Darker music, argued from inside the scene.
We Have a Technical treats darker alternative music as a living scene, not a museum shelf. Bruce Lord and Alex Kennedy move between record discussion, interviews, news, and genre argument with dry humor and close-listening patience.
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We Have a Technical is a deep, conversational map of darker alternative music and the scenes that keep it alive. Its center of gravity is goth, industrial, EBM, darkwave, and the related sounds that resist neat filing. Bruce Lord and Alex Kennedy bring a record-store level of specificity to the format. They are not simply ranking albums or reciting release notes. They listen for structures, synth depth, programming choices, hooks, sequencing, historical timing, and the strange afterlife of reputation. Episodes often open with scene business or music news before tightening around a main subject. That slow ramp is part of the appeal. It lets current arguments sit beside older records, festival talk, artist statements, and the accumulated memory of people who have spent years tracking this music. Some weeks are classic two-album discussions, moving from Dioxide to Flint Glass, The Neon Judgment to Witch of the Veil, or A. Projection to Rick Agnew. Other episodes choose a theme, such as guest appearances, and use individual tracks to talk about artistic relationships, career moments, and what a collaboration reveals in context. Interviews appear when they belong inside that conversation, including a discussion with John from Health about the band’s gradual place at the front edge of North American industrial. The show also handles difficult scene questions directly. Its 600th episode, "Keep Industrial Queer," reflects on queer culture, outsider histories, punk roots, and the prejudices that can linger even inside alternative spaces. That seriousness does not flatten the tone. The conversation can turn dry, absurd, or playfully self-correcting within a minute. Bonus commentary episodes widen the frame further, as with a track-by-track treatment of The Cure’s "Pornography" that takes the record’s bleakness seriously without hiding from its excess. We Have a Technical works because it treats genre as useful but unstable. It cares about terms, then admits when terms become traps. The show suits listeners who want more than quick recommendations: it offers criticism with memory, fandom with discipline, and enough digression to make the scene feel inhabited rather than summarized.
Made for: For listeners already curious about goth, industrial, EBM, darkwave, and adjacent underground music. It especially suits people who enjoy long-form record talk, scene history, and careful distinctions more than quick release roundups.
What sets it apart: The show’s strength is its mix of fan memory, critical restraint, and lived scene context. It can discuss synth programming, queer underground history, AI artwork controversy, and a Cure commentary episode without making those conversations feel like separate worlds.
We Have a Technical brings I Die: You Die's discussions of industrial, EBM, goth, dark electro, and related music genres to the podcast format. Join Alex, Bruce, and guests as they explore music's darker alternatives.
Based on 6 episodes we listened to · September 2026
Close listening, scene history and candid disagreement make dark alternative records legible as craft, culture and lived attachment.
Bruce Lord and Alex Kennedy treat dark alternative music as recorded sound, scene history and an excuse for spirited disagreement. We Have a Technical moves between two-album discussions, full-album commentaries, issue-led conversations and artist interviews, with goth,…
Gary Numan remixes get a batting-average check, because your curiosity deserves a second opinion.
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Short reviews from the PlayNext desk, based on the episodes we processed.
A structure-minded record discussion that keeps circling back to endings.
Bruce Lord and Alex Kennedy spend the episode tracing A. Projection and Rick Agnew with a steady ear for structure. The strongest thread is their attention to how the bigger synth palette works as more than surface shine: hooks, rhythms, and older templates still do the heavier…
A 600th-episode look at queer history, punk roots, and industrial's blind spots.
We Have a Technical uses its 600th outing to frame industrial music through queer history, blind spots, and the old codes that still shape how listeners meet the scene.
A sharp dark-music episode on reputation, media image, and one record chosen despite the hosts' doubts.
We Have a Technical 599 stays with records by Jenner Torturers and Freya Lord, using them to probe the messier edges of the show's darker alternatives remit.
A close, funny EBM discussion where Icon's songs keep slipping past easy genre labels.
We Have a Technical uses International Day of EBM as a clean entry point into records by Icon and Fiction8, then lets the listening do the sorting.
A clear, grounded excavation of Gary Numan's uneven 1998 remix set and the 90s electronic culture surrounding it.
Gary Numan's 1998 remix compilation turns into a useful test case for what 90s electronic reworking could rescue, flatten, or push into stranger territory.
A divided listen to a slinky 1988 debut, with vocal production at the center of the argument.
Bruce Lord and Alex Kennedy approach My Life with a Thrill Kill's 1988 debut LP, I See Good Spirits and I See Bad Spirits, from clearly different places, and that split gives the episode its charge.
A focused Health interview on reshaping a Red War follow-up into an almost-new record while keeping its world intact.
Health's position near the front of North American industrial gives this single-episode review a useful charge. The interview catches the band at a moment of forward motion, with John describing how a planned Red War follow-up shifted from a shadow expansion into something…
KISS fandom with the volume left up.
The hosts introduce their podcast about dark music genres like goth and industrial, then casually discuss Halloween plans and baseball.
This episode discusses records by Individual Totem and Spitmask, focusing on industrial music with EBM elements, as part of a podcast dedicated to goth, EBM, darkwave, and industrial genres.
Bruce Lord and Alex Kennedy discuss the 1984 self-titled debut album by Dead Can Dance, analyzing its flaws and merits in a Halloween-themed commentary episode.
Bruce Lord and Alex Kennedy of We Have a Commentary discuss My Life With The Thrill Kill Kult's 1988 debut album 'I See Good Spirits And I See Bad Spirits'.
Alex and Bruce interview John from HEALTH ahead of their Vancouver show.
Alex Kennedy and Bruce Lord devote this We Have a Technical episode to Bruno Crohn of Dasich, who died the Saturday before recording, and say they will not speculate on the circumstances.
The hosts discuss goth, industrial, EBM, and dark wave music, focusing on records by Dioxide and Flint Glass, while mentioning plans to cover Nine Inch Nails in a future episode.
This episode features an interview with John from the band Health, discussing their rise in North American industrial music and their connection to genres like goth and darkwave.
This episode discusses darker alternative music genres, focusing on albums by The Neon Judgment and Witch of the Veil, while also addressing controversies around AI artwork in the music industry.
Alex Kennedy and Bruce Lord analyze The Cure's album 'Pornography', focusing on its nihilistic and depraved themes compared to earlier albums.
The hosts discuss a 'pick five' episode theme focused on guest appearances in goth, EBM, industrial, and dark wave music, exploring how specific tracks shape their understanding of albums and artists.
Bruce Lord and Alex Kennedy begin by circling back to Keep Industrial Queer.
We Have a Technical hits 600 episodes by digging into queer presence in industrial music.
We Have a Technical #599 pairs Jenna Torturers’ 1993 debut "120 Days of Jenna Torture" with Frail Lord’s "Broken Glass Canapé" and reads both through industrial-adjacent history.
Alex Kennedy and Bruce Lord use We Have a Technical 598: Monkey’s Paw to compare Icon’s "This Quiet Earth" and Fiction 8’s "Chaotica" across goth rock, EBM, and darkwave references.
Bruce Lord calls Anubian Lights' "A Question of Faith" the best mix because it sounds like a 1994 single.
This episode discusses the Tron Aries soundtrack by Nine Inch Nails, comparing it to previous Tron soundtracks and analyzing its place in Trent Reznor and Atticus Ross's work.
This episode discusses two albums in the industrial/EBM/dark wave genre and covers news about Travis Scott allegedly plagiarizing Pixel Grip's music.