The very website you're reading this on right now turned fifteen years old on Tuesday, and so we're using this week's episode as an opportunity to look back and the hows and whys of one and a half decades of our work here. We're also talking about our friend Rexx Arkana, and next year's Shadowlands festival in the UK.

We're flashing back to 2005 for a discussion of Ladytron's Witching Hour, the record that saw the British quartet fully break out of the electro-pop terrain (and electro-clash pigeonholing) of their early work with a record that was inescapable in goth clubs far beyond. From indie and shoegaze ambitions to the oddly prevalent Suicide-styled electro grooves which ride through it, we're looking at a record which captured a moment where electro was simply everywhere.

A classic two album format episode of the podcast has us revisiting a couple of eras in which "darkwave" meant something profoundly different from what it does today. First up is Bay Area act The Razor Skyline's rough and tumble and broad reaching 1996 debut, "Journal Of Trauma", followed by the slick NDH-leaning ambitions of In Strict Confidence's 2010 LP "La Parade Monstrueuse".

We're each picking five needledrops on this week's episode of We Have A Technical. A little bit different from discussion of soundtrack originals, we're talking about the use of existing songs in film and television, often for the purposes of a particular effect (and hopefully more than just the cheap recognition pop of "Hey, I know and like that song!").

Two bands each linked closely to their own time and place are the subject of this week's podcast, but that's where the similarities between Fiendflug and Tearist end. The debate and controversy surrounding the former's tapping of Nazi history and aesthetics invariably overshadowed their music, though we make an effort to discuss both aspects of Fiendflug's 1996 self-titled LP, while Tearist's 2010 debut pointed towards a changing of the guard in North American dark music which their vocal charisma and mix of styles primed them to lead, yet that was not to be.

The tenth instalment of Vancouver's own Verboden festival is in the books, and as we've done for years we're here to break the whole affair down and talk about the live sets we caught from a slew of acts across a wide spread of dark genres, originating both from the fest's home in the Pacific Northwest and abroad.

This month's commentary podcast makes a detour into the cryptic world of minimal synth with the 1982 debut of Die Form. A far cry from the lush and dramatic club darkwave the French act would go on to be known for throughout the 1990s, Die Puppe is instead an exercise in atmosphere and an at times infuriating absence of formal composition. We discuss the nascent themes of perversion and transgression in Philippe Fichot's work, as well as the project's thought-provoking connections to classic industrial soundscapes.

Scene producer extraordinaire and Inhalt mastermind Matia Simovich joins us for a lengthy discussion of the role of the producer, his philosophies of record production, and of a couple of specific landmark scene records he's helped bring to fruition.

Inspired by this past weekend's site anniversary DJ set, we're delving into the somewhat arbitrary dichotomy between jams and vibes as it pertains to nightclubs in Our Thing. Are people seeking a particular mood or expecting specific tracks when they head out to goth night? How do the different genres bundled into the goth-industrial format vary in terms of prioritizing atmosphere versus hooks? It's one of those round-about conversational episodes of We Have A Technical where you can't necessarily expect clear answers to the above, but you can expect a whole lot of hair-splitting.

It's a punk-flavoured side-project twofer on this week's episode of the podcast, as we discuss industrial-punk supergroup Lard's The Last Temptation Of Reid as well as the only record from Spetsnaz side project Turnbull A.C.'s. We're also talking about the long, long, LONG awaited announcement of a Tear Garden tour, and a fantastic Cabaret Voltaire show.