The Belgian electro label Alfa Matrix releases the twelfth volume in its “Matrix+ Downloaded” series to coincide with the label’s 24th anniversary. The digital-only set collects 69 tracks across the label’s current spectrum – EBM, dark elektro/industrial, synth pop – and newer Spleen+ additions spanning post-punk, goth rock and coldwave. The compilation is offered as a free/pay-what-you-want download via the label’s Bandcamp page and also includes a PDF booklet.

On the cover you will recognize Erica Dunham from Unter Null.

Artists included on this free download compilation include: Studio-X (feat. Kyoko Baertsoen), Rector Scanner, Aesthetische, Cut.Rate.Box, Kant Kino, Frontal Boundary, C-Lekktor, Acylum, Diffuzion, Implant, Neikka RPM, First Aid 4 Souls (feat. Aux Animaux), Noemi Aurora, Suicidal Romance, Llumen, Hanging Freud, Lederman/De Meyer, The Ultimate Dreamers, Aiboforcen, Digital Factor, Armageddon Dildos, Helalyn Flowers, Krystal System, The True Union, Freakangel, Totem Obscura, Lovelorn Dolls (feat. Dero Goi), The Breath of Life, The Names, ImJudas, Synapsyche, Miseria Ultima, Unter Null, Alien Vampires (feat. Dani Divine), Venal Flesh, Helle9, To Avoid, Pouppée Fabrikk, Stahlgeist, Nigra Nebula, Aengeldust, Circuito Cerrado, Matthew Creed, Cubic, Metroland, The Psychic Force, Komor Kommando, First Aid Tech, Die Robo Sapiens, ELM, Plastic Noise Experience, AD:Key, Elektroklänge, 808 Dot Pop, Avarice in Audio, Elektrostaub (feat. Echo Image), Cryogenic Echelon, Entrzelle, Neuroactive, Technoir, Mondträume, Star Industry, Stray, Psy’Aviah (feat. Sorrow Stories), Zombie Girl, Darkness on Demand, Circumpolar, Dunkelwerk, and Lights A.M.

A&R manager, Sebastien Dolimont says: “In 2025, Alfa Matrix proudly celebrates 24 years of existence. Nearly a quarter of a century fighting for dark alternative music, discovering new talents, and keeping the underground alive. This anniversary is not just about us and our artists – it’s about you, our fans. Because without your constant support, there would be no label, no releases, no future for the scene we all love.”

And he add: “In a world where indie labels are disappearing, streaming revenues collapse, and risks of signing new talents are higher than ever, we are proud to still stand strong — but we can only do it with you by our side. By downloading this compilation, you are not just enjoying music — you are actively supporting 69 artists and helping keep our scene alive, fresh, and forward-looking. From all of us at Alfa Matrix and Spleen+, and on behalf of all our artists: thank you for 24 years of loyalty, passion, and support. Together, we’ll keep writing the future of the dark underground.”

About Alfa Matrix

Alfa Matrix is a Brussels-based independent label founded in 2001. The catalogue focuses on electronic subgenres including industrial, EBM, dark elektro, and synth pop, later expanding into post-punk/coldwave via the Spleen+ division. The label’s team includes label & artists manager Seba Dolimont, promo manager Bernard Van Isacker, and head of design Benoît Blanchart.

From the early 2000s, Alfa Matrix used series-based releases to build international reach. Notable strands include “Sounds From The Matrix” (label samplers), “Re:Connected” (digital label overview), and the club-oriented “Endzeit Bunkertracks” multi-CD anthologies (first “Act” released 21 March 2005, featuring 60 tracks with 50 exclusives).

In 2023, Alfa Matrix inaugurated Spleen+, a division centred on post-punk and adjacent styles, and followed with multi-artist projects and catalogue building, including the “Resurgence” 7-CD box that assembled 133 contemporary bands from the post-punk family.

The label has since the very start focused on a direct contact with its fans and customers via their online webstore and Bandcamp.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

German electronic body music (EBM) duo AD:keY – the husband‑and‑wife team of Andrea and Rene Nowotny – have released “Kontraktion“, a five‑track EP, via the Belgian label Alfa Matrix. The release follows the group’s double‑album “0609” (released September 2024),

“Kontraktion” is framed by two synth‑driven instrumentals – “Kontraktion V.01 (Prolog)” and “Kontraktion V.02 (Epilog)” – which were inspired by the rhythmic contraction of the heart. The EP’s Prelude Mix of “Bad Times Pass By”, originally used as a live intro, evolves into a full‑length track.

Guest appearances on the EP’s include Martin Bodewell (vocalist for Orange Sector) co‑writes and sings on “Mein Herz”, while Uwe Kanka of Armageddon Dildos lends his distinctive growl to the infectious single “Fühl Den Beat”.

Musically AD:keY brings a blend of old‑school body music with synth‑pop elements.

“Kontraktion” is available digitally through Alfa Matrix’s Bandcamp page and on all other platforms. With a running time of roughly 15 minutes, the EP provides a compact but emotionally charged snapshot of the duo’s current creative direction or as the label puts it: “Feel the beat. Hear the heart.”

About AD:keY

AD:keY is a German electronic body music (EBM) duo formed in 2006 by René Nowotny, known as Agro, and his partner Andrea Nowotny. René, previously the keyboardist for Armageddon Dildos, and Andrea combined their talents to create a sound that blends the synth-driven beats of DAF and Nitzer Ebb with vocal elements reminiscent of Welle:Erdball.

Their debut album, “Thema Nummer Eins”, was released on December 5, 2008. Over the years, AD:keY has released several albums, including “Reanimator” (2017), “Resonanz” (2020), and “0609” (2024).

The duo is signed to the Belgian label Alfa Matrix. Below is their recently released – excellent – “0609” album.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

After their unexpected yet triumphant return, Belgian darkwave/post-punk act THE ULTIMATE DREAMERS continue to redefine their sound with their latest album, “Paradoxical Sleep”. With an expanded lineup, fresh influences, and a deepened creative vision, the band embarks on a new chapter that blends nostalgia with modernity. We sat down with Frédéric to discuss the evolution from “Echoing Reverie”, working with longtime collaborator Len Lemeire, exciting guest contributions, and the magic of live performances. Dive into the mind behind “Paradoxical Sleep” and discover what makes this album their most personal and ambitious work to date.

The album is available on Bandcamp and from the Alfa Matrix webstore on CD and on vinyl.

S. “Paradoxical Sleep” marks a new creative chapter for THE ULTIMATE DREAMERS. How did the writing and recording process differ from your previous album, “Echoing Reverie”?

F. ‘Echoing Reverie’ featured 6 tracks (+ 2 bonus tracks), of which only “Polarized” was completely new. The others were a cover (“Hell’s Bells”) and 4 tracks composed during the band’s first life in the late 80s but which had been completely rearranged and re-recorded. “Paradoxical Sleep” features 11 tracks (+ 2 bonus tracks), 10 of which were written in 2023. Only “Envoler” is a new version of an old song that we wanted to re-record because of its success in concert. ‘Paradoxical Sleep’ is much more representative of the band we are today and our current influences. Creatively, I’ve learnt to use modern tools and we’ve included Sandrine’s cello on two tracks. The lyrics were also written in close collaboration with Kelly O’Hara. Finally, the recording went differently, with a lot of takes done at home before going to Len’s studio. It was a longer process.

S. You worked again with Len Lemeire (IMPLANT, 32CRASH…) for the mixing, engineering & production? A dream team for you?

F. You could say that. As we sometimes read, Len is in a way the 5th member of the group. We get on very well and talk to each other a lot. He makes a decisive contribution to the sound design and some of the arrangements. He does all the mixing but I’m there all the time. Finally, his talent for mastering is well established. Many listeners have commented on this.

S. The album blends post-punk, darkwave, and new wave with a modern touch. How do you strike the balance between staying true to your influences and evolving your sound?

F. It happened naturally. I was brought up on post-punk, which will always be a fundamental influence, but I’ve always kept up with the latest music and trends. Bertrand, Joël and Sandrine also have their own musical culture, which adds to the range of influences.

S. The singles “Digging” and “Spiritchaser” set an intriguing tone for the album. What do these tracks represent within the overall narrative of “Paradoxical Sleep”?

F. The choice of singles was the subject of much thought and external consultation within our circle. “Digging”, with its doom overtones, was a radical departure from what we’d released up to that point. We thought it was a good song too, so we chose it as our first single. On the other hand, “Spiritchaser” was more electronic and pop. Choosing it as the 2nd single both reassured and defined the perimeter of the album to come.

S. Guest collaborations play an important role on this album, with Simona Ferrucci (Winter Severity Index) and June Dune (Dead Crush) lending their voices. How did these collaborations come about, and what did they bring to the album’s atmosphere?

F. The idea of having guests on the album came about while the songs were being written. For “The Knife”, it was obvious from the outset and we had actually tested the formula before recording, during a concert where June Dune joined us on stage for her vocal part but also for a guitar line. It was done without rehearsal and it worked really well. We obviously put it into practice on the record.

For “Into the Fog”, it was in the studio that the idea of a female voice answering mine on the chorus came up. I immediately thought of Simona, one of the artists for whom I have the greatest admiration. Here too, her beautiful, deep voice fits the mood of the song perfectly. In the end, June’s and Simona’s contributions, as well as Kelly’s writing, bring a healthy feminine element to the album.

S. Sandrine’s cello adds an ethereal depth to certain tracks, just like on stage when you perform live. How did this element shape the sonic identity of the album, and was it something you always envisioned incorporating?

F. Sandrine is classically trained and plays in two orchestras. The cello is her favourite instrument and we’ve included it live since she joined the band in 2023. It’s something that sets us a bit apart from other bands and is much appreciated during concerts, particularly in England and Germany, even if it remains a technical challenge. Naturally, the instrument has found its place in our new compositions and we’re keen to give it a prominent place, without it being predominant. It’s an instrument with a nostalgic sound that’s particularly suited to our music.

S. The album artwork is as striking as the music itself. Can you tell us about its concept and how it ties into the themes of “Paradoxical Sleep”?

F. Thank you. We’ve had a lot of positive feedback about this visual. We commissioned it from Nicolas Crombez, a Belgian graphic artist with whom I’ve worked a lot in the past. I had Nicolas listen to all the demos and explain the themes in each song. I then gave him carte blanche and his inspiration did the rest, with a result that transcends the music of the album it illustrates. I followed the same procedure for the videos, directed by Nele Vereecke aka Amanita Noir. I love leaving room for surprise and that moment of discovery.

S. With limited-edition colored vinyl and a collector’s digipak CD, it’s clear that the physical experience of music still matters to you. In an era of streaming, why is it important for you to offer these special editions?

F. It’s undoubtedly an old school approach, but we remain attached to the album experience, where a group of tracks form a coherent whole, whereas with pure streaming, certain songs might never be played. In this context, the physical medium takes on its full meaning, with a visual on which you can linger for a long time while listening to the music. I’ve never been a fundamentalist of the ‘vinyl sound’ but I was very surprised when I listened for the first time to the test pressing. With these tracks, which I knew perfectly well, I clearly heard, more than ever before, a clear difference with digital. And I liked that.

S. Since your quite unexpected “resurrection”, it’s quite impressive the number of concerts you made and a bit everywhere. Which were the 3 most marking places you played at? And I suppose lot more shows are in the pipeline for 2025?

F. Yes, we really enjoy the live experience. It’s a lot of fun and excitement, not least because it’s a bit of a risk for a band that’s not just throwing karaoke on a laptop. Our 3 most vivid memories are our mini-tour of England at the end of 2024, which we thoroughly enjoyed, our open-air concert on an airfield near Namur, at sunset under a sky worthy of Magritte and in front of an enthusiastic audience, and finally our first concert at Le Botanique, supporting And Also The Trees. As a bonus, I’d add the Minicave 2023 festival in Germany. Indeed, 2025 is shaping up rather nicely, with a few summer festivals if all goes well and quite a few concerts abroad, including a return to England. I hope that the excellent feedback we’ve had on ‘Paradoxical Sleep’ will lead to some great propositions…

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

With their melancholic synth melodies and pulsating beats, Mondträume has cemented itself as a key name in the modern synth-pop scene. After a period of transformation, the band returns stronger than ever with their latest single, “Poisoned Love“—a track that perfectly blends their signature 80s-inspired sound with the powerful voice of new vocalist Nicky. As they prepare for the release of their new album, “Mind Games”, we spoke with the band’s mastermind, Pikotto, about their creative evolution, lineup changes, and what fans can expect from the upcoming record.

SL. Your latest single, Poisoned Love, is a synth-pop anthem with a strong 80s spirit. What inspired the track, and how does it set the tone for your upcoming album, Mind Games?

P. I’ve always been drawn to the 80s sound—many of my compositions have a touch of it, like Echoes of the Past and Plastic Girl. That era left a lasting impact on me because I grew up with it. With Poisoned Love, I wanted to go even further, crafting a track with classic 80s elements: rich vocal harmonies, mid-tempo drums, and a melancholic yet uplifting vibe that makes people feel good. Another key element is Mondträume’s new voice, Nicky. He has the perfect tone for this music, and together, we’ve found an ideal combination.

SL. I can only agree! The band has undergone some major lineup changes, with Nicky joining as the new vocalist. How has this shift influenced Mondträume’s sound and creative direction?

P. As I mentioned, Nicky has an incredible voice for this style. We’ve been working on several songs, and his voice constantly inspires me to create new melodies and arrangements. I’m honestly very happy and grateful to have him as a creative partner.

SL. The animated video for Poisoned Love by Alain de Grox adds a stunning visual dimension to the song. Can you tell us more about the concept behind it and your approach to music videos?

P. Alain de Grox isn’t just a fantastic artist—he’s also a great friend. He’s always helping us with stunning videos, and his contribution is invaluable. His ideas bring the lyrics to life visually, and all the credit for the video concept goes to him. I take this opportunity to send him a big hug! (laughs)

SL. The EP includes a remix of Pictures of You by CUBIC, adding an electro-techno twist to your sound. Do you see remixes as an essential part of your releases?

P. I wouldn’t say they’re essential, but they’re definitely valuable. It’s always exciting to hear how other artists reinterpret our music in their own style. It brings a fresh perspective and adds another layer of creativity to the songs.

SL. With Mind Games on the horizon, what can fans expect from the full album? Will it follow the path of Poisoned Love, or are there surprises in store?

P. Above all, I hope people enjoy the album—it’s designed to make you feel something. Some tracks will make you dance, others might bring tears to your eyes. The lyrics will make you reflect on life, but most importantly, the album is meant to be an experience. Musically, it’s diverse, but that unmistakable 80s touch will definitely be present.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Noemi Aurora, frontwoman of the Italian electro / industrial / electro metal duo Helalyn Flowers, has released her solo album “Kintsugi”. The album is a double CD which is also available on two vinyl formats. You can order from the Alfa Matrix / Spleen+ webstore and as download via Bandcamp (where you can also order the other formats directly from Noemi).

Unlike what you get with most solo endeavors Aurora did write, record, produce, perform, and master every track on “Kintsugi”. The album combines electro-industrial elements, dark wave influences, post-punk, and ethereal tones. Mainly sung in English the album also includes two Italian sung tracks: “Dal Giardino Di Algos” and “Too Late To Die”.

Thematically “Kintsugi” addresses themes of pain, healing, and resilience. It draws on the Japanese art of ‘kintsugi’, the practice of repairing broken pottery with gold, to symbolize strength in imperfections.

The album is available in 3 physical formats including 2 limited vinyl editions (150 copies each): a sunburst solid white vinyl and a black and galaxy transparent red vinyl.

The deluxe digipak double-CD “disaster” edition includes the bonus disc, “Magnetica”, with 11 remixes by artists such as Implant, Aiboforcen, and Metroland, and a cover of The Cure’s “Friday I’m In Love”.

The various formats can be found below.

• Noemi Aurora – Kintsugi (Shining Version) (Galaxy Color Gatefold) Vinyl
• Noemi Aurora – Kintsugi (Shining Version) (Sunburst Color Gatefold) Vinyl
• Noemi Aurora – Kintsugi (Disaster Version) 2CD Box
• Spleen White Sunburst Vinyl Pack (Noemi Aurora, The Ultimate Dreamers, The Names)
• Spleen Red Lipstick Vinyl Pack (Noemi Aurora, The Ultimate Dreamers, The Names)
• Spleen Implanted 4-Cd Pack (Implant, Noemi Aurora, The Ultimate Dreamers, The Names)

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The legendary Belgian post-punk and new wave pioneers The Names will release a brand new album titled “Encore!” In February 2025 via Spleen+, the post-punk subsidiary of the Brussels-based Alfa Matrix label. “Encore!” will be the band’s first new album in over 7 years.

The new full length got already teased with the “Volume” EP and the “Far From the Factories” single. Musically “Encore!” ventures into the early ’80s with a modern touch.

The album will be available in a limited-edition collector’s colored vinyl (150 copies each respectively in solid red or solid white) and a digipak CD edition with three exclusive bonus tracks. Pre-orders are available on Bandcamp, and on the Alfa Matrix webstore (CD and 2 vinyl versions).

About The Names

Emerged during the late 1970s/early 1980s vibrant post-punk era on the legendary Factory Records label (Joy Division, New Order, …), The Names (formed around frontman Michel Sordinia) have continued to perform and release new material since the band reformed in the 2000s.

The initial lineup of the band included Sordinia, guitarist Marc Deprez, and drummer/keyboardist Christophe Den Tandt. Robert Frankson and vocalist Isabelle Hanrez were short-term members. Initially performing locally as The Passengers, they renamed themselves before releasing their first single, “Spectators of Life”, in 1979 through WEA to gauge interest in local new wave music.

Following a Joy Division performance in Brussels, Factory Records signed them. With new drummer Luc Capelle, The Names recorded “Nightshift” in Manchester with producer Martin Hannett in August 1980. This single exemplified their style: a dark, restrained modern rock akin to Magazine, Comsat Angels, and Joy Division/New Order. In February 1982, they recorded a session for John Peel’s BBC Radio 1 show, released as a digital EP, “Radio Session 1982”, in 2009.

Their collaboration with producer Hannett continued, overseeing their next single, “Calcutta” (Factory Benelux, 1981), and their first album, Swimming (Les Disques du Crepuscule, 1982). Their last single, “The Astronaut”, was released in 1982 on Les Disques du Crépuscule, produced by Hannett, who had left Factory Records. As the post-punk era waned, the band disbanded.

In 1985, LTM Recordings released “Postcard Views”, a cassette featuring studio and live tracks. Expanded versions of Swimming, renamed “Swimming + Singles”, were released in 1991 and 2000 by Factory Benelux and LTM Recordings, respectively. A 2013 reissue by Factory Benelux included the 1982 John Peel session.

In 1995, the original trio of Sordinia, Deprez, and Den Tandt formed Jazz, releasing “Nightvision”. LTM’s 2001 compilation “Spectators of Life” featured The Names’ B-sides, live tracks from 1979-1982, and two Jazz tracks.

The Names reunited for A Factory Night in Brussels in December 2007. In April 2009, they released “Monsters Next Door” on Str8line. After Den Tandt’s departure in December 2009, Christophe Boulenger joined. In 2015, now a quartet with new drummer Laurent Loddewyckx, they released “Stranger Than You” on Factory Benelux. A 2016 compilation, “In Mutation”, by Les Disques du Crépuscule included a Deprez 1981 solo single and a 1982 live performance.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Here’s a release that should be in your collection. Following up to their 2022 release “Our Idols Are Filth”, the Australian melodic dark electro act Avarice In Audio (Gerry and Lawrie) disappeared from the radar to immediately start work on the new album “Tear Heaven In Half” out on Alfa Matrix.

The album is out as a download release via the Alfa Matrix Bandcamp page and soon on all other platforms.

The album comes packed with 17 tracks blending several genres into their dark electro approach. To give you an idea, there is the Drum N’ Bass infested “Wicked Die Alone”, the more techno beat driven “You Are The Carbon”, and the hard-rock infested “Who The Monsters Are”.

In a reaction the band says: “This album refuses to be pinned down to just one genre. It’s raw, dark, and aggressive when it wants to be, yet somehow finds space to be punchy, addictive, and ridiculously catchy.”

As an extra the album features several collaborations, including Alaskan IDM act Static Logic, Canadian cyberpunk artist Virtual Terrorist, and Lawrie’s own solo project Studio-X.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Out now via Alfa Matrix – and exclusively first via Bandcamp – is “Drowning one”, the brand new EP from Australia’s techno electro act Avarice In Audio. “Drowning one” is a new single from their forthcoming new album “Tear Heaven In Half” and is the follow-up EP/single to “Wicked Die Alone”.

In addition to the original track, four remixes have been added. Angel Of Violence remixes the track into a more cinematic sounding track, while Viscera Drip bring a classic terror EBM flavour to the song.Other remixes are delivered by Sinthetik Messiah and Dirty K who both experiment with more breakbeat style tracks.

Here is the previous single/EP “Wicked Die Alone” which was released in February.

About Avarice In Audio

Avarice In Audio is an Australian-based dark electro and futurepop band formed in 2013. The band was initially founded by Gerry Hawkins (known for his work with Cryogenic Echelon), Jade Pegg (also known as Acidtrixx), and Lawrie Bayldon (Studio-X). Their music blends modern dark electronic elements with melancholic lyrics, often characterized by pulsating basslines and aggressive beats.

Avarice In Audio quickly gained attention in the dark electronic scene with their debut EP, “Frostbite” (2014), followed by several full-length albums, including:

• Shine & Burn (2014)
• Apollo & Dionysus (2017)
• From the Rib of Adam (2020)
• Our Idols Are Filth (2021)

Their music often explores themes of societal decay, introspection, and human emotion, with a powerful, industrial-inspired sound. Avarice In Audio is signed to the prominent Belgian label Alfa Matrix, which has been instrumental in promoting their work internationally.

Avarice In Audio’s music continues to evolve, as demonstrated by their latest singles and EPs like “War Tanz” (2023) and “Drowning One” (2024).

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The electro industrial band Freakangel is gearing up for their upcoming October tour across Mexico, with an exclusive performance in the USA. In celebration of this event, the Belgian electro label Alfa Matrix has released a special compilation exclusively via Bandcamp and for free featuring tracks from their first three albums, which form a completed ‘Trilogy’.

Initially, the band focused on pure electronic sound, heavily influenced by the industrial and electro scenes. As their career advanced, Freakangel started incorporating rock and metal elements, blending these genres to create a hybrid sound. Later in their journey, the band shifted back towards their electronic origins, reconnecting with the style that defined their early work.

The compilation also features an exclusive remix of “My Darling Bullet” by Antibody, created specifically for this release. In addition, the release includes three remixes of “Crawling In The Dark”, selected from the winners of a 2024 remix contest. Participants used the original remix kit released by Freakangel in 2010, giving these versions a special connection to the band’s early work.

This compilation has been crafted specifically for the upcoming tour, where many of the featured tracks will be performed live during an old-school electro set.

Freakangel October Tourdates

02/10 Guadalajara (Anestesia Bar)
03/10 Morelia (Sala 322)
04/10 CDMX (Gato Calavera)
05/10 Tijuana (Evolution Club)
06/10 Downey California (Stardust Club)

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Miseria Ultima, the Finnish dark electro revelation, has just released its fourth studio album, “Arctic Esotericism”. This album continues their exploration of the cold ethos and philosophy of the North, diving into themes of existence from birth to death.

The album is available now on Bandcamp and on CD via the Alfa Matrix webstore.

The album opens with the powerful track “Displayed For Punishment”, setting a harsh aggrotech tone. This is followed by “In Murder” and “Virtue And Desolation”, featuring fast-paced, icy melodies. “Thorns And Tragedy” stands out with its grief-laden atmosphere, offering the band’s signature Skinny Puppy like style. Other tracks such as “Spiritual Nailbomb” carry desperate undertones, while “Storms of Atonement” is a mid-tempo, depressive piece.

“Arctic Esotericism” will for sure appeal to fans of bands like Amduscia, Suicide Commando, C-Lekktor, Alien Vampires, and especially early Skinny Puppy. You can already check out a few tracks below.

About Miseria Ultima

Miseria Ultima is a Finnish industrial electro band formed in 2016 by Aleksi Martikainen (vocals) and Kimmo Huhtala (synths). Their music blends elements of EBM, aggrotech, and dark electro, creating a unique sound characterized by cold, melancholic atmospheres and intense, aggressive beats.

The band has released several well-received albums, starting with their debut “Phosphor” in 2017. This was followed by “Graygarden” in early 2020, which continued to build their reputation in the dark electro scene. In 2022, they signed with the Alfa Matrix label and released their third album, “In Colors of Void”​​.

Miseria Ultima draws inspiration from the harsh, cold environment of northern Finland, translating the stark beauty and desolation of their surroundings into their music. Their lyrics often explore themes of mortality, grief, and introspection, influenced by their experiences and philosophical reflections​.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

C-Lekktor, a leading name in the dark elektro scene alongside Hocico, Rabia Sorda, and Amduscia, celebrates its 20 years anniversary. Markko B. has now released a special “2.0” double-CD deluxe digipak on Alfa Matrix. This release includes fan-favorite club hits and revamped versions of 12 classic tracks.

This 2CD version is available now via the Alfa Matrix website, the download version via Bandcamp. The album is also available in a special combi pack along the new releases from AD:keY and Miseria Ultima.

On this new album Markko B. has breathed new life into frequently requested songs performed at concerts. Updated tracks such as “An Empty Soul”, “Infected”, “Paralisis”, “See My Hate”, “El Comienzo De La Muerte”, and “Our Dark Side” are reimagined and rearranged, while classics like “World Of Fantasy”, “Juicio Final”, “Hellektro Convulsion Therapy”, “Solo En La Oscuridad”, and “Silence Remains” have received powerful makeovers.

The release also features harsh elektro tracks in their original form from recent albums, including fresh tracks like “God Killer” and “Are You Ready For The Bass?” alongside dancefloor cuts “Out Of My Way”, “Cyborgs”, and the track “Animals”.

Additionally, the double-CD set includes the exclusive unreleased track “I Don’t”, originally written during “The Silence Procession” era, and a cover of Depeche Mode’s “Always You”.

You can listen to all of the tracks below.

Fans of dark hellektro music, especially those who enjoy Suicide Commando, Hocico, Alien Vampires, or Noisuf-X, will find this double-CD essential.

About C-Lekktor

C-Lekktor, spearheaded by Marco Antonio Barrientos (Markko B.), has been an important force in the dark elektro scene for over two decades. Emerging from the vibrant Mexican electro scene of the 1990s, C-Lekktor made its first appearance with the demo CD “Re-a-Gression”.

Known for its aggressive and energetic sound, characterized by harsh vocals, pounding beats, and dark, atmospheric melodies, the project gained widespread recognition with performances across Mexico and internationally.

In 2005, the project released the maxi-CD “Words of Evil” and participated in the “Electro Map-Latam Compilation”. The following years saw C-Lekktor performing extensively, including concerts in Peru and Chile, and performances on major events like the “Necropolis Fest”.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Today the German EBM pop duo AD:keY releases a new double-CD album, “0609”, on Alfa Matrix. The duo, recently married Andrea and Rene Nowotny, matched the album’s title with the release date of the album: “0609” aka September 6th.

You can order the album now on Bandcamp as download and on 2CD via the Alfa Matrix webstore.

This is AD:keY’s seventh album. In “0609”, the duo reflects their deep bond as a married couple and as bandmates. Expect strong old-school EBM basslines, catchy synth melodies, and addictive choruses.

As a special treat, the album includes an 11-track bonus CD featuring alternative versions and remixes by friends such as Martin Bodewell (Orange Sector), To Avoid, Digital Factor, Miseria Ultima, Zweite Jugend, TC 75, Aktion:Fiasko, and their side-project Rector Scanner. Additionally, enjoy a special guest vocal contribution from Uwe Kanka, frontman of the cult act and label mates Armageddon Dildos.

About AD:keY

AD:keY, the German EBM pop duo, consists of Andrea and Rene Nowotny, who formed the band in 2006 as a side project.

Their first album, “Thema Nummer Eins”, was released on November 21, 2008, under the Electric Tremor Dessau label. This album featured tracks like “Alkohol” and “Hass Mich”, which helped establish their presence in the EBM scene. Following this, they released “A Deutschmaschine” on April 30, 2010, which included hits like “Deutschmaschine” and “Hölle”. Their third album, “Sharp Cuts”, came out on November 2, 2012, and included tracks such as “Haut” and “Prolet”.

In 2014, AD:keY released “Reanimator” on May 9, featuring songs like “Mein Weg” and “Maschinen”. Two years later, on June 10, 2016, they released “D’Accord”, with tracks like “D’Accord” and “Der Letzte Tanz”. Their sixth album, “Herz und Verstand”, was released on April 20, 2018, and included songs like “Herz und Verstand” and “In Mein Herz”. Most recently, on September 18, 2020, they released “Resonanz”, featuring tracks such as “Maschinenliebe” and “Revolte”.

The band is signed to the Belgian label Alfa Matrix.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Belgian multi-talented artist Pieter Coussement recently released the 3^rd Llumen album. A very diversified piece of work where emotional intensity merges with poignant melancholic vocals and addictive dark synth melodies. Pieter opened us his door for an open-heart conversation revealing the abyssal depth of “The Breaking Waves”…

You can get the album on Bandcamp, from the Alfa Matrix webstore as a 2CD set and all other platforms.

SL: “The Breaking Waves” explores themes of internal turbulence, health crisis, and introspection. Can you share some personal experiences or inspirations that influenced the creation of this album?

P. For as far as I remember there’s always been an uneasiness within me when dealing with this world. For a long time I thought I handled it well and kept on living my life, but this somehow caught up with me (like these things tend to do) about a decade ago. Since then it’s been a rollercoaster of events and emotions that on many occasions brought me to my knees and that have felt quite a few blows to me. It started with my mother’s passing which shook my whole existence and I never really felt with it in a healthy way. A few years later I had 2 (minor) heart attacks (and heart surgery). As you can imagine this was a huge disruption and completely numbed me. Prior to these heart attacks I was writing music for my second album Polygon Heart but that process suddenly stopped for the better part of two years because I was completely broken.

The song “Lifeline” got me through it in the end and life went on its merry way again. The biggest thing I learned through all of this is that I needed to be true to myself, something that very much inspired my writing process. Where lyrics used to be more fictional almost everything these days comes from within and has a close connection to moments where I deeply felt what I’m singing. Personally I think it has been beneficial both in life as in music to get in touch with your true self. In that respect, The Breaking Waves is a sincere collection of deeply felt emotions that I’ve put to music the best way I could.

SL: Your music draws from old-school EBM, gothic, techno, and future pop. How do you balance these diverse influences to create a cohesive sound in “The Breaking Waves”?

P. I’ve searched long and hard for that particular LLUMEN sound. I often fall back on old-school EBM for its ice cold sequences and driving beats, but also find myself drawn to melody and chord progressions. Because of this, there are a lot of future pop or even trance influences in my music. Above all things, however, I like good songs and meaningful lyrics, most of which have a very deep melancholic layer, which comes from my (early) goth days. I try to tie all of this together using many layers and meticulous mixing. A tedious process I must add.

SL: You’ve mentioned influences from iconic acts like FRONT 242, HAUJOBB, and DIORAMA. How have these artists shaped your musical direction, and how do you incorporate their influence while maintaining your unique sound?

P. I take inspiration from many different things. The bands you mention are just a few out there, but all bands that I have a deep respect for. They say that plagiarism is the sincerest form of flattery and I’m very interested in how other bands bring their music to life. But I’m easily distracted and every stylistic exercise that I try eventually fails and becomes a LLUMEN song.

SL: Tracks like “Desire” and “Bring Me Flowers” showcase a range of emotions and musical styles. Can you talk about the creative process behind crafting such varied yet emotionally rich songs?

P. Thank you for mentioning these songs and especially appreciating the variance and emotionality within the songs. In many of my songs, I seek some kind of contradiction between melody or musical theme and the lyrics to accentuate the emotions I want to convey. Often this leads to a complex writing process where I want to set the mood first before bringing in all the different elements. I’ve struggled a lot with Desire because the leading piano melody really pulled at me for a long time into a direction that I didn’t want to go to. It’s only when I started playing with the instrumentation that it fell into place. Bring Me Flowers on the other hand, was a song that almost instantly fell into place. The musical idea was very much to have a typical EBM feel to it and the sentence “she brings me flowers to ease the pain” had been running around my brain for months before (I think I picked it up from a Brendan Perry song). I wrote the chorus and tied it to the music.

SL: The album features collaborations and remixes with various artists such as GRENDEL, AESTHETISCHE, and IMPLANT. How did these collaborations come about, and what do you feel each artist brought to their respective reinterpretations?

P. The collaborations come from some kind of connection with my fellow artists. For starters I need to like what they do musically, if not there is no sense in handing your babies into their skillful hands. Next it helps when there is a good connection on a human level, Len (Implant) has been a good friend throughout the years and I know he’s going to do a stellar job from the get go. When playing Mechanismus in Seattle last year, I had a few long talks with JD from Grendel and I thought we hid it off quite good, so I asked him to remix Die Stille which he did brilliantly. Many of the remixers are friends or become friends throughout the process. It’s one of the things in this scene that always warms me, every fellow musician is very eager to share their insights and knowledge, even if it’s a constructive critique.

SL: “The Breaking Waves” concludes with the track “Harbour,” symbolizing life’s ebb and flow. What message or feeling do you hope listeners take away from this final track?

P. There’s always a push and pull in life, an ebb and flow. The metaphor of the ocean, a harbor and a ship has been used to illuminate how people and feelings change over time. What once was a safe place can become very threatening and violent. At heart, I believe that we as people try to do what is best for each other, fighting the same struggles and living with the same amount of insecurities. At times you can be someone’s harbor, a safe haven for them to rest, but there is always going to be turmoil just beyond the bend. The main feeling people should get from this track is one of hope, everything is possible if you manage to stay afloat. 

SL: Following your previous releases, “The Memory Institute” and “Polygon Heart,” how do you feel your sound and artistic vision have evolved with “The Breaking Waves”?

P. It’s hard to pinpoint any definite aspects that evolved throughout this endeavor, but overall I think what changed is that there the songs now are closer to my heart and less fictional than they were when I started LLUMEN. The songwriting has evolved too, making better use of tonality, chords and melody to convey my thoughts. Polygon Heart was an album where the songs fitted well together and there’s a sense of unity. With The Breaking Waves I thought for a long time that the tracks were a bit harder to fit on one album. In the end I think it has become a diverse album with a broad variety of songs that earn a few listening stints.

SL: Your music is described as a profound exploration of human emotion and desire. What do you hope listeners experience when they immerse themselves in “The Breaking Waves,” and how do you want your music to impact them?

P. I first would be grateful if they truly immersed themselves into this music, on a quest for new elements in the songs with each time they listen. I also hope that the lyrics resonate with people and maybe help them to overcome some of the blows that are dealt throughout life. I certainly experience writing – or better finish writing- songs and lyrics as something cathartic. At the other hand, when listening or singing each of my songs, I’m also torn back into that mindset I had when writing it, which is often a very confronting emotion. For me, it’s a way to keep these memories and visit them from time to time, but also knowing that I can step away from these emotions when realizing I’m in a different mindset today. In this respect, I hope listeners can do the same and visit their memories good and bad from time to time, to become better versions of themselves.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Glis, the electronic music project founded by Shaun Frandsen in 2001, made an unexpected triumphant comeback with the release of the “Gateway To Oblivion” album, a manifestation of the artist’s DNA, blending the raw energy of industrial music with the infectious melodies of future pop. The new album was produced by Sebastian Komor and also features guest vocals by his good old friend AYRIA, and is a strong candidate to be the best future pop album of the year… We did not resist call Seattle for a chat with Shaun…

The album is out now as download and streaming, including from Bandcamp, and on CD, available via the Alfa Matrix webstore.

SL: “Gateway To Oblivion” marks your unexpected return after many years. What motivated you to revive GLIS, and what themes or messages did you want to convey with this new album?

S. It’s partly the 20-25 year anniversary syndrome. I was feeling like I should do something to commemorate the passing of time. The main spark was last summer during a family vacation in Mexico. I was drinking margaritas and talking to my brother-in-law (who’s also a musician in the folk rock scene) about how music is the language of the cosmos and how important it is to create new things. When I returned home I finished “Sunrise v3.0” and then started working on brand new music.

SL:  The album blends industrial music with future pop, showcasing your versatility as a producer, vocalist, songwriter, and instrumentalist. Can you describe your creative process in developing such a diverse and spontaneous sound?

S. I feel like GLIS has always been a blend of different electronic sub-genres. Some albums more than others, but on this one I wanted to kind of showcase the overall aesthetic of the sound throughout the years. I feel you can get a reflection of each of the previous albums on this new album.

SL: Tracks like “Into the Flames” nod to influences such as NIN and DEPECHE MODE. How did these influences shape the mood and direction of “Gateway To Oblivion”?

S. Those are two bands that have been huge influences on me throughout the years (and both still making great music to this day). “Into the Flames” is a kind of intro track that I imagined would also be the intro to the live gig as well. Yes, we want to play live again too! I think you can definitely hear both NIN and DM influences in this track. A bit of “Songs of Faith and Devotion” and “The Fragile”…

SL: Songs like “Ascension” and “Mexico” evoke a straight-up early 2000s synth pop vibe. How do you balance nostalgic elements with contemporary sounds to create something fresh and relevant?

S. Well, I don’t tend hide my influences. “Ascension” is a straight up ode to ICON OF COIL. I met them in 2001 while supporting them in Seattle during their tour with VNV NATION. That’s when I first met Sebastian who helped produce this album and Andy who I worked with a lot in COMBICHRIST. Mexico” is simply supposed to invoke the party vacation vibe in Puerto Vallarta (Mexico). That’s where I decided I was going to bring back GLIS again. Sebastian Komor had a heavy hand in the production of that track. My original demo was more DEPECHE MODE sounding. He made it a lot groovier.

SL: “Cut Away the Demons” and “Damaged” dive into oppressive industrial noise and powerful EBM. What inspired these tracks, and how do they fit into the overall narrative of the album?

G. “Cut Away the Demons” is supposed to be a track that could have been on the “Nemesis” album. Its lyrics and cadence are inspired by Jean-Luc De Meyer’s vocal contribution to that album. It’s about someone who’s overcome by the darkness of addiction and their resolve to conquer it. “Damaged” is a kind of protest track and a musical nod to late 90’s electro-industrial bands such as :WUMPSCUT: and LEATHER STRIP. Two bands I listened to a lot back in the late 90s.

SL: The album features a unique guest appearance by Jennifer Parkin of AYRIA on “Dream Chaser.” How did this collaboration come about, and what was it like working together again?

G. Jenn and I have always kept in touch throughout the years after I produced her first album. We had an amazing time touring together. We even brought her along when I was in COMBICHRIST. We’ve always tried to catch up when she came to town with AYRIA. Last time she was here (in Seattle) in October I told her I was making new music and she said she would love to collaborate again. It was like old times. A full circle moment as she contributed guest vocals on one of my first releases in 2003, which turned into the first AYRIA album soon after.

SL: Like you mentioned it, Sebastian Komor played a pivotal role in shaping the album’s sound. How did his involvement influence the final production, and what elements did he bring to the table?

S. Sebastian went above and beyond what I thought was going to happen when I gave him my original versions of the tracks. He created sounds that we’re begging to evolve from the music. He added a lot of beat elements as well as melodic harmonies. I can’t tell you how happy I am with his work on this album. He took a lot of my tracks and completely boosted their sound quality. He’s a great producer.

SL: “Gateway To Oblivion” tackles themes around the ascension of mankind and the challenges posed by technology. Can you elaborate on these themes and how they reflect both personal and societal struggles?

S. I mean we can all see it happening before us each day. This merging of technologies with everyday life. We’ve basically become part machine by always having smartphones with us everywhere we go. And with the recent emergence of A.I. we’re facing all new challenges and problems as musicians. We’re at the point where we can choose to embrace it all or find some reason to hold back. Will we soon have to validate the fact that we’re human? We seem to be at another turning point in our existence and that’s the overall theme of “Gateway to Oblivion.” It’s a theme commonly addressed on the Industrial music genre, but more than ever it seems these days. We’re moving close to big changes. Are they all for the greater good? We’ll take a dive in and see.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

“Deadtime Stories” is the come-back release of Lovelorn Dolls.  A wonderful surprise for me since I no longer expected any new music after such a long break. I therefore rushed talking with Kristell, the frontwoman of this unique goth metal pop act we often call the Belgian Birthday Massacre, who shared with us some artistic moments from behind the scene…

The new album is out as download (via Bandcamp), streaming and on CD (via the Spleen+ / Alfa Matrix webstore or straight from the band).

SL: After a 5-year break, you’re back with your 4th album, “Deadtime Stories”. Kristell, how did your experiences as Kristell In Wonderland influence the music and themes of this new album?

K: “Kristell in Wonderland” is my photographic and visual artist name. For 6 years, I dedicated myself to creating cinematographic images that tell a story. It all started with the solo album that I released on Alfa Matrix in 2017 “SIN.SIN”. I needed a cover and artwork for the album and I decided to do everything by myself and I loved it so much that “Kristell In Wonderland” was born! This influenced the new album in a very simple way: we no longer call on anyone from outside to create our visuals. We loved the graphic designers we worked with, but this freedom of being able to create what we want… it’s unparalleled. This also creates a sort of bubble but above all an even stronger identity.

SL: “Deadtime Stories” features a blend of goth metal, dark melodies, and industrial tones with a “creepy cute” ambiance. Can you talk about how you developed this unique sound and what inspired the Tim Burton-esque scenes?

K: As this is our 4th album, we can say that we have already established this atmosphere for almost 15 years. This sound developed through all our influences, whether musical, cinematographic, literary, … I’m a fan of goth culture, I love characters like Wednesday Addams, Emily The Strange, Edward Scissorhands, so that is inevitably felt in our musical and visual atmosphere. Bernard is more of a fan of hard and industrial so he brings this more martial touch.

SL: The album’s title is a play on children’s rhymes with dark themes. How did you come up with this concept, and how does it reflect the overall message of the album?

K: We first worked on the songs, then I started writing lyrics, they all revolved around stories of death, suicide, murder. I knew I wanted a little girl on the album cover (as usual, let’s say), and the image of a little girl reading in a cemetery came quite quickly. Then I thought about parents who tell stories to their children at night before going to sleep, and the pun “Deadtime Stories” came to me. I found it funny and we kept it. This title totally sums up the concept of the album.

SL: Each song on the album indeed delves into heavy themes such as death, endings, and broken dreams. Can you share the inspiration behind some of these themes and how you approached writing about such intense subjects?

K: In general, inspiration comes from within (personal events) or from outside (not always happy news). “A Heart Cries” is about suicide and a day when I wanted to end it. I was in a very bad psychological state. On the contrary, “Dancing at your funeral” is about a French man, Stéphane Voirin, who lost his partner. She was a teacher and she was killed by one of her students. During his funeral he danced in front of his coffin as he left the church. The video created a buzz, but above all it was extremely moving. I absolutely had to tell this story.

SL: “Dancing at Your Funeral” actually features a duet with DERO GOI and is co-produced and co-written by him. How did this collaboration come about, and what was it like working with him on this track?

K: We wanted to have fun in every way on this album, and why not do a duet with a prestigious artist? We made a list of singers whose voices we love. I still have it: it says Moonspell, Lacuna Coil, … and Oomph!. We contacted them, and it’s all a question of timing: Dero had the time and the desire at that time, while the others were touring and had other things to do. At first, we simply asked him to lay down his voice, but ultimately he did a lot more and he actually co-produced the song and rewrote certain passages. It was surreal to work with such an artist, and we are very proud of this collaboration with him.

SL: VVITCHBOY features on the track “Death & Glory.” What was the creative process behind this energetic and enchanting track, and what do you feel VVITCHBOY brought to the song?

K: VVitchboy is a gothic rapper straight from the USA. He brought everything I don’t know how to do in terms of vocal flow and energy. As said previously, for this album, we didn’t put any barriers in place. VVitchboy asked us to collaborate and as we are very open-minded, we said “why not?” and it gives this crazy song that makes you want to move and shake!

SL: The cover artwork, depicting a lonely girl reading in a cemetery fog, perfectly encapsulates the album’s themes. Can you discuss the artistic vision behind this imagery and how it ties into the music?

K: I was a teacher in another life, and in my class I had a little girl who loved gory and scary stories. I thought of her a lot when I imagined this album. We thought it would be even cooler if the introduction was spoken by the mysterious voice of Vincent Price. We managed to do this thanks to the development of artificial intelligence.

SL: Fans of bands like THE BIRTHDAY MASSACRE, JACK OFF JILL, and THEATRE OF TRAGEDY are likely to enjoy “Deadtime Stories.” How do you feel your music has evolved since your previous releases, and what can fans expect from this new album?

K: Fans can expect pure “Lovelorn Dolls” but with an even stronger and more assertive identity than previous albums. we pushed ourselves to the limits, without barriers, without limits, and there is a very strong storytelling side, you can even buy the book that goes with it! Treat yourself !

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

With “Zuchthaus”, the sulphurous German duo (and couple) Acylum aka Nadine and Pedro Engel return with a new chapter in Acylum’s career for another ear- and eye- provocative effort. They are experts in setting the scene and plunging us in unbearable poignant atmospheres through their sinister and bombastic  harsh elektro deprived of any compromise.  We had a quick chat with the master of darkness…

The album is out as a limited edition 2CD and as an extended bonus version via Bandcamp.

SL: “Zuchthaus” is described as your most sombre and despair-ridden album to date. What inspired you to delve into such profound depths of tragedy and darkness for this release?

P. It wasn’t necessarily planned, I don’t always go to work with a deep plan, but always act spontaneously according to my mood and desire… Also, this time I didn’t really pay attention to what the listener might like in the end, I just really paid attention to my feeling about the music and nothing else.  Very spontaneous…

SL: The album’s rallying cry, “Fight! Victory or Death,” is quite powerful.  Can you elaborate on the message you aim to convey with this phrase and how it ties into the themes of the album?

P. This saying can be interpreted in different ways by everyone. And this is our intention! For me personally I would say it means something like… “do your thing”, “go your way”, “don’t give a shit about what others say”.  Everyone in this society is in their own personal war and you must never lose sight of your goals and your path. Plus it just sounds really cool and is a great opener for the album…

SL: Your music often immerses listeners in historical and political themes, such as the Cold War and gulags for example. What draws you to these subjects, and how do you approach integrating them into your sound?

P. These themes and the typical ACYLUM sound simply harmonize perfectly with each other. Furthermore, these topics are always very attractive to me and of course (especially in Germany) provocative. I like to create a kind of soundtrack for topics of this kind.

SL: Tracks like “Gabriel” and “1000 Meilen” introduce slower, melancholic moments. How did the creative process for these tracks differ from the more aggressive songs on the album?

P. For me an album needs variety and diversity,  If it just banged and crashed all the time I would probably get bored… and you too! For me it’s just super important to incorporate quieter moments into an Long player… and the contrasts between the songs make an album really interesting for me!  This is also what ACYLUM is all about.

SL: You mention a mystical touch of Nordic mythology in the background of the album. Can you discuss how you incorporated these mythological elements into your music and the significance they hold in the album’s narrative?

P. I am a big fan of Nordic mythology and its music. Thematically they don’t really have any meaning on this album, but musically I wanted to bring a little something into it (e.g. the song 1000 Meilen). It’s always nice to mix a few rather foreign instruments with the typical electronic style.

SL: Your sound is known for its confrontational and oppressive industrial noise sequences. How do you balance creating music that is both challenging and addictive for your listeners?

I think we managed to create a rather strange and perhaps unique style over the years. Of course, we are often compared to other bands, but we make it our mission to always be a little different than others.

SL: “Zuchthaus” seems to reflect a cyclical nature of human folly and chaos. What do you hope listeners take away from this portrayal of unrelenting misery and historical repetition?

P. I just hope you enjoy playing it and listening to it, and that you can vent your aggressions or make love to it… whatever you want, but at least it triggers something in you!

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

When a band signs his 12^th studio album, “The Chaos Machines Part 1 – No More Flies On The Windscreen”, and can be proud of an impressive eclectic discography and music legacy ranging from industrial dance to harsh EBM through electro pop and dark synth, we could not resist to meet with Len Lemeire, the voice and driving force behind that unique Belgian sonic UFO called Implant … And before he asks me, yes Len, I did have my Implant today 😉!

The new “The Chaos Machines Part 1 – No More Flies On The Windscreen” album is out via Alfa Matrix and available from Bandcamp and from the Alfa Matrix webstore.

SL: “The Chaos Machines Part 1 – No More Flies On The Windscreen” is the first chapter of a trilogy. What inspired you to embark on this ambitious project, and what themes or ideas can listeners expect to explore throughout the trilogy?

LL: It evolved into this indeed! We started composing on this album with the idea to release the typical Alfa Matrix 2CD limited edition. We have been doubting the concept of a CD and a remix CD for quite a while. With oxynoxe-x we wrote a 2^nd cd using only the modular synths. But we did this after we finished composing the first disc. This time we wanted to do something similar, but instead of composing 2 entities, we wanted to work on the 2^nd disc while working on the first one. To give the tracks more room to grow. At one point I started singing on these soundscapes, and it worked very well. And hence we started to re-arrange these tracks, but with vocals in mind. Along this process we realized that the 2 CDs were starting to intermix, to blend. So, the idea grew to release them as 2 separate albums. And somehow make clear they belonged together. We also wanted a 12” vinyl. Because we like to smell vinyl J. Alfa Matrix liked the idea, but only if the vinyl had some exclusive content. So, we decided to make a trilogy out of it.

SL: The album is described as a clash against algorithms and a journey into chaos. Can you elaborate on how you approached creating music that embodies these concepts of chaos and defiance against digital norms?

LL: It is a bit hard to talk about defiance against digital norms when a lot of the chaos is actually circuit based. Defiance implicates that one refuses to obey to something. I don’t think we are trying to refuse to be bound by norms or anything. It’s not a statement or a quest to redefine things.  I think we embrace chaos more than we used to. We gave more space to the machines themselves. Sometimes synths can be rooted in such ways that chaos is more imminent. And we took that as a concept. we incorporated this while writing the songs. And eventually ended up adding chaos to unexpected places.

IMPLANT’s sound in this album ranges from psy-trance industrial cuts to electro-pop with influences from early SKINNY PUPPY and KLINIK. How did you blend these diverse styles to create a cohesive listening experience?

LL: I’m not sure if we always succeed in blending it all to a cohesive entity. But I guess that is one of the liberties you get if you work with chaos. You can hide behind the concept and claim that blending styles chaotically was part of the idea. The truth is far more pragmatic. Sometimes you must let a track take you on a little journey in the studio. And the final product should be judged by its quality, not its style. In the end the intersection between all the tracks is IMPLANT.  It has always been a part of IMPLANT to experiment with elements from different styles. I think this has been our strength over the years. But I guess, one could easily argue that it is a weakness.

SL: Noemi Aurora’s lush vocals are a highlight on this album. How did her collaboration come about, cos it’s not the first time you guys work together,  and what do you feel she brings to the overall sound and atmosphere of “The Chaos Machines”?

LL: I am a huge fan of Noemi’s voice, and she already collaborated with us on ‘phantom pain’. While writing the lyrics, I always had in mind to make it a duet. 2 sides of the story. She was the first one I had in mind. It took a while to set it up. But the result really works. She has this kind of power voice, and it was exactly what this track needed. She also collaborated on a track that will be released on ‘the chaos machines part 3’. It is very different from this track. But I think even more essential to the track than her contribution to ‘I wasn’t there’!

SL: Your declaration, “No boundaries, no compromises, only chaos and machines,” sets a powerful tone for the album. How does this philosophy influence your songwriting and production process?

LL: It is always a bit of a marketing tool to try and work with catchy slogans. But again, something I have always done with IMPLANT. The phrase ‘did you have your implant today?’ is something I have been using since the start. For the chaos machines I wanted to try and find a phrase that fits the concept. It’s kind of a justification for it all. We did not want to be restricted by boundaries, not in musical styles, not in sound design. We have tried to avoid compromises, although totally avoiding them is never possible. We did stress the limits of the technologies at hand. We never stopped taking a track into a certain direction because it was not scene friendly. And so on. And we did try and let the machines take over at some points. Most of the time this resulted in very chaotic sounds or textures. So, with all this in mind, the catchphrase does make some sense. And it can be used as a glue between the 3 releases.

SL: The album is filled with both dark moments and tongue-in-cheek lyrics. How do you balance these contrasting elements to maintain the album’s intensity while also keeping it engaging and enjoyable?

LL: A day without laughter is a day wasted. Or so they say. I think it’s trying to add another layer to the music.  Lyrics is a place in art where an opinion, a vision, a feeling … can be expressed. But one can also use it for the obvious. Compare it to a painter. One can paint a very social critical painting, or one could draw a few lines on a canvas and claim it to be social critical.  I never got the painter that painted lines and claimed to expand our thinking. To me, there are different mediums for different outlets of creativity. If lyrics is your forum for creativity, you should try and use it. A song is a little journey that can blend melodies with words. I’m not that keen on wasting this medium for the obvious.  If it can make you smile or look at things differently it’s not wasted. If I use it to express some darker things, then It’s probably something that is bothering me or something that needs to be addressed. There is a lot of “me” in those lyrics. I hope I wrote them in such a manner that it leaves room for interpretation. I once read a scientific article on the correlation between dark humor and alzheimer disease, and I remember thinking: “shit, I’m going to die as a fool”. (laugh)

SL: Given that this is your 12th studio album, how has IMPLANT’s sound evolved over the years, and what new directions or experiments did you undertake specifically for this project?

LL: I always think it’s kind of impressive talking about a legacy of 12 albums. Not sure if that was the goal when I started all this. I guess this kind of happened. But yes, with each release I’ve tried to experiment with different things. The balance between soundscapes and more conventional tracks is the place we tried to experiment on these 3 releases. I think each song is a little experimental trip on its own. With its own merit. Either it’s the break, the intro, or the whole track. Or sometimes just the approach of the routing of the synths. To me the whole transition from the early years to now makes a lot of sense. It is what it is. We could not have made (or remade) the album we did 3 albums ago, and back then we would never have been able to create this album. if the creative process can be digitized, it will be done by machines. Surprising the algorithm is what differentiates us from automated processes.

SL: You mentioned that it’s always more fun to pick up the pieces with IMPLANT. Can you share an example from the making of this album where embracing chaos or an unexpected twist led to a particularly memorable or successful outcome?

LL: Ha, this might be the hardest question of the interview. Because you must understand how ‘intentional’ all this chaos actually is. Maybe I can explain this with a little example. If you work with modular synths, connecting cables is the routing of the sound. The fun thing is that anything can be connected to anything. So, if you have a hihat triggered by a clock-divider, you can feed it a clock (mostly the BPM of the track). But you can also feed it an LFO. If you do this with a modular, you can probably control the LFO-time or shape by a knob or connect another LFO to control the time or shape of the first LFO (and hence the rhythm of the hihat). Before you know it, you’ll end up with something very chaotic, but partially controllable. In like 99% of the cases this will turn into something that can’t be used (although some bands make full tracks out of this. And some of these tracks are surprisingly interesting). If you use the possibilities to control things (like a knob for the speed of the LFO), eventually you’ll end up looking for a sweet spot. Resulting in a sound or rhythm that can be blended with the track you are working on. All this is pretty time consuming. But the result no matter how chaotic it may sound, is very intentional. One could say that the chaos is planned, and the actual outcome more of a coincidence.Jan has this module called “morphagene” by Make-noise. This is one of those modules that create instant chaos. I have been nagging at him a lot to use this one in a track. Eventually he used it on the samples in ‘The drive’. And I think it works great. We remixed that track for the 12” and it has more of those samples. To me, this is a fine example of the beauty of a chaos machine.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

I had the chance to interview The Italian artist Maxx Maryan, who is nobody else but the male half of cult band HELALYN FLOWERS, for the release of his new album, “Viscerheart”, of his solo-project IMJUDAS that is fusing dark pop, post-punk and cold-wave. He brought us behind the veils of this poignant and so intimately  intense release…

You can get the album right now from Bandcamp as download and on CD (plus special packages) and all other digital stores.

SL: “Viscerheart” is described as an exploration of love, suffering, obsession, and self-discovery. What inspired you to delve into these intense emotional themes, and how did they shape the overall narrative of this IMJUDAS album?

MM: I like to think that this new album was born from the unsustainability on my part of keeping inside many of my emotional and sentimental disorders and instabilities, because at a certain point I found myself feeling like I was scratching the bottom, so I pulled myself by the ear and I poured my discouragement into music and words. Above all the words, those throughout “Viscerheart”, are very important because they are my sung confession, my most tormented prayer. This is an album of cowardice, because I sing things that I would never have had the courage to say if not by singing them, just as I sing in the title track of the album “I have the courage to shout it but not write it. Why this cowardice? What doesn’t flow between heart and gut?”. Or again, in the song “Lost my faith in nirvana”, with clenched teeth I emit my most painful mantra “my chest is the seat of hate”. Here I call for help. This is not the album of the stupid basking in negativity as a banner of one’s nihilism, NO. There is great hope here.

SL: Your music has been characterized as ‘Electro-synth Pop with a Goth soul.’ How do you balance these genres, and what elements do you incorporate to maintain this unique blend in “Viscerheart”?

MM: As far as I’m concerned, I’m convinced that knowing how to bypass intentionality can give rise to the manifestation of part of our authenticity. At least that’s what I hope for and what holds together everything I’ve written and done. Probably my extreme curiosity on a musical level, therefore my not being stuck in just one musical area, the joy that learning from different styles and genres gives me and a certain shamelessness and contempt for the ‘safe mode’ are all elements that go to stratify my music. “Electro/Synth-Pop” is technically the result of everything, the ‘roof’ under which everything takes shape. While “Goth soul”, in fact, is what animates it. With this I am referring to a precise spiritual approach inherent above all in early Gothic.

SL: The album features a fusion of synth pop, dark wave, and post-punk. Can you discuss your influences from bands like DEPECHE MODE and GARY NUMAN, and how they have impacted your sound on tracks like “Tazebao” or yet “Go Away” for example?

MM: I think Depeche Mode are now so ingrained in me that any reference to them is unintentional! I discovered them as a child when they showed video clips of “Personal Jesus” and “Enjoy the Silence” on TV, between 1989 and 1990, and I haven’t left them since. With all the importance of an album like “Violator”, when I think of them my heart can only turn to the follow-up “Songs of Faith and Devotion”. When it came out it shocked me and from then on it remained for me a cornerstone of the meeting between electronic music and pop and rock. This is why I think that a song like my “Tazebao” is in some way the daughter of that inspiration, even if this is a consideration I make in hindsight; when I write and record, I don’t think about who or what my music might remember. Only when I listen back then do I enjoy finding correspondences, a ‘vice’, this one, quite journalistic and probably reminiscent of my very distant background as a fanzine-maker, ha ha… I can’t tell you how much Gary Numan in my opinion can be in a song like “Go Away”, probably a lot, according to many, given that in almost everything I do people find a reference to this great artist who I listened to a lot in a certain period of my life which coincided with the first years of Helalyn Flowers. I have to say that I really like his more pop records from the 80s.

SL: “Viscerheart” pushes sonic boundaries and ventures into EDM/Dance-Pop and sonic abstraction. What was your creative process in incorporating these diverse sounds, and how do you feel they enhance the album’s emotional journey?

MM: It’s all about picking up the signs. It is a simultaneity of inspiration between words and the “first” sequence, the “right” one. For me it’s all about abandoning yourself to this but also knowing how to control the creative flow so as not to disperse it between the jaws of reason. I think a certain underlying principle of reversibility is also fundamental in this; the more the container fills with beats the more it is about to pour out to empty itself, and there the beat becomes abstraction, absence of beats, rarefaction. The song “Lost my faith in nirvana” is a perfect example of this. But it’s like a yin-yang; these two concepts are not separate but mutually confluent, so that in one of them there is also a part of the other. This is why it happens that even in songs with a strong dance-pop flavour you can hear a ‘cosmic’ dimension in the background made up of hiss, manipulated and dilated vocoders, noise, drowned in the metaphysical distance of the reverb.

SL: The track “I Love You” from the previous single release is described as a Dark Pop / Post-Punk / Cold-Wave anthem. Can you talk about the creation of this song and what message or emotion you hope to convey through it?

MM: “I Love You” was one of the first songs written for the new album, so I think it represents a bit of its embryo and potential state. The love I speak of is not “another” love, because love is only one when it is authentic. I’m talking about how some ways of achieving it can hurt. Possessiveness, for example. When we are possessive, like someone who ends up excluding you from the world to protect you, we do it because in our minds we think we are pursuing a positive goal, but what results is disastrous. It’s about how good can turn bad, but only because desperation in love can get out of control and turn bad. In this case, evil, if you think about it, is a form of good, albeit degenerate, because it derives from it. It is up to us to discern and recognize these metamorphoses. However, I don’t want “I Love You” to remain, in its meaning, a mere description of how certain things happen (I think that in this song each of us can find at least a piece of our own existence) but that it transcends them, and that do through forgiveness.

SL: Your production on this album features intricate instrumentation, driving basslines, and wave-y guitars. How did you approach the production process to achieve this lush and polished sonic palette?

MM: It’s like a kind of multidimensional awareness. Once you have explored, for example, the rhythmic dimension, then you set off on a new journey such as the search for harmonies, and then again for noise etc. It all depends on how I conceive these emanations and how I don’t so much superimpose them as make sure that they flow into each other. Obviously, an important ingredient is fun. I enjoy. And a lot, too. For example, when, in the production phase, I find myself dealing with the bass, I enjoy thinking about putting into it something of what I have learned from listening to dub music. Or, for guitars, to use tones and drives that I loved hearing on an Andy Summers album and so on. I bring with me pieces of my experience as a true music lover, on a universal level.

SL: “Viscerheart” is said to invite listeners on a hauntingly beautiful journey through human emotions. What do you hope your audience takes away from this journey, and how do you want them to feel after listening to the album?

MM: I would like them, when they have finished listening, to feel a desire for joy. And that “Viscerheart” makes them reflect on not hiding from their own fallibility, so that they can admit all the evil inside us before letting it go and forgiving it. You must know how to cry to love this album. The emotional journey that “Viscerheart” guides is a warning: pay attention to your emotions and nourish your feelings instead. The world needs this, and we need it even more.

SL: As a solo project, how does IMJUDAS differ from your work with HELALYN FLOWERS, and what new creative freedoms or challenges did you encounter while producing “Viscerheart”?

MM: When you’re in a band what you must do is also consider a general vision, agreed with those who share the journey, so your individuality works at the service of a sort of entity, and however intimate your communicative style may be, never this must become synonymous with arbitrariness and mere selfish satisfaction. There are several good ways to be selfish but some of them will never match the needs of a band. This is why the solo-project path exists. And at least for me, having a side-project means transposing your person as much as possible without intermediaries, which might seem like an enviable freedom, but implies total responsibility. At the same time, the constant mirroring of yourself is a double-edged sword that you must know how to handle through periods of waiting. It’s like hunting yourself. Returning more specifically to your question, I think my “challenge” is to obtain a non-analytical but synthetic vision of myself. And I think this challenge is still ongoing. I love the idea of going beyond musical analysis and exegesis, beyond the charm of fragmentation and instead going to the heart of musical inspiration, the one of which I am the vehicle. Regarding, however, my creative freedoms, well, there is no doubt that my love for the most exotic soul of post-punk, the one that has its roots in black African music, as in dub-reggae and the Middle East, has been revealed, at least to the most attentive ears. I think the same also applies to certain industrial abstractionism as well as to a decidedly new wave and non-metal approach to the guitar.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

“The Breaking Waves” is the title of the new Llumen album which comes as a 2CD set / Bandcamp download and which is available now. The album was already teased in November with the EP “Die Stille Totgeschwiegen”.

Llumen is the project by Belgian artist Pieter Coussement who brings a very updated EBM blending it with influences from old-school EBM, techno, and future pop. Influenced by acts like Front 242, Haujobb, Diorama, Assemblage 23, Suicide Commando or yet Covenant, Pieter has been able to develop an own mature sound.

Following the 2017 debut album “The Memory Institute” and the 2021 release “Polygon Heart”, “The Breaking Waves” is his 3rd album to date.

The accompanying CD holds remixes, edits, reinterpretations plus collaborations with Grendel, Aesthetische, Aiboforcen, Neuroactive, Implant, Mind.Divided, Dimethoxy, J Wølf, Nacht Nackt and The Saint Paul.

You can check out the full album below. Recommended!

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Out now is the new Gothica Magazine, issue 47 already of this fine Ukrainian magazine. You can download it straight from the magazine’s website in English for free.

This new issue features a whopping 108 pages and holds for instance an article celebrating the magazine’s 18th anniversary, extensive coverage and backstage photos from the Within Temptation feat. Alex Yarmak video shoot in Kyiv and so on. It also includes a report on Gothica Fest 2023, enriched with comments from participants like Kaelte, Hyperhate, Violet Raymoor, and Spokusy. There are also interviews with Sidus Atrum, Meat Beat Manifesto, and Dawn of Ashes.

Highlighted in this issue as well is our most recent free download compilation, “Electronic Bodies – Nightside Sessions”, which brought together over 20 artists to support Ukraine. In the article you get a double interview with DJ Shane Aungst and our chief editor Bernard Van Isacker.

Additionally, the issue presents the traditional annual Top-13 best LPs from the Gothica Magazine Music Awards 2023.

About Gothica Magazine

Gothica Magazine was established by Andrey Featon in 2006 as a print publication in partnership with the Ukrainian Gothic Portal. It explores the aesthetics of Gothic, avant-garde, and dark romantic art. The magazine comprehensively covers the diversity of Gothic and dark culture, including music genres such as gothic rock, gothic metal, industrial, EBM, dark folk, dark ambient, neoclassical, love metal, darkwave, dark electro, synth pop, folk metal, future pop, dark trance, ritual, and noise.

It also delves into literature and cinema across various styles including modern, post-modern, avant-garde, dark romance, fantasy, non-standard, thriller, suspense, apocalyptic, decadence, psycho, and existential themes. Additionally, it features photography (including dark erotic and fetish), industrial images, painting, architecture, and more. Renowned for showcasing the most famous and unusual bands, notable and provocative figures, exquisite art, and intellectual literature, all these elements are vividly presented on the pages of this magazine.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The EBM pop duo AD:keY are back with a fresh EP, “Nackt”, following their previous single, “Two Souls”. With this new release the Berlin-based duo, Andrea and Rene Nowotny, offers a glimpse of what you can expect on their forthcoming album, “0609”.

“Nackt” holds 4 tracks, 3 remixes (including a single mix) of the title track plus a mix of the track “Deine Augen”. As usual the tracks come with the band’s signature blend of male and female vocals.

As usual with Alfa Matrix the release is first out on Bandcamp with other platforms to follow in the next weeks.

About AD:keY

AD:keY was formed in 2006 as a side project by the keyboardist from the band Armageddon Dildos. The band’s sound is rooted in pure old school EBM blending what we then described “the synths and beats of DAF and Nitzer Ebb with the vocal style and slight spaciness of Welle:Erdball”.

Their music is characterized by stomping beats, muscled bass lines, addictive melodic electro sequences, and powerful male and female vocals. Over the years, AD:keY has carved out its own identity within the Electronic Body Music scene releasing material via the Belgian based electro label Alfa Matrix.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The Brazilian electro / trance EBM duo Aesthetische (Fabricio Viscardi and Guilherme Pires) makes their return with a new 6-track EP, “Confidence Is Silent”. This EP blends modern dark dance vibes with hard-hitting cyber EBM and pop elements, typical of the founding members of Aghast View & Biopsy.

This EP, like all their other productions, excels at the production level, surpassing many bands in the scene and is available via Bandcamp first with other platforms to follow.

The new EP is the follow-up to the well received 2023 release “Boiling Over” and includes five new tracks plus a club edit of the new track “Nudity” as a bonus. Fans of Front Line Assembly, Delerium, and related bands will surely find what they crave.

Here’s the previous EP as well to check out. Again, one of the best production team in this scene.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

This year Front 242 – who recently announced their farewell tour – will be re-releasing 5 classics on crystal clear vinyl in their original vintage design artwork. The first 3 releases (“Endless Riddance”, “No Comment” and “Politics Of Pressure”) were announced today for pre-order with 2 more releases to follow later this Summer.

The band and label (Alfa Matrix) say that “the importance of this re-releases for both the band and label is to make these titles available again on vinyl format at a correct price instead of the crazy pricing sometimes found on other platforms.”

Apart from the the 3 vinyls, there is also a combo 3-vinyl package offered with an exclusive Front 242 tote bag, which is limited to 500 units.

The rush for these new pre-orders caused the Alfa Matrix webstore to crash multiple times, while the label was constantly increasing the capacity of their servers to handle the wave of fans flocking to the website. In a reaction the label says: “We are used to quite some traffic when it comes to Front 242 and had already prepared the server capacity, but we never expected such a huge wave like we saw today. By noon we had all servers upgraded to keep on handling the traffic and orders.”

At the moment of writing the Alfa Matrix website was handling a whopping 40 orders per minute, 5 times more than usually happens when a Front 242 product is launched. It shows the rather huge demand for democratically priced vinyl releases.

• Endless Riddance EP (clear transparent vinyl)
• Politics Of Pressure EP (clear transparent vinyl)
• No Comment LP (clear transparent vinyl)
• Crystal Vinyl Package with Tote Bag 1 (Endless Riddance EP / Politics Of Pressure EP / No Comment LP)

“Endless Riddance” is available from Bandcamp in pre-order as well as a download in a re-mastered version. The remastered versions of “No Comment” and “Politics Of Pressure” were already made available as download in the past.

• Endless Riddance (Remastered) EP
• No Comment (Remastered) EP
• Politics Of Pressure (Remastered) EP

As an extra, the 24th volume in the “Sounds From The Matrix” CD compilation series will be automatically included in every order of any of the 3 first re-releases presented today. It features 17 label artists with a straight EBM / future pop teneur.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The Belgian cult dark electro/future pop act Aiboforcen has announced its 7th studio album, titled “Between Noise & Silence”. The new release will be out via the Belgian label Alfa Matrix at the end of May, but can already be pre-ordered.

The 22-track album again shows a blend of electro pop, future pop and dark pop but also includes a cover of Death in June’s “Break The Black Ice”. The album is available as a double-CD digipak with a 16-page booklet and as a download via Bandcamp.

ATTENTION: The first 50 orders (!!) from the Alfa Matrix e-shop include a signed version with a bonus mini-CD “Eliza Effect” featuring four exclusive tracks.

Benoit Blanchart this time worked with Patrice Synthea from Regenerator, Patrick Codenys of Front 242, Poupee Fabrikk, Implant, Numb, and female vocalists Mari Kattman, Noemi Aurora, Emke, and Sorrow Stories. Also Jan Dieckmann of Norderney joined in.

This new album was teased earlier with the 7-track EP “Cycle Of Life” featuring collaborations with artists such as Jan of Norderney and Noemi Aurora. The EP included a mix of new songs and exclusive non-album tracks, and it’s still available on Bandcamp with a digital booklet containing lyrics and artwork.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

ImJudas, Maxx Maryan’s individual endeavor distinct from his collaboration in the Electro-Goth/Pop-Metal duo Helalyn Flowers, is set to unveil his latest album, “Viscerheart,” on May 24th through Spleen+. The album will be out on CD, as download and as streaming.

Pre-orders are available now via Bandcamp and via the Alfa Matrix / Spleen+ webstore.

Announcements regarding the album’s first details and pre-order information were made earlier today. “Viscerheart” delves into themes of love, suffering, obsession, and the journey of self-discovery, challenging traditional storytelling. The album’s sound is characterized as ‘electro-synth pop with a goth soul’, merging elements of synth pop, dark wave, and post-punk.

Two tracks from the album, “I Love You” and “Go Away”, are already available, the latter comes accompanied by a lyric video accessible below.

About ImJudas

ImJudas is the solo project of Maxx Maryan, known for his role in the electro-goth/pop-metal duo, Helalyn Flowers. Initiated in the winter of 2014, ImJudas represents Maryan’s exploration into electro-pop, marked by a progression of sound through several EP releases.

The project’s significant development is showcased in the double album “YrJudas” which also holds “Via Negativa”, an album from his death-rock/goth metal project, Black Shine Fever. “YrJudas” itself combines elements of 80’s synth pop and cold wave mixed with his dance rock and industrial rock/metal roots.

“Viscerheart”, the project’s second album, blends cold wave and dark-pop with a softer approach to rock, creating a broad spectrum of melodies against a backdrop of melancholy, reminiscent of early British dark wave.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The Swedish minimalistic electro pop act Elektroklänge is back with a brand new 6-track EP, “Abfahrt”. This is one of my favourites on the Alfa Matrix label next to their buddies and sonic twins from Metroland and 808 Dot Pop.

The new EP is the first new release from this act since their debut album “Komposituation” was released in 2022.

Besides typical Kraftwerkian music, you can expect – if you listen closely – authentic traffic sounds from German highways, vintage speech synthesis courtesy of the Texas Instruments Language Translator and the Chrysler Electronic Voice Alert system next to flutes and vocoded vocals.

The EP holds 5 new tracks and a remix of “Bordcomputer” as 6th track. The EP is downloadable now from Bandcamp and will be available via other platforms in the next two weeks. Warmly recommended!

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

It’s been 20 years since the American synthpop/EBM band Glis, aka Shaun Frandsen, debuted on Alfa-Matrix with the “Balance” album. Glis was one of the 10 first bands that signed to then very young Belgian label.

20 years later Glis returns revisiting “Sunrise”, a single which was a major club hit back upon its release. The track comes in a brand new enhanced v3.0 mix, and is backed by what you can call a showcase of the evolutionary history of the track throughout the years, including two instrumental versions.

The release is out now on Bandcamp with other platforms to follow in the next weeks.

About Glis

Seattle-based Glis was formed by Shaun Frandsen and Andrea Ashdown. They signed to Alfa Matrix after the release of their first album, “Extract”, in 2002. Andrea left after their second album and Shaun continued Glis as a solo project, working with a range of contributors.

The project is characterized by its blend of futurepop—a genre that combines elements of electronic body music (EBM), synthpop, and trance—with other electronic influences.

“Nemesis”, released in 2005 and featuring Jean-Luc De Meyer on guest vocals, saw the act change from poppy EBM to a darker, more industrial-influenced sound.

While Glis’s sound has been compared to other notable acts in the futurepop and EBM genres, Frandsen has managed to carve out a unique niche for the project with his distinctive approach to songwriting and production. Over the years, Glis has released several albums and EPs on Alfa Matrix.

Check out Glis on Spotify.

Glis discography

Albums

1. Extract – 2001 (A.D.S.R. Musicwerks)
2. Equilibrium – 2003 (Alfa Matrix)
3. Balance – 2003 (Alfa Matrix / A.D.S.R. Musicwerks)
4. Nemesis – 2005 (Alfa Matrix)
5. 2001-2008 A Shot And A Bassline – 2008 (Alfa Matrix)
6. Phoenix – 2013 (Alfa Matrix)

Singles & EPs

1. Disappear! – 2004 (Alfa Matrix)
2. Apocalypse Parties – 2012 (Alfa Matrix, AM 3046DJ)
3. 4.4U [2012.12] (amGod / Cynical Existence (2) / Glis / Alien Vampires) – 2012 (Alfa Matrix)
4. Seconds – 2013 (Alfa Matrix)
5. Hate You (Glis & DJ Areal Kollen) – 2014 (Xiami, 12526632667)
6. Sunrise Forever – 2023 (Alfa Matrix)

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Following up on his previous single (“I Love You”) as ImJudas, Maxx Maryan (male half of the Italian electro rock industrial duo Helalyn Flowers) now releases a new wave ballad, “Stjudas”. The EP is out now via the Alfa Matrix sublabel Spleen+.

The EP, includes the previous single as well and a dark cover version of The Cure’s “Boys Don’t Cry”. This EP is another teaser for the upcoming ImJudas album “Viscerheart” which will offer melancholic 80s pop-wave mixed with post-punk ingredients.

ImJudas was initially started as a noir-dyed electro-pop project in 2016 and has since incorporated a rough guitar component. The project’s debut album, “Yrjudas”, showcases a blend of electronic dark wave and a few rock elements. You can read a full interview with Maxx on ImJudas right here.

ImJudas discography

Albums

• Yrjudas: Released in 2022 under Alfa Matrix

Singles & EPs

• Tulpa (2017): This EP, consisting of 5 trackd files, was released under Alfa Matrix
• Ritual (2021): Another release under Alfa Matrix, “Ritual” is a 6-track EP
• People Of The Blame (2023): Released by Spleen+ holding 7 tracks
• So Untrue (2023): On Spleen+, “So Untrue” holds 6 tracks
• I Love You (2023): A single release under Spleen+
• Stjudas (2023): 3-track EP

Compilations

• Sonic Seducer Cold Hands Seduction – Vol. 246 – Various – Sonic Seducer (2023)
• Matrix + Downloaded 011 – I Love You – Alfa Matrix (2023)
• A Strange Play.2 – Tribute To The Cure – Boys Don’t Cry – Spleen+ (2023)
• Anthologies 4 – Ritual – Je M’en Fish (2023, JMF202302)
• The Zombietapes (Face The Beat 7 Megamix) – Various – Side-Line (2022)
• Gothic File 22 | 1 – People Of The Blame – Alfa Matrix (2022)
• Sonic Seducer Cold Hands Seduction – Vol. 237 – Various – Sonic Seducer (2022)
• The Dark Hits Of Tomorrow Vol. 4 – Ritual – Orkus (2022)
• Face The Beat: Session 7 – Ritual (Reichsfeind Remix) – Side-Line (2022)
• Sounds From The Matrix 21 – Apostatik – Alfa Matrix (2020)
• Matrix Downloaded 009 – Apostatik – Alfa Matrix (2020)
• matrixx – 20 Years Of Alfa Matrix (Best Of Electro, Synthpop, EBM, Darkwave) – Without Us You Are Nothing – Alfa Matrix (2021)
• Face The Beat: Session 5 – Various – Side-Line (2019)
• Endzeit Bunkertracks [Act VIII] – Tulpa (AD:Key Remix) – Alfa Matrix (2019, AM1276FCD, [Act VIII])
• Alfa Matrix Re:Covered Vol.3 (A Tribute To Depeche Mode) – Various – Alfa Matrix (2019)
• The Other Face Of Evil – Zombie – EK Product (2019, EKPCD062)
• Sounds From The Matrix 20 – Without Us You Are Nothing – Alfa Matrix (2018)
• Matrix Downloaded [008] – Without Us You Are Nothing – Alfa Matrix (2018)
• Matrix Downloaded [007] – Tulpa – Alfa Matrix (2017)
• Sounds From The Matrix 19 – Tulpa – Alfa Matrix (2017)
• Orkus! Compilation 127 – Tulpa – Orkus (2017/12-2018/01, 127)
• Matrix Downloaded [006] – People Of The Blame (Alfa Edit) – Alfa Matrix (2016)
• Recovery>For You< (An Alfa-Matrix Tribute to Front 242) – Various – Alfa Matrix (2016)

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Lots of you have probably heard Noemi Aurora and her very attractive and unique voice within Helalyn Flowers, as well as through her numerous guest vocal appearances over the years. A first solo album is planned for early next year via the Belgian label Spleen+, and a first teaser came a few weeks ago in the form of an EP, “Blood As Lipstick”, which is available on Bandcamp. 

We wanted to know a bit more about what the lady had to offer…

SL.  Your latest single, “Blood As Lipstick,” is described as a rebellious hymn to inner strength and resilience. Can you delve into the inspiration behind the song and how it ties into the broader themes of empowerment and courage?

‘Blood as Lipstick’ can be interpreted as a symbolic representation of personal transformation and empowerment through the alchemical process of transmuting pain and adversity into beauty and strength. 

Overall, ‘Blood as Lipstick’ portrays the story of a woman who transforms the pain and wounds of her life into something beautiful and empowering. It emphasizes the alchemical process of transmutation, where the individual uses their experiences to cultivate strength, resistance, and inner beauty. 

My lyrics encourages embracing challenges and using them as catalysts for personal growth and transformation.

I dedicate this anthem of mine to all the women warriors who fight against discrimination and submission. But not only that, they are also dedicated to all human beings of any sex and origin, since anyone who knows pain and suffering deserves to find the strength to react to adversity and injustices.

‘Blood as Lipstick’ ties into broader themes of empowerment and courage by encouraging listeners to embrace their authenticity, find their voice, and overcome obstacles with unwavering determination.

SL. The press release mentions a range of musical influences from Kate Bush to Dead Can Dance and Zola Jesus. How do these influences shape the sonic landscape of “Blood As Lipstick,” and how do you incorporate them into your unique and captivating sound?

The musical influences mentioned in the press release, such as Kate Bush, Dead Can Dance, and Zola Jesus, play a significant role in shaping the sonic landscape of ‘Blood As Lipstick’.

These artists have distinct styles and sounds that have inspired and influenced my music. These artists are just a tiny selection from the multitude that I have been listening to for years and years until today. I could add many others such as Siouxsie, The Cure, Depeche Mode, Dalbello, Roxy Music, Joy Division, Visage, Madonna, Doris Norton, Franco Battiato and an infinite multitude of high listens from various decades that have worked in my subconscious until emerging in a distilled from my compositions. The artists selected in the press release represent different generations because I enjoy giving space to both the more historical artists who have always been part of my musical background, as well as the younger ones who I have discovered and who have a common fanbase with me, and who have a message to offer and a unique sound. I always like to stay curious and open to discovering new sounds that can suggest an interesting vibe and enrich my cultural baggage.

Going into detail, for example talking about Kate Bush, I draw inspiration in terms of her experimental approach to songwriting and her ability to create atmospheric and ethereal soundscapes. This influence can be heard in the dreamy and otherworldly elements present in ‘Blood As Lipstick.’

For me she is a brilliant artist, when as a child I discovered her on video and listened to her voice hitting very high notes with such a unique timbre, I was truly impressed. She also combines music with theatricality, dance and visual arts which are also basic elements of my artistic journey.

Dead Can Fance’s influence can be seen in the incorporation of world music elements and the use of unconventional instruments.

In Blood As Lipstick, as well as other songs from my next album, I played the wooden recorder which was my first instrument that I studied since my childhood. I approached the study of this instrument in an obsolete way because I used to duet with my brother by playing the guitar scores of Joe Satriani and Steve Vai. A truly original and bizarre result I must say! As for the rhythmic part, I overdubbed ethnic artisan rattles and microphones environmental

Their fusion of different cultural sounds has inspired me to explore and incorporate diverse musical elements into my own work, adding depth and richness to the overall sound of ‘Blood As Lipstick’.

Zola Jesus, I discovered her thanks to the fanbase we share and which allowed me to get to know her music, leaving me pleasantly impressed. 

I found some common traits in her regarding the intention and the way of managing her vocal delivery and expression.

I strive to create a sonic landscape that is both familiar and innovative, by blending elements from my background with my own musical ideas and experiences, I aim to create a captivating and distinctive sound in ‘Blood As Lipstick.’

SL. Can you provide some insights into the concept and themes that will be explored in coming  album, and how it might differ from your previous works with Helalyn Flowers?

As a solo artist, my upcoming album ‘Kintsugi’ will explore themes of personal growth, self-discovery, and introspection. 

Kintsugi is a beautiful Japanese tradition that involves repairing broken objects with gold dust, highlighting the intricate joints. This ancient technique allows us to elevate and value things that would otherwise be discarded due to being shattered. Metaphorically, Kintsugi can be applied to our lives, transforming soul wounds into powerful energies that make us wiser and aware of our goals. Instead of seeing wounds as weaknesses or missing pieces, they become our strengths. Just as broken objects can be enhanced with gold dust, we can transform our wounds into the gold of awareness.

In contrast, my previous works with Helalyn Flowers often focused on different themes such as dystopian worlds or even the exploration of darker emotions. While there were elements of introspection and personal reflection in our music, the overall tone and approach were different.

With my solo album, I have the opportunity to delve deeper into my own personal experiences and emotions, allowing for a more intimate and introspective exploration. The music will have a more stripped-down feel, with a focus on storytelling and emotional connection.

While Helalyn Flowers is known for its fusion of industrial, electronic, and rock elements, my solo album will incorporate elements of dream pop, ambient, and alternative genres to create a sonic landscape that is both haunting and captivating.

Overall, my solo album will offer a different perspective and musical experience compared to my previous works with Helalyn Flowers. It will be a deeply personal and introspective journey, exploring themes of self-discovery and vulnerability in a more electronic, experimental and atmospheric musical setting.

SL. The press release describes “Blood As Lipstick” as a symbolic ode to female empowerment and the lunar side of intuition. Can you elaborate on the symbolism and themes explored in the song, especially in relation to the transformative moments when blood turns defiantly into lipstick?

‘Blood As Lipstick’ is a song that explores the themes of female empowerment and the transformative power of embracing one’s pain and turning it into something beautiful. The symbolism of blood turning into lipstick represents the strength of women, as well as their ability to transform their experiences of pain and adversity into sources of power and beauty.

In the song, the act of turning blood into lipstick is a metaphor for the process of reclaiming one’s own narrative and finding empowerment in the face of challenges. It represents the defiance and determination to rise above difficult circumstances and transform them into something positive and strengthening.

The lunar side of intuition mentioned in the press release refers to the connection between women and the moon, which has long been associated with feminine energy and intuition. The moon symbolizes the cyclical nature of life, with its phases representing the different stages of growth and transformation. By exploring the lunar side of intuition, the song highlights the innate strength and wisdom that women possess, and the importance of embracing and trusting their own intuition in navigating life’s challenges.

With ‘Blood As Lipstick’ I encourage women and anyone else who feels involved, to embrace their own power, trust their intuition, and find empowerment in their own unique journeys.

SL. From your cover of The Cure’s “Friday I’m In Love” to the original compositions, your work showcases a wide range of styles. How do you maintain such versatility in your artistry, and what challenges or joys does this bring to your creative process?

Maintaining versatility in my artistry is something that I prioritize and actively work towards. I believe that exploring different styles and genres allows me to continually grow as a musician and expand my creative horizons. It also keeps my music fresh and exciting for both myself and my listeners.

One of the joys of being versatile is the freedom it gives me to experiment and explore new musical territories. It allows me to constantly challenge myself and push the boundaries of my creativity. I find great joy in the process of discovering new sounds, experimenting with different instruments, and incorporating diverse musical elements into my compositions.

However, this versatility also presents its own set of challenges. It requires a deep understanding and appreciation of various musical styles, as well as the ability to adapt and embody different musical personas. It can be a daunting task to switch between genres and styles seamlessly, but it is a challenge that I embrace as it goes hand in hand with joys of maintaining versatility in my artistry. 

While it can be demanding and require a lot of effort, the rewards are immense. It allows me to constantly evolve as an artist, connect with a wider range of listeners, and create music that is diverse, dynamic, and true to my artistic vision.

SL. As a solo artist, how does your approach to creating music differ from your collaborative work with Helalyn Flowers? Are there aspects of the creative process that you find particularly liberating or challenging in both scenarios?

As a solo artist, my approach to creating music differs in several ways from my collaborative work with Helalyn Flowers. 

The main difference between my solo project and the work with Helalyn Flowers, where we are a duo, lies in the total management of the songs. In Helalyn Flowers we had to balance the more rock/metal characteristics in a different way. In my solo project, as a producer, I have the opportunity to highlight certain characteristics during the mixing, production and mastering phase, which were not possible to share in Helalyn Flowers.

This level of creative freedom can be both liberating and challenging. On one hand, it allows me to fully express myself and experiment with different musical ideas and styles. I have the flexibility to take risks and push the boundaries of my creativity without the need to consider the preferences or expectations of others. This can lead to exciting and unexpected musical discoveries.

On the other hand, this freedom also comes with the responsibility of making all the creative decisions on my own. It requires a strong sense of self-awareness and clarity of vision to navigate through the creative process and make choices that align with my artistic goals.

In both scenarios, whether as a solo artist or in a band, the creative process is a deeply personal and introspective journey. It involves tapping into my emotions, experiences, and inspirations to create music that is authentic and meaningful. The challenges and rewards may differ, but the underlying passion and dedication to creating music that resonates with myself and my audience remain constant.

SL. As fans anticipate the release of “Kintsugi” and further explorations into your solo work, is there a message or feeling you hope they take away from your music? How do you envision your connection with your audience in this new phase of your musical journey?

“Kintsugi” represents a metaphorical exploration of the cracks and imperfections of the soul, and I hope that listeners can find solace and strength in embracing their own vulnerabilities and scars.

In this new phase of my musical journey, I aim to create a sense of connection and understanding with my audience. I want them to feel seen and heard, to know that they are not alone in their struggles and experiences. I hope that my music can serve as a source of comfort, inspiration, and empowerment for those who listen as I want to create a space where they feel safe to explore their emotions and reflect on their own journeys. 

I want my audience to feel a sense of catharsis and transformation and to carry that feeling with them long after they have listened.

Additionally, the best connection being made with my community is through my Patreon page. This platform which allows my fan club to be in close contact with my artistic experience, from the creative phase to the group chat, allows us to explore the concepts expressed in my songs and to create a connection from a daily point of view which is truly an inspiring experience. 

I invite all those who want to actively participate in my Multiverse of Sounds and Visions to subscribe to my Patreon: https://www.patreon.com/noemiaurora 

Thank you very much for this space and I greet with great affection my dearest Shining Disasters who support me since the dawn of time!

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

(Photos by Carsten Schenker) The German electronic act Digital Factor added a few weeks ago another milestone to their already fruitful career with their brand new album “GBA” in the form of a charity project.  High time to have a chat with electro pioneer Mike Langer, the main person behind this project.

You can download the album from Bandcamp or order it on CD from the Alfa Matrix label.

SL.  Can you tell us more about the decision to make your new album, “G.B.A.-General Behavior Abrogate,” a charity project and donate all proceeds to the foundation for disadvantaged children (www.kinderstiftung-altenburg.de)? What inspired this choice?

Basically, I wanted to do something special for Digital Factor’s 30th anniversary. I have been following the work of the foundation for years and am also partly active in it myself. You appreciate this work when you have children of your own who can fulfill (almost) every wish. But unfortunately there are also children in the western world who need help. This is where the foundation comes in and with Como Vento, a drum group that also appears on “G.B.A.” is represented, it shows itself best. Here, the foundation helped finance the instruments at the beginning of the group. Now children from different social classes and different backgrounds come together and travel all over Germany. Such investments by the foundation must definitely be supported.

SL. The album features collaborations with various local artists from Altenburg. How did this collaboration process unfold, and how do you think it influenced the overall sound and vibe of the album?

Before it was clear who would be on the album, I wrote the songs and produced the first layouts. I implemented what I wanted to implement as a digital factor on this album. So I didn’t take any “consideration” into who would be singing in the future. Ultimately, I assigned the songs to the artists and the individual pieces developed their own power. After listening to the song hundreds of times before recording the lyrics, they were suddenly completely new. So somehow I lumped Digital Factor together and got Digital Factor plus X back. I think the experiment was very successful. Ultimately, everyone involved is also good friends, which is of course particularly fun when you work with them. 

SL. “G.B.A.” marks a departure from the dystopian themes of your previous work. What prompted this shift towards more hopeful and positive messages in the lyrics, and how do you believe it reflects the current times?

Up to now, as an artist, I always wanted to put a finger in the wound and therefore dedicated my texts very much to dark dystopias. In the meantime, in Germany and worldwide, it is mainly populists who rally supporters behind them with dystopian predictions and such. If a billionaire like Donald Trump sees himself as being persecuted by the “system,” then as an artist you have to take a different position. And so it was important to me, despite all the problems that really exist, that there is also good in the world. I experience this every day in my environment. People who have ideas, people who don’t complain but do something about problems or people who do things without ostensibly having an advantage, all of this needs to be valued much more today than it was a few years ago. This also fits into the overall concept of “G.B.A.” in collaboration with the foundation.

SL. You mentioned a significant remodeling of your studio and a focus on using analog synthesizers for this album. Could you delve into the production process a bit more? How did you approach transforming the production technologies of the 80s into the contemporary sound of Digital Factor?

I was socialized musically in the 80s and so the music of that time particularly touches me. After all, the 80s are considered the most influential musical decade in the history of pop and rock. The arrival of the synthesizer and the drum machine, the development of the alternative scene, the music video, the arrival of digital technology in the studios and the introduction of the computer, available to everyone, all of these changed the music scene and date back to the decade. I was mainly interested in the beginnings of electronic music. Back then, many synthesizers couldn’t store sounds. At the same time, many synths could not be controlled remotely via MIDI. So a bass or lead line had to be recorded by hand for the entire song. At the same time, many artists only had one synthesizer, so they had to get everything bass, lead or drums out of the machine. “G.B.A.” 95 percent is recorded exclusively with hardware synthesizers (i.e. very few computer plug-ins). I used synthesizers like the Arp Odyssey, the Korg MS-20 or the MonoPoly, none of which can store sounds. My analog drum machine doesn’t save any sounds either. This means that the songs on the album are unique. If I were to re-record them today, they would always sound a little different. Sometimes I recorded short sequences or song lines by hand so that they would always sound different. For many of the rhythmic sequences, I connected the synths to each other in a modular manner via CV (controlled voltage), so that the resulting loop or similar from one device is influenced by another synth. Nevertheless, with today’s computer technology it is ultimately much easier to record than, for example, in 1980, but I gave the synthesizer nerd in me a lot more room. You can probably hear this best in “The World Is Analog”. Here I wanted to 100 percent only use my analog synthesizers. The bass drum, snare and hi-hats also come from my Arp Odyssey, a synthesizer from 1972. 

SL. The album features contributions from your daughter Josephine. How did this collaboration come about, and what does it mean to you to involve family members in your musical projects?

In a way, Digital Factor is also a kind of family project. After all, my family has to do without me when I work in the studio. My wife is a graphic designer and has been doing the artwork for Digital Factor’s publications for years. My son isn’t really an artist, but he’s kind of the administrator in my studio. I can discuss technical solutions and details with him and he is much neater than I am when it comes to laying cables. Josephine is more of an artist in the next generation. She plays theater and would like to be part of every Digital Factor album. She also appears in numerous music videos (e.g. “Ouvre”). Ultimately, we and all of our friends are in a kind of artistic community within which my children are growing up. Of course that rubs off.

SL. As a band with a 30-year history, how do you see “G.B.A.” fitting into the evolution of Digital Factor’s sound and identity? In what ways does it build upon your previous work, and where does it chart new territory?

Digital Factor has developed over 30 years just as I have developed musically and in my use of synthesizers and drum computers. I would find it massively boring if I were or could only publish the 1993 copy today. For the 30th anniversary album, I built my “dream studio” in my house, which is constantly being optimized and rebuilt. All of this will continue to influence Digital Factor’s future releases. The tragedy is that I have more ideas than time, but I still try to implement as much as possible. The connection between Digital Factor and the people around the project as an audiovisual project will play an even greater role in the future. “G.B.A.” was a trigger, so after a few years of not performing live, I’m back on stage more often and developing ideas and projects with other musicians and artists. “G.B.A.” was the start of the next exciting 30 years, although I have to do the math again to see whether it will still work given my age.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Female fronted Glasgow-based duo Hanging Freud just released their 7^th studio album “Worship” on the Belgian Spleen+ record label.  The enigmatic duo continue refining their unique sound identity, often evoking influences and elements of post punk, ethereal, synthgaze, cold wave, ambient pop or yet experimental electronica.  It was therefore the right time for us to know a bit more about this enigmatic duet, do we had a nice chat with the two musicians behind Hanging Freud, Paula and Jonathan.

The album is available in various formats via Bandcamp and via the Spleen+ webstore.

SL. “Worship” is described as your most personal and emotive album. How do you navigate blending post-punk, ethereal, synthgaze, cold wave, ambient pop, and experimental electronica to create your distinct musical style?

Paula – I think we both listen to so such a wide variety of music this just comes naturally. We don’t limit our ideas. Personally, I never really understood genres, and perhaps this attitude is translated into the music. Having said that, I find it fascinating to hear all the different genres people can classify our work as. If we like certain ideas, we’ll use them, I don’t think we’ll ever want to confine ourselves to this or that thing. 

Jonathan – I don’t think there is a conscious effort to make something with a style in mind. We just like many things you find in music and try and come up with something that cuts through emotionally and anything that might make you think is this or that is just a means to an end in conveying what we really want to say. 

SL. How do you use the cinematic elements of your music to evoke specific emotions and create an ethereal cocoon for your listeners?

Paula – I like the idea of cinematic, there’s something romantic about it. I think perhaps the layering of sounds and the structure of the songs can convey that. I believe the task of the artist is to evoke emotions, but I’d be lying if I said there’s a lot of rational thought behind it, it’s more instinctive than that. Those are just the emotions we feel, and the music finds a way to express them. 

Jonathan – Its nice that it’s seen as cinematic, its not something that we intend to do but if its seen that way its probably from the emotion of the song from when its first recorded as a demo.

SL. This Hanging Freud album was recorded and mixed 100% digitally, in somewhat challenging circumstances during the pandemic lockdown. How did this digital approach influence the creative process, and what challenges and advantages did it present?

Paula –  I started writing these songs as soon as the lockdown was announced, in a land where I knew literally no one, in temporary accommodation, which at the time I was intending to visit for a short period. We didn’t have our studio, our instruments. We had a midi keyboard, a microphone and somehow managed to get hold of speakers on the last day stores were allowed to open. We didn’t even have a table. There were mice in the flat, in between the walls scracthing and making these terrible sounds, and the sounds of ambulances were constant from the hospital nearby. This was a completely new situation, and no one had any idea what would happen. We felt like there was nothing else to do but to work on music, but it was incredibly challenging given the circumstances. On the other hand, I believe limited resources can force people to look for creative solutions, which we did. For instance, the drum pattern in “This Day” comes from accidentally recording them with the microphone. We liked how this sounded, so we kept it that way.

Jonathan – It definitely made it more streamlined and straightforward. Everything was done using a minimal amount of tracks, tweaking some stuff or even using presets that we liked. Some of the synth work was recorded then moused and automated, other bits were recorded with midi manipulations. Drum patterns were written in and sourced from samples. It took us a couple of weeks to write. We were forced to work within the unlimited nature of a DAW but felt like we managed to use everything we had to without getting lost in it. 

SL. Given the specific circumstances of the pandemic lockdown and the claustrophobic environment you mentioned, how did this unconventional setting impact the themes and emotions explored in the album’s lyrics and overall concept?

Paula – There was a lot of personal tragedy and change at the time, but the start of a worldwide pandemic amplified everything and made people have to confront many things about themselves, life and death, uncertainty and hope, the world we live in, our own lives. We were not immune to this and these reflections are obviously there. Having to go through this in a completely unknown place, away from family, friends and everyone we knew gave us a very unique perspective on the whole thing. 

Jonathan – Working on that record was a form of escapism for me, even uncomfortably slouched on the side of a bed working on a bedside chest of drawers. There’s no anger on this record which is probably indicative of the state both of us were in at the time.  

SL. With multicultural backgrounds from Sao Paulo and London, how do your diverse roots influence the storytelling and sonic elements in your music? Are there specific cultural nuances that find expression in your sound?

Paula – I think so. It wasn’t until recently that I realised that I was creating some more “unconventional” rhythms and drums due to my upbringing surrounded by Brazilian music, which is so rich and varied, even though I grew up playing rock music, mostly.

Jonathan – London doesn’t have a hold over me now but its association to music was relevant to me when I was growing up in the 90s. I liked alternative music but at the same time listened to a lot of electronic music. I was well into ambient music, techno, jungle, hip hop and other instrumental music and all this was going strong and highly accessible in London at the time. Some of that has probably left an impression on me and what I try and contribute when we work together.

SL. The Hanging Freud album is being released as a limited vinyl edition in two different colors and includes the “Anomalies” bonus EP. How does the physical format enhance the listener’s experience, and what can fans expect from the bonus EP?

Paula – The physical releases are so beautiful. I’ve always enjoyed holding a record and looking at the artwork while listening to it, I’ve always liked having the records and listening to albums from start to finish. I think a lot of people feel this way, and a lot of very young people are learning the joys of listening to records too. The bonus EP is very interesting, because those are experimental exercises of when we first went fully electronic. I used to write songs on guitar, and working with electronic music was new to me at the time, while Jonathan was very experienced in it, so it’s a very interesting way to see how I approached songwriting then. It’s a rare one.

Jonathan –  Its always good to have a physical presentation of someones work. The bonus EP of Anomalies was a turning point for us where we understood better what we wanted to do with this project in the future.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

A few weeks ago we wrote an article on Greenwashing in the music industry. Some considered it to be nonsense but behold, there is something brewing in the music world with the launch of a Music Industry Climate Collective and a Music Climate Pact.

Music Industry Climate Collective

Sony Music Group, Universal Music Group, and Warner Music Group have now formed the Music Industry Climate Collective (MICC) to address environmental challenges related to the global climate, particularly within the music industry. This collaboration aims to amplify environmental stewardship and provide tailored recommendations and strategies for music companies of all sizes.

One of MICC’s first initiatives is to offer comprehensive guidance for measuring scope 3 greenhouse gas emissions, which are indirect emissions occurring in the music industry’s value chain, including product manufacturing, distribution, and licensing.

The MICC has worked with scientific experts to develop the first draft of this guidance, which will be available for industry participants to review. Additionally, the MICC has established an advisory council comprising independent record labels, value chain partners, and climate experts to gather broader industry input. The aim is to set a science-based standard, fostering climate resilience within the music sector. This initiative also aims to provide critical guidance to partner companies starting to measure their emissions and promote consistency in how music companies develop and disclose greenhouse gas inventories.

Music Climate Pact

Another initiative is the Music Climate Pact, which has as a vision “to harness the power of the music industry towards inspiring transformational action on the climate crisis.” By aligning as a sector, they stand to de-politicise sustainability and address their biggest environmental impacts in an efficient and collaborative way. “There is a lot of work to be done if we are to become a more sustainable industry, but we will be guided by climate science and take tangible, unified action and regularly update on our progress.”

The Pact’s founder signatories have committed to:

• Take individual and collective action to measure and reduce our greenhouse gas emissions (scopes 1, 2 and 3)
• By February 2022, have either signed the Science Based Targets standard commitment letter stating that we will commit to setting science-based targets or will have joined the Race to Zero programme
• Work together as an industry to establish carbon measurement methodologies, tools and frameworks backed by climate science
• Work in partnership with shared suppliers and digital streaming platforms (DSPs) to obtain data and drive emission reduction projects in a collaborative fashion
• Support artists in speaking up on climate issues
• Communicate openly with fans about the impacts of the music industry.

Businesses signing up after the launch must have already signed up to one of the two pathways.

Basically what is being presented by these two initiatives is a lot less than what we talked about in our initial article. So it remains to be seen if all this will be something else than just green windowdressing, after all Greenwashing is rampant with concert organisers for instance as we pointed out. And that is where the biggest money is these days for the traveling artists.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Belgium’s electro act Llumen returns with a 9-track EP bridging the previous “Polygon Heart” album and the forthcoming album “The Breaking Waves” announced for Spring 2024 on Alfa Matrix.

“Die Stille Totgeschwiegen” is the first Llumen song mixing English and German lyrics, and is the first new song revealed from the forthcoming album “The Breaking Waves”. The track got remixed by Grendel, Elektrostaub and First Aid 4 Souls. Included as well are remixed versions of “Like My Pain” by Aiboforcen, Pre:Emptive Strike 0.1, Ah Cama-Sotz and Promenade Cinema.

You can download the new EP right here from Bandcamp.

About Llumen

Llumen emerged around 2010, marking a new phase in Pieter Coussement’s musical career. Before Llumen, Coussement was part of various projects, but with Llumen, he found a way to merge a more structured musical style with the experimental work he did at the Institute of Psychoacoustics and Electronic Music. As the years passed, Llumen developed its unique sound, leading to the release of its first digital EP in 2016 through Alfa-Matrix. 2017 saw the debut of Llumen’s album, “The Memory Institute,” which blends elements of EBM, futurepop, and gothic.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The Belgian cult dark electro / future pop act Aiboforcen has announced the release of their 7th studio album in the Spring of 2024, titled “Between Noise & Silence”. But before that they release an all new 7-track EP via Bandcamp revealing 5 new songs as well as the first guests to be featured on “Between Noise & Silence”.

The 7-track EP’s title-track “Cycle Of Life” features a vocal duo between Jan of Norderney and Noemi Aurora. The same line-up is used on “Heaven Knows”. “Cycle Of Life” gets featured in a single and in a club version plus a melodic remix by label mates Elektrostaub. And just like on the previous album, Mari Kattman (Helix) lends once more her voice on “Dead End” which is featured in a remixed version by Aesthetische. The EP also features 2 exclusive non-album songs with Patrice Synthea on the EBM cut “Katarsis” and Tina Forlom (Sorrow Stories) on the dark electro pop tune “Echoes”.

The bandcamp edition is accompanied by a booklet with lyrics and cool artwork design.

Brand new Aiboforcen video

Also included is a video for the track “Heaven Knows”.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

ArtOfFact Records has found itself embroiled in an ongoing controversy following their decision to release a remix by the self-confessed pedophile musician Mr. Kitty (“Vital Signs – Mr. Kitty Remix”) for one of their recording artists, KANGA on November 10, 2023. The remix is part of a collection of KANGA’s Soundcloud-era remixes released by ArtOfFact Records.

This particular move by ArtOfFact Records was heavily criticized, as Mr. Kitty had previously been involved in a scandal where he admitted to having had an inappropriate online relationship with an underage fan in 2019. The situation raised questions about the label’s decision-making and ethical considerations, with Brutal Resonance for instance accusing the label of prioritizing profit over moral responsibility. At Side-Line we are very much concerned of the lack of initial insight that the rights of a child were grossly violated, which made this release a no-go from the start.

ArtOfFact Records initially did not comment on the situation but then as issued a formal apology on November 19th, 2023, following backlash from fans and artists within the scene. The label stated that they did not condone Mr. Kitty’s actions and announced a donation to a victims of abuse charity. However, their statement was criticized for not mentioning KANGA.

KANGA’s reaction was faster and included removing the remix and issuing video apologies as well as written notes on her social media accounts. Since ArtOfFact Records initially did not issue an apology, they left KANGA to manage the situation on her own bearing the brunt of the fallout. KANGA also said in an Instagram story that ArtOfFact pushed her into it although she constantly tried to reject the idea.

pic.twitter.com/AKhGOLwj2Y

— KANGA (@KANGAkult) November 16, 2023

Two days after the initial apology, ArtOfFact Records issued another statement directed at KANGA posting it as a reply under the initial statement. Despite these apologies, there continues to be considerable criticism towards the label for releasing the remix despite being aware of Mr. Kitty’s past.

Where did it all start with the Mr. Kitty scandal?

The controversy surrounding Mr. Kitty started with an article in the Austin Chronicle in Summer of 2021. The article accused Mr. Kitty, whose real name is Forrest Avery Carney, of being involved in a nearly four-month exchange of explicit Twitter messages, nude photos, and graphic videos with a 15-year-old fan from Russia and this in 2019. As a result Mr. Kitty posted an admission to having an inappropriate online relationship with the underage fan and that he was seeking help.

The victim stated that he felt “grossed out” by the experience and believed that Mr. Kitty’s public apology was an attempt to salvage his career. The conversations also leaked out online.

This singer is a pedophile and exchanged nudes with a 15-year-old boy. He manipulated and said that he was depressed and wanted to kill himself, people forgave him and continue to listen to his music. People should know the truth. His name is Mr.Kitty.

Please spread the word ❤️ pic.twitter.com/ycOubKJ8gN

— vasya (@VasyaNartov) June 27, 2021

Following the revelation, some of the Mr. Kitty tour dates were canceled or postponed, and the Chicago-based darkwave record label Negative Gain announced that it would immediately discontinue all sales of Mr. Kitty’s albums and transfer streaming sales rights to his estranged husband. The label also stated that it does not support Mr. Kitty’s actions and made donations to RAINN and HRC in support of those harmed.

Mr. Kitty continues to release new material and so far has not responded to this new development.

The power game between musicians and fans

The situation – again – underscores the importance of considering the moral implications of business decisions, especially when they involve individuals with controversial pasts. The controversy also reflects broader issues within the music industry, such as power dynamics and the responsibility of labels in upholding ethical standards. Overall, Artoffact Records’ involvement in this controversy serves as a case study in the balancing act between commercial interests and ethical considerations in the entertainment industry.

The dynamic between a person in power, such as a musician, and underage fans is complex and often problematic due to the inherent imbalance of power. The relationship between musicians and underage fans is laden with potential risks due to the significant power imbalance. It is crucial for the industry, society, and the musicians themselves to recognize and address these risks to protect young individuals from exploitation and abuse.

Here are some key aspects of this dynamic:

1. Power Imbalance: Musicians and celebrities generally hold a position of power and influence, which can create an imbalance in their relationships with fans, especially underage ones. This power can stem from their fame, wealth, or the idolization they receive from fans.
2. Idolization and Vulnerability: Young fans often idolize musicians, viewing them as role models or figures of admiration. This idolization can make underage fans vulnerable to manipulation and abuse, as they might be willing to overlook or excuse inappropriate behavior.
3. Manipulation and Abuse: In some cases, musicians might exploit their power and the adoration of young fans for personal gain. This can include grooming, where the musician slowly manipulates and coerces a fan into a sexual or otherwise inappropriate relationship.
4. Consent and Maturity: Underage fans, due to their age, are not legally capable of giving consent in many jurisdictions, especially in the context of a relationship with an adult. Furthermore, the cognitive and emotional immaturity of minors makes them incapable of fully understanding or consenting to certain actions or relationships.
5. Responsibility of the Influencer: Musicians, as public figures, have a responsibility to conduct themselves ethically, especially in interactions with young and impressionable fans. Exploiting their status or the admiration of fans for personal or sexual gain is not only unethical but often illegal.
6. Fan Communities and Peer Influence: The dynamics within fan communities can also play a role. Sometimes, peer pressure or a desire to fit in with a group can lead younger fans to engage in behavior or overlook warning signs that they might otherwise question.
7. Societal and Industry Responsibilities: The music industry and society as a whole have a duty to protect young fans from potential abuse. This includes enforcing laws and regulations, promoting ethical behavior, and providing education about the risks of power imbalances in fan-celebrity relationships.

This is not the first and will not be the last time that certain musicians abuse their power in order to get sexual favors from (underage) fans.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Originally self-released via their DIY Tiny Box label in a very limited quantity, the Scottish post-punk/minimal electro act Hanging Freud are now also re-releasing their previous (6th) studio album “Persona Normal” via their new label partner Spleen+ (division of the Belgian Alfa Matrix label group), digitally via Bandcamp, in a digipak edition, as well as vinyl in two different colours (solid gold or solid silver) each strictly limited to 150 units worldwide.

Pre-orders are available via the Alfa Matrix store and these will all be shipped on December 1st.

Here’s how the vinyls look like.

The band also recently announced a brand new album, “Worship” on which Paula Borges and Jonathan Skinner continue refining their unique sound identity evoking influences and elements of post punk, ethereal, synthgaze, cold wave, ambient pop or yet experimental electronica.

“Worship” gets released as a limited vinyl edition available in 2 different colours: transparent violet and transparent turquoise (150 copies each worldwide) as well as a lush double-CD digipak with the “Anomalies” bonus EP just like in this Bandcamp download.

You can check out the album below on Bandcamp.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The Australian techno-industrial project Studio-X is currently working on a new full-length album, Australian. But before that new album will be released you can already enjoy the new single “Cause Of Pain”.

Lawrie B. explains: “While the lyrics reflect a story of living with addiction, the tale of a life on the verge of self-destruction.” The track comes accompanied by an alternative ‘hard cyber minimal’ version featuring a dark ‘less is more’ approach. The new single is available on all platforms including of course Bandcamp.

Studio-X is a hard dance project founded by Matthew M. and Lawrie B. in December 2008. The project is currently based in Adelaide, Australia and is now Lawrie B. Who often also invites other musicians to work with him on new material.

Musically this is one of the most innovative acts coming from the industrial scene, so you might want to check out this new single as well!

Also coming up is a Studio-X remix for Acylum via Alfa Matrix. “This one is going to be a banger 🔥” so Lawrie B. says on a Facebook post from early October. But for now enjoy the brand new single “Cause Of Pain” from Studio-X.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Taken from Alien Vampires’ recently released new album “Return Me To Hell”, comes the brand new 2-track download single “Witchy Bitchy”.

“Witchy Bitchy” features nobody else but legendary alternative sexy model and cage dancer Dani Divine on additional vocals. Coming from London, Dani Devine is a professional model who gained popularity in the alternative modeling scene (fetish, goth, steampunk…). She won amongst others the Ultra Vixen of the Year award.

The new single features an exclusive upbeat remix of the song by the band’s side-project Speed Injektion. Bandcamp fans will also receive the exclusive uncensored video clip that was made for “Witchy Bitchy” by Asako.

Below is the video you get as well via your Bandcamp download.

Since 2003, Nysrok Infernalien and Nightstalker have been delivering aggressive and powerful dark EBM music under the Alien Vampires moniker. They mix harsh distorted vocals with lots of sexuality and industrial dance.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Belgian post-punk band The Ultimate Dreamers have unveiled their unique rendition of “Lovesong,” originally by The Cure. The cover is available for free download now from the band’s Bandcamp page and is part of the Spleen+/Alfa Matrix tribute compilation, “A Strange Play vol.2“, which features various artists paying homage to the iconic British band. The compilation is available for streaming and download on Bandcamp.

A Fresh Spin on a Cult Classic

The Ultimate Dreamers have put their own spin on this beloved track by slowing down its tempo and incorporating TR808 drums. The band’s signature reverb adds a layer of depth, enhancing the song’s already dark atmosphere. This creative approach has led the band members to affectionately refer to their version as “Lovedark.”

A Glimpse into the Band’s Unique Style

The cover serves as an excellent introduction to The Ultimate Dreamers’ melancholic cold wave universe. The band has also released a complementary video clip to accompany the song.

Credits

• Words by: Robert Smith
• Music by: Roger O’Donnell, Robert Smith, Porl Thompson, Lol Tolhurst, and Boris Williams
• Recording, Mixing, and Production: Len Lemeire at Implant-Plant 3.0
• Video: Valentine Blanco

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Maxx Maryan, one half of the popular Italian duo Helalyn Flowers, has just released a new free single called “I Love You” on Bandcamp. He’s releasing it under the name ImJudas, and it’s available through the Belgium-based label Spleen+. This single is a preview of ImJudas’ upcoming album, “Viscerheart.”

The song “I Love You” is a dark pop track that will appeal to fans of ’80s pop-wave and post-punk music. It sets the tone for an album that will focus on dark pop.

ImJudas started in 2016 as an electro-pop project with a dark twist. The music blends elements of electronic dark wave and post-punk. Since then ImJudas released several EPs (“Tulpa”, “Ritual”,”So Untrue”, and the recent one “People Of The Blame”) and one album, the 2CD “Yrjudas”. You can download all releases from the ImJudas Bandcamp page.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Belgian electronic artist Franky Deblomme is set to release Cubic’s new studio album through the Alfa Matrix label. The album will feature elements such as 808 drums, percussions reminiscent of Kraftwerk, and references to 80’s floppy discs and vintage personal computers.

Cubic has now released a 4-track EP titled “c64” via Bandcamp, which draws inspiration from the Commodore 64 computer.

The approach of this EP is like a voyage through the vintage synth world. The opening track “TITT” incorporates elements commonly found in classic electro tracks, such as 808 style drums, a dreiklangsdimensionen snare, percussion sounds, analog basslines, and vocoder voices. Following this, “Offline” features a distorted sound with a pronounced kick and a Novation bass station 2 synth element. “Art In” uses 4/4 kicks, a bassline from Analogue Solutions ‘Fusebox synth’, and a Moog Sub 37 patch for its lead sound, reminiscent of artists like The Hacker and Commuter. The final track, “B C L” (an abbreviation for Basic Computer Language), includes a 90’s style bassline created with the Modor NF-1, probably one of the only synthesizers originating from Belgium, and has similarities to the style of electro artist Anthony Rother.

All tracks have been created using hardware gear only. “Nothing beats the fun of twiddling knobs”, says Franky Deblomme.

You can check the EP out below, it’s immediately available via Bandcamp.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

A few days before the official release of their all new album “Digital Outcast” (available as download on Bandcamp and on CD), German duo Darkness On Demand releases a video for the album track “Reactor 4”. The video uses AI technology to bring back to live a story about a nuclear incident resonating in the lyrics: “I feel like an atomic booster, I feel like a toasted rooster, Don´t wanna stand in fallout rain, Gamma rays inside my brain.”

Here’s the video.

The single follows the duo’s last singles “Hang On” and “Female Grace” and the exclusive EP “Final Way” and is a new teaser for the all new album from the ex-Dance Or Die members. The album will be out this Friday digitally and on CD via the Belgian label Alfa Matrix records.

Darkness On Demand has been active since 2017 and offer a sound where they merge moody melodic electronics with dark vocals and upbeat frontal EBM industrial. “Digital Outcast” will be a what the label describes as “a major call for freedom of art & expression, heavily criticizing autocratic regimes, mass-media manipulations, freedom restrictions and all other excesses of our society reminding us how prophetic dystopian social science fiction novels like “Brave New World” or “1984” were…”

Below are the previous videos.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Every time Side-Line releases a new compilation, I seize the chance to interview Bernard Van Isacker, the chief compiler for Side-Line and our editor-in-chief. This time around, he has curated the comprehensive 88-track “Electronic Bodies” compilation, predominantly focusing on EBM with a hint of New Beat. I must say, I’m perpetually amazed at how he juggles his time. Not only does he supervise Side-Line, but he’s also engaged with Alfa Matrix, holds a full-time role in online marketing with an international firm, and has recently founded the digital marketing agency, Fox DS.

SL: With such a packed schedule, how do you find the time for these compilation projects?

BVI: Honestly, I often ponder how I muster the time and enthusiasm to initiate and oversee projects of this magnitude, given their time-consuming nature. The motivation largely stems from the Side-Line community; I sometimes feel I owe them my time (laughs). I genuinely enjoy these projects; I’m a person who thinks in terms of projects and concepts rather than daily routines. This mindset is evident even in my day job, where I’m known to favour large-scale, impactful projects over short-term tasks. This approach ensures consistency in my endeavours. As I age, I notice this trait becoming more pronounced.

SL: Merely 12 hours post-release, the “Electronic Bodies” compilation has already clinched the top position on the industrial charts. How do you maintain such consistency?

BVI: The credit goes entirely to our audience. Time and again, I observe the active engagement of the Side-Line community. The volume of personal emails from readers is staggering, and I make it a point to respond to each one, even the occasional critiques regarding our editorial decisions. A prime example is our decision to remove ads from Side-Line, a move purely based on reader feedback. In hindsight, it was probably our best decision, eliminating those intrusive Adsense ads that marred our magazine for years.

Returning to your question, we can now engage tens of thousands of fans with a single click. I always strive for transparency in our communication. For instance, if a project gets shelved (which has happened once in the past two decades), I explain the reasons behind the decision. Honest communication is paramount in everything we do at Side-Line. I’m fortunate to run this magazine alongside one of the most principled individuals I know, Stephane Froidcoeur. I highly regard his opinions, and despite our occasional disagreements, we remain an inseparable duo, frequently deliberating on our future direction. This long-term planning is crucial to our operations.

SL: What drove your decision to spotlight EBM and a bit of New Beat?

BVI: The idea dates back a few years. Sven Lauwers, Andy De Decker (Ionic Vision / Metroland), and Franky Deblomme (Cubic, Darkmen) once suggested that Side-Line should explore EBM and New Beat. This concept lingered in my mind, but with the “Electronic Resistance” projects consuming a significant portion of my time over the past 18 months, it took a backseat. However, a recent conversation with Sven reignited this dormant idea. A brief poll on Side-Line’s Facebook page indicated the potential success of this project. While the popularity of our compilations has been on an upward trajectory, I’m acutely aware that success shouldn’t be taken for granted. It’s imperative to consistently deliver value.

SL: On that note, I was surprised to discover the new Ionic Vision track “Deathrow” in the compilation. How did that inclusion come about?

BVI: When I informed Sven about this upcoming project, I inquired if he had any unreleased tracks to contribute. He mentioned their unreleased album and promptly sent over a track. Ionic Vision has been a staple in my EBM mix from the outset, so it’s gratifying to feature this iconic Belgian act in the compilation. Additionally, Andy contributed a track from his project, Him+He, which leans more towards New Beat.

SL: ELM, which kicks off the compilation, is widely regarded as a trailblazer in today’s EBM scene. Would you concur?

BVI: Absolutely. Musically and in terms of production, Peter is top-tier. Had ELM been active in the 80s, he’d undoubtedly be a superstar. I recently discussed ELM during an interview for Canada’s DJ Moose’s The Gothic Moose podcast. Fabrício Viscardi from Aesthetische was also a guest, and we delved into the production quality of various releases. Fabrício (just like Peter), in my opinion, possesses exceptional production skills. Both ELM and Aesthetische consistently deliver top-notch productions.

SL: Not surprisingly that I also see Aesthetische featured on this compilation.

BVI: Indeed. Upon hearing the masters for “Boiling Over (Celsius Version)”, I was convinced it deserved a spot on the compilation. I sought Seba Dolimont’s (Alfa Matrix) opinion, and his response echoed my sentiments. This track epitomises the evolution of EBM in 2023, infusing a contemporary touch while preserving its roots. Coupled with superior production, it’s undeniably a gem.

SL: I’ve observed that only a handful of bands in the compilation are established names in the scene. Are other labels hesitant to collaborate?

BVI: I never pressurise scene labels to contribute. They receive an invitation, and their participation is entirely voluntary. Our compilation series has always been independent of label contributions, although a few labels consistently support our vision and concept. The majority of submissions are from emerging bands eager to expand their audience. Our primary objective remains to nurture and promote new talent. We’re always open to collaborations, and labels willing to contribute are always welcome.

SL: Do you maintain communication with all these numerous bands post-release?

BVI: I consistently encourage bands involved to keep me informed about their subsequent activities once the release is out. Many do, and this way we ensure to track their progress and share updates when there’s noteworthy news. Our approach isn’t just a one-off; it’s only fitting that these bands know they can rely on our continued support.

SL: Was the process of selecting bands for this compilation straightforward?

BVI: The response we receive when we issue a call for submissions is always overwhelming. Sifting through the plethora of material is a weeks-long endeavour. Once I’ve shortlisted the bands, the next step involves securing contracts, which proved challenging this time around due to the sunny weather. Chasing contracts during the summer holiday season is far from ideal, that I knew and know now even more. One contract eluded us, resulting in 88 bands on the compilation instead of the initially announced 89. So, for those fixated on the number 88, the missing 89th slot isn’t our oversight but a consequence of the band’s oversight (laughs).

SL: What inspired your focus on Ukrainian victims of post-traumatic stress disorder (PTSD)?

BVI: I recently came across an article detailing the psychological toll of the war initiated by Russia against Ukraine. The repercussions are devastating, with families torn apart and a surge in divorces and suicides. Many are grappling with PTSD, a condition that arises after experiencing traumatic events. Symptoms disrupt daily life, manifesting as flashbacks, avoidance behaviours, and a host of other issues. If we’re in a position to assist, we should.

SL: Doesn’t immersing yourself in such grim realities depress you?

BVI: While it’s undeniably sombre, it’s essential to recognise our privileged position compared to their plight. Rather than symbolic gestures, I advocate for tangible action. The West should be doing more. The disparity between resources squandered on frivolities and the valiant efforts of the Ukrainian populace defending their homeland infuriates me.

SL: I’ve noticed a decline in the presence of Russian bands in this scene. Have you observed this trend?

BVI: They haven’t vanished; they’ve chosen to either keep a low profile or relocate from Russia. In a few instances, some even openly support the controversial regime led by Putin. For example, Side-Line has a policy not to feature bands that align with Putin’s views. I’m in regular contact with many Russians. A majority express their dismay at the current situation, foreseeing significant repercussions as their nation faces increasing isolation, contrary to what some media outlets suggest. Do you think the BRICS nations appreciate having such an outlier in their midst? A few others I converse with remain reserved, but their sentiments suggest they don’t necessarily disagree with their nation’s actions in Ukraine. It’s disheartening, but I believe in maintaining open communication, hoping they’ll recognize the gravity of the situation. Decades of propaganda have left a profound impact.

The future of Russia’s dark music scene remains uncertain. I hope they recognize the extensive damage their nation has inflicted. With a death toll exceeding 300,000, there’s no room for national pride. The current oppressive environment will likely stifle these bands’ voices, leading me to anticipate a decline in activist lyrics and public positions in their work. This shift should serve as a stark indicator for those still questioning the integrity of their government and its societal constraints.

SL: Why hasn’t Side-Line ventured into establishing a full-fledged label? Given the magazine’s dedicated readership, it seems like a logical progression, doesn’t it? I remember discussing this with you before.

BVI: Yes you did, and my stance hasn’t changed (laughs). Side-Line collaborates with thousands of bands. Focusing on a select few could compromise our credibility. I’m meticulous about ensuring my involvement with Alfa Matrix doesn’t influence Side-Line’s operations. Managing bands under the Side-Line banner would blur these lines further. While I frequently receive proposals to release albums, I remain committed to Side-Line’s vision of being a platform for all bands within our genre. Our audience’s trust and respect are paramount. Their unwavering support is the lifeblood of Side-Line. Without them, there’s no magazine, and consequently, no compilations.

SL: During this project, were there any bands that particularly resonated with you?

BVI: Conditions Extrm and their side-project Balsab, both hailing from Bordeaux, intrigued me with their raw EBM sound. Their music evokes memories of the tape demos Side-Line received in the early 90s. They encapsulate Side-Line’s ethos of amplifying young bands’ voices. Numerous other bands contributed, but these two immediately come to mind due to their interconnectedness, despite submitting their tracks separately.

SL: What’s on the horizon for Side-Line? I’ve heard whispers of a potential Turkish compilation. Can you shed some light on this?

BVI: Those aren’t mere whispers; I’ve alluded to it occasionally. I’m liaising with Turkish partners to assess its feasibility. I often encounter criticism for not featuring bands from the Muslim world in our compilations. While I’m open to the idea, the scene in these countries isn’t as expansive. However, the prospect intrigues me, and I’ve initiated preliminary research. No promises, but the groundwork has begun. For now, enjoy the current compilation, it holds plenty of good stuff!

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

(Photo by Mika Baumeister) Erhan Kurkun, a former member of Praga Khan and guitarist for Lords of Acid, will face trial in a Belgian court in September over a MeToo case. He is accused of sexual assault, rape, and inhumane treatment. Four women have come forward in the case Nancy Swerts of the Leuven prosecutor’s office confirms.

It’s uncertain if Kurkun will play on Lords of Acid’s forthcoming 53 concerts in the USA this autumn.

For years, there have been rumours about Erhan Kurkun’s violent behaviour, often alleged to be due to alcohol and drugs. In late 2020, a former singer from Lords of Acid claimed he had assaulted her. She alleges that Kurkun, with whom she had a brief relationship, had mutilated her. A total of four female victims have come forward. Another woman who joined the lawsuit had previously worked with Kurkun.

Erhan Kurkun was Praga Khan’s primary guitarist. After being released from custody, he played during Praga Khan’s final live show, The End, in Brussels.

A few months back, Deborah Ostrega, former lead singer, spoke on the radio about her time with the band in the late ’90s. She mentioned selecting men from the crowd to join her on stage and possibly be invited to her hotel room afterwards. Ostrega acknowledged the era’s difference, suggesting such actions today might lead to MeToo allegations.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Alfa Matrix, the renowned Belgian label, commemorates its 22nd anniversary with yet another mastodont compilation on Bandcamp. The latest installment in the acclaimed “Matrix Downloaded” series, titled “Matrix+ Downloaded 011”, is now available as a free download on their Bandcamp page. Packed with 60 tracks, including new signings and a preview of the upcoming Spleen+ label releases, this compilation showcases Alfa Matrix’s diverse music repertoire.

“Matrix+ Downloaded 011” soared to the top of the industrial Bandcamp charts within hours of its release, claiming the coveted number 1 position.

The collection holds 60 tracks in total including several new signings. These are the bands present on this brand new free download compilation: Hanging Freud, The Ultimate Dreamers, The Breath Of Life, Psy’Aviah Feat. Sorrow Stories, ImJudas, Star Industry, Halo In Reverse, Lovelorn Dolls, The True Union, Freakangel, Avarice In Audio, Siva Six, Alien Vampires, Synapsyche, Helalyn Flowers, Neuroactive, Elektrostaub Feat. Stefan Netschio, Technoir, Entrzelle, Llumen, Noemi Aurora, Aiboforcen Feat. Jan D., Reichsfeind, Mondträume Feat. N-Frequency, The Psychic Force, Digital Factor, Implant, Darkness On Demand, Aesthetische, Komor Kommando Vs. The True Union, Matthew Creed, C-Lekktor, First Aid Tech, Pouppee Fabrikk, ELM, Die Robo Sapiens, Plastic Noise Experience, Armageddon Dildos, Stahlgeist, AD:keY, Kant Kino, Suicidal Romance, Miseria Ultima, First Aid 4 Souls, Neikka RPM, Circumpolar, Venal Flesh, Helle9, Diffuzion, Acylum, Circuito Cerrado, Aengeldust, Studio-X, 808 Dot Pop, Cubic, Metroland, Rector Scanner, Elektroklänge, Cosmic Armchair, Lights A.M.

You can download “Matrix+ Downloaded 011” for free via Bandcamp.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Nine years after the release of their first tribute to The Cure, titled “A Strange Play – Tribute to The Cure“, Alfa Matrix and Spleen+ have joined forces to create a follow-up tribute album. The second volume in the series, “A Strange Play (Vol. 2) – Tribute to The Cure“, features 27 tracks, including electro, synth pop, EBM acts from Alfa Matrix and cold wave, post-punk, and gothic rock bands from their Spleen+ division and is out now via Bandcamp, the label’s webstore and all other platforms.

The album includes reinterpretations of classic hits and lesser-known B-sides, shedding new light on the original tracks or giving them an entirely different sonic perspective. The tribute album itself this time is a collaborative effort between both established and emerging artists from the Alfa Matrix and Spleen+ rosters.

Compiled by and for The Cure fans, this new tribute adventure brings together a growing roster of Spleen+ artists, including Noemi Aurora, Star Industry, Imjudas, The Ultimate Dreamers, The Breath of Life, and Lovelorn Dolls. Additionally, the album features synth and electro cult acts, as well as upcoming Alfa Matrix artists, such as Neuroactive, Armageddon Dildos, Implant, Darkness on Demand (formerly Dance or Die), Helle9 (an Alien Vampires side-project), Metroland, Aesthetische featuring Zombie Girl, Aiboforcen, Technoir, Kant Kino, Digital Factor, Regenerator, Lights A.M (an Essence of Mind solo project), Neikka RPM, First Aid 4 Souls, Diffuzion, Avarice in Audio, Elektroklänge, Circumpolar, and Cosmic Armchair.

In conjunction with the release of “A Strange Play (Vol. 2),” goth-metal/darkwave act Lovelorn Dolls has released a single and accompanying video clip for their cover of “Lullaby.” The music video, created entirely using artificial intelligence, tells the story of a girl pursued by a mysterious, threatening, yet alluring man. The video’s creator, Kristell, was inspired by her own childhood experience of being both fascinated and frightened by The Cure’s original “Lullaby” music video.

Here’s the track list for the new volume which is available now on 2CD via the Alfa Matrix webstore and as download via the Alfa Matrix Bandcamp page and the Spleen+ Bandcamp page.

Here’s the first volume.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

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Italian vocalist, songwriter, and music producer Noemi Aurora, who is also the co-creator of the Italian electro-metal rock duo Helalyn Flowers, has released her debut solo single on the brand new Belgian post-punk / minimal electro label Spleen+. The single is available now for free download via her Bandcamp page.

“Shining” is born out of moments of isolation during the lockdown, “during which I channelled the trauma of inner seclusion into illuminating emotional surges” so she says. The track is an infectious minimal pop song with a hint of cold wave darkness.

This is the inaugural song heralding an incredibly diverse “Kintsugi” solo album, where listeners can anticipate energetic percussion, dark synth ambiances, dance-inducing electronics, and Noemi’s vocal prowess.

She characterizes her new creation as “a cyclical amalgamation of musical influences that originated from my teenage years, as I roamed the countryside with my trusty cassette walkman, unafraid of being labelled the ‘peculiar’ gothic girl, donning my headphones and immersing myself in my 80s/90s mixtapes which ranged from the most obscure darkwave bands, through rock/alternative, indie electronica, to even the most intense metal. My project sprouted from these roots and has grown and evolved to the present day…”.

The single is available for free download on her Bandcamp page. Highly recommended!

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The Breath of Life was formed in 1985 and the band immediately stood out thanks to a creative originality, as a result they are the best known cold wave gothic rock band from Belgium. The band has now signed to the brand new post-punk label Spleen+ (division of Alfa Matrix) where they will be releasing their 11th album.

A first excerpt in the format of a 3-track EP is out now via Bandcamp (and all other platforms): “Down We Go”. The EP evokes good old ethereal moments from the 4AD cult years merged with their classic darkwave roots. Also added to this 3-track release is the band’s take on The Cure’s “The Lovecats” which got turned into a much darker version. As 3rd track you get a more electronic song which is their very own reinterpretation of Implant’s “The Last Record” featuring Len Lemeire himself on backing vocals.

Anno 2023, The Breath Of Life are Isabelle Dekeyser (vocals), Philippe Mauroy (guitar, drums programming), Giovanni Bortolin (violin, keyboards), Didier Czepczyk (bass).

Below is the video for “The Lovecats”.

About The Breath Of Life

The group was formed in 1985 in Gembloux when Isabelle Dekeyser (vocals), Philippe Mauroy (guitar), and Benoît Sokay (bass) first met. In 1990, with the addition of Giovanni Bortolin (keyboards & violin – formerly of Jo Lemaire + Flouze) and the decision to incorporate a drum machine, the group independently produced a 10-track cassette. In 1991, the band embarked on a tour in Czechoslovakia, followed by another tour the following year, which is reflected in their debut CD “Live in Praha 92”.

That same year, they released their first studio album “Painful Insanity,” recorded by Gilles Martin, a renowned producer of Coldwave (Minimal Compact, Tuxedomoon, Anna Domino, Colin Newman, Malaria, The Names, Indochine). 1993 marked their breakthrough with the release of “Taste of Sorrow,” also produced by Martin, featuring the title track “Nasty Cloud,” which became a gothic classic.

In 1995, the band released “Lost Children,” showcasing a more ethereal wave style. They subsequently signed with Hall of Sermon for their next album, “Sweet Party,” which came out in 1997 and marked a shift towards a more pop and electronic sound. In 2000, they released “Silver Drops,” once again with Martin at the mixing desk. The album combined melancholic pop with elements of trip hop. Shortly after, Mauroy departed the band, and Didier Czepczyk took over on guitars.

With the albums “Everlasting Souls” (2005) and “Whispering Fields” (2012), the band returned to their gothic roots and introduced a real drummer, Marc Haerden. Benoît Sokay, the bassist since the band’s inception, left in 2014, and in January 2015, Philippe Mauroy rejoined the band, almost 15 years after his departure.

In May 2017, the album “Under The Falling Stars” was released, marking the return of Gilles Martin as the producer. In 2020, amidst the COVID-19 pandemic and while Belgium was still under lockdown, the band decided to record their 10th album. Each member recorded their respective parts at home and shared the files using WeTransfer. However, when COVID-19 restrictions allowed, two band members traveled to France and met with Gilles Martin for the final mixing process. The resulting album, titled “Spark Around Us,” was released in November 2020.

During the lockdown in Belgium, the band recorded three cover songs: “Winning” by The Sound, “Ashes To Ashes” by David Bowie, and “Inner Station” by Minimal Compact. These covers were exclusively released on Bandcamp. In 2022, they were approached by the Belgian record label Alfa Matrix for various compilation projects. The band was asked to cover a song from the Belgian electro project Implant, a song from the electro-pop band Psy’Aviah, and a song from the Italian project Imjudas.

As one thing led to another, the band was soon approached to join Alfa Matrix’s post-punk sublabel, Spleen+.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Swedish electronic act ELM follows up the success of its very well received 2022 album “Penetrator” with a new limited-edition release on black vinyl, titled “Penetrator – Fulmen Adveho!” Limited to just 300 units worldwide, the album is now available via the Belgian label Alfa Matrix on vinyl and as download via Bandcamp plus of course all other streaming services and platforms.

The “Penetrator – Fulmen Adveho!” release takes the original versions of songs from the “Penetrator” album and reimagines them with fresh energy. Some tracks have undergone only minor edits to adapt them for the dance floor and the vinyl format, while others have experienced more significant transformations. The result is a very powerful showcase of Electronic Body Music (EBM) at its finest, drawing comparisons to classic acts such as Nitzer Ebb, Front 242, and Pouppée Fabrikk.

You can expect intense basslines, forceful rhythms, and piercing vocals and lyrics.

The album is also available via Bandcamp as a download. Below is an idea what to expect.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

The Belgian electronica pop ensemble, 808 DOT POP, makes a return with a double EP following the well-received launch of their companion CD albums “FM88.2” and “AM1350” (plus “MW720” available on digital platforms) under the Belgian electro label, Alfa Matrix.

Now available, initially via the Alfa Matrix Bandcamp page, are two fresh EPs, “FM96.9” and “AM1040”, both emphasising the second single “Distant Voices”.

Vocal duties are handled by Lis van den Akker, who is featured on the leading song, which gets reimagined in an Erasure-esque style.

Alongside a revised version of the album track “Modulation”, there are two exclusive titles – one being “FM/AM” and the all-new track “The Boys Of Wireless”, influenced by Frank Webster’s 1912 book. There are also two new extended versions, one of “Distant Voices” and one of “Modulation”, as well as a club mix by Belgian artist Sequence 5.

A video for “Distant Voices (on the radio)” has also been launched.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com