Mata wasn't following trends. He began the American trend. Its his own original brand of dark Post-punk with a touch of 70's Glam. Bataille, Genet and Cocteau meet Bowie. Absolutely brilliant. 
If you're a friend of mine that sees me often, you can probably disregard this one. I ramble on like a blithering idiot about how much I love this band. 
