Few bands have achieved such a rapid development and enduring status in the Electronic music scene as Mesh. Founded in Bristol in 1991 by Mark Hockings and Richard Silverthorn, the British band evolved from a synth-driven group into an act with a highly distinctive blend of Electro-Pop, dark synth textures, subtle Rock influences, and deeply personal lyrics. From their earliest records, their music generated immense enthusiasm, which only continued to grow over the years. Their list of hits is almost too long to recount, and every new album generated a buzz. Following Neil Taylor’s departure in 2007, Mesh continued as the creative duo of Hockings and Silverthorn. Although a long period passed without a new studio album after the release of “Looking Skyward” (2016), Mesh never truly fell off the radar, largely because they continued to perform live. Eventually, the duo returned to the studio to begin writing new music. Their new album, “The Truth Doesn’t Matter (The Complete Truth)”, released on Dependent, marks Mesh’s ninth studio album. Despite the long hiatus, the band’s musical identity—or, indeed, its DNA—has remained completely intact. It is a strong record that stays true to the group’s distinctive sound and finest traditions. This interview took place during their current tour, which has also seen the band’s live lineup evolve. Mark and Richard are now joined on stage by drummer Sean Suleman and keyboardist Vaughn George. I reached out to Mark Hockings to look back briefly on 35 years of Mesh and, of course, to discuss the band’s current album and the road ahead. (Courtesy by Inferno Sound Diaries)

Mesh on 35 years and the decade after ‘Looking Skyward’

Q: This year, you celebrate Mesh’s 35th anniversary, and your debut album “In This Place Forever” was released exactly 30 years ago. Which memories and absolute highlights immediately come to mind?

Mark: It only seems like yesterday we started out, yet it really was a lifetime ago. I suppose our first album/EP “Fragile” getting made, our first shows in Bristol, our first shows in Sweden, our first shows in Germany, our first record signing to Memento Materia, our first big festivals, giving up work when we got signed to Orbit/Home Records, going on tour on a real tour bus, touring in the USA, every new album we ever released, every live show we ever played. As you can tell, we love it all. It’s been just one long adventure and we are still making memories.

Q: Moving forward in time for a moment: it has been 10 years since you released a new studio album following “Looking Skyward”. That’s something we weren’t used to from you—how do you explain that gap, and when did you begin working on the new album?

Mark: I think we just needed a bit of a break from writing and the whole album release cycle. It really is quite a commitment once you say ‘yes’ to a new album. It’s a lot of work and you have to be prepared to launch into it 100%. We did spend that time doing some writing, but we mostly played shows like the “Retrospective” tour and “The Point At Which It Falls Apart” re-release tour. We don’t consider any of this ‘lost’ time and was very valuable in further building up our following. We were able to come back to writing full of energy and fresh ideas. I think ultimately our releases this year will make up for the 10 years of waiting.

‘The Truth Doesn’t Matter’ and its post-truth title

Q: What formed the foundation of the ideas and influences behind “The Truth Doesn’t Matter – The Complete Truth”?

Mark: It has not been difficult to find inspiration for this record. The rate of change of social and political norms has been unprecedented. We are in the middle of a huge technological shift that will forever change the way we work and communicate. The way that we all filter and process these changes will be key to how the World will look in the next few years. “The Truth Doesn’t Matter” is in parts a damning commentary on the World, but also offers hope for the future. If we can develop our skeptical skills and bring back some empathy then and we might just be OK. We are going through a huge learning period and I think we might just turn it all around. The mostly bland and disappointing use of all this new technology will hopefully give way to spectacular and life changing uses that will change all of our lives for the better.

Q: With the album title, you seem to refer to so-called ‘post-truth’ realities. To what extent is this record an expression of criticism, or perhaps resignation—even acceptance—of that condition? And if truth no longer matters, what remains as a moral or emotional compass for humanity, and for artists who are, after all, only human?

Mark: The title is more cynical than a statement of what I truly believe. It’s more of commentary on the ‘I believe this is true, and here are others that agree with me’ echo chamber type mentality that seems so have become gradually worse over time. The internet feeds such things of course. Ultimately the title suggests that you can actually spend your life mis-informed of basic truths and there is a high chance that your life will not be any worse for it because you will be in the company of the like-minded.

On the face of it you could say that those people don’t matter and what is the harm in letting then be. But I’m not sure that these people are harmless. The danger comes when people try to re-write important social history or reverse the progress of technology, political leadership, social care, awareness and tolerance. So actually the truth does matter. It matters a lot.

The personal songs on ‘The Truth Doesn’t Matter’

Q: Perhaps I’m misinterpreting certain titles, but songs like “I Lost A Friend Today” and “Trying To Save You” suggest more personal themes or experiences. What do these tracks convey exactly, and do they carry a deeper or more emotional significance for you?

Mark: Yes, there are still personal songs on the album. “I Lost A Friend Today” is particularly personal. There needs to be room left for those intimate spaces on our albums I think. We rarely write an album completely based on a theme, but rather the theme exposes itself when the work is complete. We feel that the political, the emotional, the light and the dark can easily coexist on a single record and yet still present as a coherent piece. That coherence is as much to do with the construction of the music as the lyrics.

Q: Despite the melodic and danceable nature of your music, there has always been a darker, melancholic undercurrent. I find it fascinating how these elements coexist—people dancing intensely to songs that deal with serious themes. How do you view that contrast?

Mark: I think we’ve always tried focus on the emotional side of all of our tracks. Yet is important to us to create energy if it helps to push that emotion to the fore. It can seem like a dichotomy when analysed in this way, but to us it has always made perfect sense to us. There are quiet emotions and there are loud emotions. There are sad emotions and there are angry emotions. It’s a spectrum that requires a different musical backdrop every time.

Mark Hockings on art funding, streaming and the album format

Q: In a world that often seems to be deteriorating, Art—including music—serves as an outlet and a source of hope. At the same time, we see increasingly conservative governments and world leaders cutting funding for the Arts. How do you interpret this contradiction, and how do you see the role of Art and music evolving?

Mark: It may be true that the funding of publicly funded art is generally being cut all over the World, however it feels like there is more creativity out there than there has ever been. People are able to make great music, film and art with the cheapest of tools. They have free platforms that give them an outlet for that art. I think you just have to go and find it. Gone are the days when a small number of intellectuals influence the way our culture moves. There are very few blockers in your way if you want to make art in some form. Most people are not out to make money, or become famous doing this. It just makes them happy. I think this is a really great thing. We just have to re-adjust the way we discover art and music. It just requires a little more effort possibly. But isn’t that part of the fun?

Q: At a time when everything is accelerating and constantly evolving, I sometimes wonder what purpose an album still serves. With streaming platforms and algorithm-driven playlists and social media dominating how people listen to music, does releasing an album become a form of resistance—a deliberate ‘no’ to that evolution?

Mark: We still think it’s important to give people a coherent piece of work. To take an idea and run with it. We still like the format of the physical album, the journey, the depth, the story, the artwork. The album set a theme like a film or a book. The songs are the scenes or the chapters. Hopefully the album tells a story and the listener is left with an experience or a memory when they listen to it a whole. We understand that things are moving possibly in a different direction, but I don’t think this a denial thing, like being resistant to new technology or delivery platforms. I believe that people are genuinely missing out on the album format as a way of consuming music, and I think that streaming services could do more to make music more of an experience.

How Mesh wrote and recorded the new album

Q: As mentioned earlier, it has been 10 years since your previous studio album. Has your way of collaborating changed during that time? And how have studio practices or production tools evolved for you—especially with the rise of technologies like AI?

Mark: Collaboration tools have improved certainly. Our main program Cubase has a remote client that we use when working with our mix engineer Olaf in Germany. This is partially made possible due to faster network connections available now. A lot of retro gear is cheaper and more available due to companies like Behringer. Controversial possibly, but they have made expensive classic synths affordable to a lot of people. A.I has certainly made mastering tools a lot easier to use for final productions, but we tend to still rely on the skills of people like Olaf to deal with that still. Tools like Suno AI, particularly Suno studio might have their place in bringing ideas to the table, but those platforms are still a little predicable in their results. Ultimately I suspect we will use such things to generate sounds and loops not unlike using sample packs or services like splice. I don’t see anything wrong with any of this stuff really. Ultimately the artist is the filter for ideas and where those ideas come from is largely irrelevant. Exciting times though.

Q: The album features several short interludes. What role do they play within the broader context of the record? And could you also tell us more about the album’s Deluxe Edition?

Mark: The interludes we call “Particles” and are used to add a bit of colour to the record or to change moods in the flow. When you take the confines of the lyrics out of the equation then you can be a little more free in the way you manage the structure of those pieces. We are able to try a few sound design experiments that would be difficult if words were involved. So they are just little mood changing experiments that are fun to write.

The deluxe edition contains a few tracks that we either couldn’t fit on the physical CD/vinyl or we didn’t think necessarily fitted on the album quite as well as the final track list. That is subjective obviously, but we spend a long time considering such things. That said, I love the additional tracks on the extended version.

Q: Is there a particular stereotypical modus operandi when it comes to creating a song or an album, or how does that process actually work—more specifically for the new album?

Mark: Not really. We just swap ideas and see what happens. The difficult part is just getting started. We need a couple of good songs finished before the ball really starts to roll. Generally Rich will give me some music and I’ll write a song around that, or I’ll make a demo and Rich will work on it. But the process varies. We get together to work on final vocals, final mixes, final arrangements etc. It’s much more collaborative towards the end of the process than at the start. We tend to need to get together a nucleus of tracks and then step back and see a) where is this going? And b) what are we missing? But tracks sometimes just appear out of nowhere – like “Exile” for example. This was written after we’d mixed the final album and was added at the very last minute. Happy accidents or hard work? Difficult to be sure.

Touring ‘The Truth Doesn’t Matter’ in 2026

Q: At the time of this interview, you’ve already played a lot of live shows, and the tour is still ongoing. What have been the highlights so far? What do you enjoy most about touring and performing in different countries, at different festivals, and in a variety of venues?

Mark: The highlights have been the people and the enthusiasm and love they have shown us. It’s been quite humbling. Can never get used to it. We pushed ourselves to make this tour a really special production and I think we surpassed our expectations on how the show looked and sounded. Touring is just fun. We love the whole process to be honest. The shows, the fans, the travelling in the tour bus, the friendship and the shared experience. Every venue is different, every crowd is different. Festivals can be fun, but a very different thing as the audience is not necessarily there to see you. Its a different challenge, but just as rewarding off you get it right.

Q: I’ve always wondered how a band prepares for a tour like this. What’s involved in getting everything ready? Could you also tell us a bit about the crew that travels with you? And when you’re not on stage, how do you spend your time on the road, and what do you do to stay in good shape throughout the tour?

Mark: There are months of preparation involved in a tour like this. The music has to be completely reprogrammed for live, hardware and software has to be prepared/written especially for the tour. Video plays a big role in our stage show and this also takes months to author and sync to the live sequencing. So essentially we are straight out of the studio from the album, then straight back into it again. There are a huge amount of logistics involved around video, lighting, merch, crew, travel, support bands etc. it’s a huge undertaking.

We have the best crew and many of them we have worked with for many, many years. I think there were 14 of us on the bus for this tour.

Touring seems to be a lot of hanging about interspersed with intense periods of activity. But the time passes too fast. It’s a lot of fun. We all keep reasonably fit. Myself and Rich do a lot of cycling. Sean does a lot of gym work. You can’t do. Much once you are actually on tour, so the prep is important.

About Mesh

Mesh formed in Bristol in 1991 around Mark Hockings and Richard Silverthorn, later joined by Neil Taylor. The mini-album “Fragile” appeared in 1994, and the debut album “In This Place Forever” followed in 1996 on the Swedish label Memento Materia, which also issued “The Point At Which It Falls Apart” in 1999. “Who Watches Over Me?” came out in 2002 through Home Records, and “We Collide” in 2006 on Königskinder Schallplatten. Taylor left in 2007 and the band has worked as a duo since.

Dependent Records has carried every Mesh studio album since “A Perfect Solution” in 2009, followed by “Automation>>Baby” in 2013 and “Looking Skyward” in 2016; Metropolis Records handled several of those records in the United States. In September 2024 the duo issued a 25th anniversary reissue of “The Point at Which It Falls Apart”. Hockings also records as Blackcarburning, which released the MCD “Divide Us” in 2022 and the debut album “Watching Sleepers” in June 2023.

“The Truth Doesn’t Matter” was released on 27 March 2026 through Dependent Records and runs sixteen tracks. It was trailed by three video singles: “Exile” in January 2026, “Hey Stranger” in February and “This World” in March. A box set titled “The Complete Truth” pairs the album on double vinyl with a bonus LP of additional tracks and alternate versions, two CDs, an artbook edition, postcards, a poster and a hand-numbered signed certificate, limited to 500 copies. The “The Truth Doesn’t Matter” tour opened after the release, with Hockings and Silverthorn joined on stage by drummer Sean Suleman and keyboardist Vaughn George.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

The German duo Arnte and Schmoun—formerly active together as Nordschlacht and Ugh, but having operated as Pyrroline for years—are releasing their fifth album, “Ambiguity”. The work appears inspired by the world we live in and, above all, by the impact of various events on the human psyche.

Musically, this translates into 12 tracks that immediately reveal the signature Pyrroline sound. The group remains closely linked to the musical legacy of early Skinny Puppy. Hovering somewhere between sophisticated EBM and atmospheric Dark-Electro, this new opus once again succeeds in captivating the listener. A dark, frenzied atmosphere is established, underpinned by complex percussion. At times, the mood is somewhat tormented, yet that is precisely the strength of certain tracks. The polished production features a wealth of sounds and subtle effects, layered with ghostly vocals. Here and there, female vocals appear, adding a touch of cold sensuality. One of the tracks also features a collaboration with TC75.

“Ambiguity” may not be the band’s strongest album—their previous release, “Struggling”, was a masterpiece, after all—but it remains a powerful record from a group that, in my opinion, continues to be somewhat underrated. (Rating:8).

Side-Line reported on the album when Pyrroline announced “Ambiguity” in June 2026. The label lists twelve tracks and issued the record as a Digipak CD and digitally.

Listen to “Eventually”:

About Pyrroline

Pyrroline is a German electro-industrial and old-school EBM project built around Arnte on vocals and Schmoun on synths and chants. Discogs lists the duo as a dark electro group based in Germany. The project records for Electro Aggression Records, the label founded in 2011 that concentrates on old-school EBM and electronic body music.

The recorded run starts with “Behind The Horizon” in 2010 and “Ruins Outlast” in 2013. Side-Line reviewed the CD album “In The Dawn Of Freedom” in September 2017 and the double CD “Struggling” in May 2021. The single “Relentless” followed in 2023 and a remix collection in 2024.

“Ambiguity” runs twelve tracks and shipped on 17 July 2026. Tino Claus of TC75 contributes guest vocals to “Relentless”, and the duo wrote, produced and performed the album themselves. The label released the video for “Day 45”, the ninth track, on 25 August 2026.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

It took no less than nine years for the new opus from Swiss band Sleepwalk to arrive. Founder Bruno Rush, assisted by Andreas Lehmann, has prepared 15 new tracks for “Dystopia”. An additional disc featuring no fewer than 17 is also available.

To say the wait was long is an understatement, but it was certainly worth it. The result, “Dystopia”, is truly impressive. Sleepwalk’s compositions straddle the line between EBM and Dark-Electro. The songwriting is highly sophisticated, backed by an impressive sonic arsenal. The atmosphere is dark and the rhythms are danceable, while the tracks manage to be complex yet accessible. On the standout tracks—and there are quite a few—you can hear influences from the early Canadian EBM school; I am thinking specifically of the genius of Skinny Puppy. The opening tracks, in particular, absolutely blew me away and, in my opinion, rank among the best material Sleepwalk has ever produced. Given that the band has been active since 1992 and has a substantial back catalogue, the long wait has truly paid off. Sleepwalk hasn’t reinvented itself; rather, they seem to have taken a step back to reflect on their future direction. Lehmann’s haunting vocals fit the album’s atmosphere and genre perfectly. Towards the end, a few more magnificent tracks emerge, evoking the sound of Front Line Assembly.

And then, of course, there’s the bonus disc, featuring 14 bands, each contributing a cover of a Sleepwalk song, plus three remixes by three different bands. It’s quite unusual to see so many bands featured with covers rather than remixes, and the least I can say is that it’s a very original idea—and it works. There’s also a fine lineup of artists assembled here, including labelmates such as Pyroline, Trilogy, T.A.N.K., Serpents, and Synaptic Defect, as well as EBM scene veterans such as Plastic Noise Experience, Brain Leisure, Individual Totem, R010R, Pantser Fabriek, To Avoid, and others. I have to say, there are some brilliant songs to be heard. Plastic Noise Experience does a fantastic job on “Afterlife,” and I should also mention Individual Totem, Synaptic Defect, and Nine Seconds.

“Dystopia” is an album with a strong nostalgic streak, yet one that has been successfully translated into a powerful, contemporary sound: tormented EBM featuring some highly danceable tracks. Sleepwalk is back, and the world is going to know it.

Side-Line announced the release in April 2026 in Sleepwalk return with ‘Dystopia’ 2CD on Electro Aggression Records, which listed the 2CD and digital editions and the full remix roster of the bonus disc “Interpretations”. (Rating:8½).

Listen to “Devil In Disguise”:

About Sleepwalk

Sleepwalk are a dark electro and EBM act from Bern, Switzerland. The project was founded in 1992 by Oliver Spring and Bruno Ruch, Andreas Lehmann, and Charly of tEaR!doWn.

The group started releasing material in the early 1990s, including “Immortal Disease” from 1994, the first album “Door To Insomnia…” in 1995 on Khazad-Dûm, “Black Diagnose” in 1999, “Torture Chamber” in 2002, “Retrospect 94-96 (The Early Years)” in 2003, and “Rapid Eye Movement” on Scanner in March 2004.

By the mid-2000s the lineup had shifted. Oliver Spring left the band in 2005. The band later released the EP “Revenge Of The Lost” in 2011 and the concept album “Nibiru” in 2012, both on Scanner.

Sleepwalk joined Electro Aggression Records to release “Tempus Vincit Omnia” on January 3, 2018. The band said they wanted to move back toward more classic dark electro with EBM influence after “Nibiru”. The Bandcamp-only digital set “Remakes”, issued on April 11, 2026, revisited older Sleepwalk tracks ahead of “Dystopia”, the 2CD set reviewed here.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Reinhard Hüber brought T.A.N.K. to life in 2001 as a solo project, later joined by additional members for live performances. After more than 20 years, this is only the third album from the German EBM project. Several years have elapsed between releases, making each album feel somewhat like a new beginning, although I don’t think the EBM audience ever truly forgot T.A.N.K. “Broken Mirror” is the first album in nine years and also the project’s first release on Electro Aggression Records. It features 13 tracks plus five remixes and even a cover version.

T.A.N.K. stands for vintage EBM—tracks that drive straight ahead. Typical heavy EBM basslines are paired with dark string arrangements, all set to a danceable rhythm. Here and there, a brief respite appears in the form of a slower tempo, where the EBM takes on a more atmospheric quality. Perhaps slightly atypical is Hüber’s harder, deep, distorted vocal style. While this is more common in Dark Electro productions, it works perfectly here. Among the tracks, I have a particular soft spot for “Zombie March” and its hilarious lyrics. After all, EBM rarely features profound lyrics—and that’s not something I personally expect from the genre anyway! Remixes were provided by Pyrroline, Sleepwalk, Serpents, Synaptic Defect, and Trilogy. The intelligent remix by Pyrroline, in particular, is an absolute treat for the ears. Finally, we get a somewhat surprising cover of R010R’s “Bloodsucker,” recast in a dark EBM mould.

T.A.N.K. strikes back again with a solid, old-school EBM record that has been well crafted. Perhaps it could have been a bit harder overall for my taste, but otherwise, I have no complaints. (Rating:7½).

Side-Line reported the announcement in April 2026, when Electro Aggression Records set “Broken Mirror” for release on May 30.

Listen to “Zombie March”:

About T.A.N.K.

Reinhard Hüber, who came out of the 1990s German punk scene, launched T.A.N.K. in Dessau in 2001. The name stands for “Taktischer Angriff (auf’s) Nervenkostüm”. The first live appearance took place at the first Electric Tremor Festival in Dessau on 22 March 2002.

The self-released “T.A.N.K.” EP landed in 2002, followed by the debut album “Musica Denaturale” on Ars Electrique in 2003. In 2011 the project contributed “Game of Men” to the 4CD set “Old School Electrology Volume One”. The second full-length, “Return”, came out in 2017 on Electric Tremor Dessau.

Hüber also turned up in the Electro Aggression Records orbit through remix work connected to R010R and Synaptic Defect. “Broken Mirror” is the project’s third album and holds 19 tracks.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Cedric Wattergniaux has been active under the alias Kilmarth for several years now. With “Au Bord Des Ténèbres”, he returns with his third album, self-released this time and also available as a limited-edition vinyl release. The eight tracks draw inspiration from artist Pierre Soulages’ concept of ‘Outrenoir’. Kilmarth adapts this concept to the human experience, exploring the idea that black is never the final destination.

Naturally, the music is the main focus here, and in this regard, Wattergniaux seems—for the first time—to have found a truly consistent musical direction. Gone are the guest vocalists, Jazzy influences, and Latin American experiments. Instead, the entire album is built around Experimental-Electro, Glitch, and occasional Cinematic influences. Some might not consider this the most accessible music, yet Kilmarth surprises the listener with cold soundscapes that are sometimes underpinned by a melodic touch, but are primarily defined by an overwhelming array of sound manipulations and effects, creating a truly grim atmosphere. Occasional spoken-word samples add genuine value to the mix. Another significant improvement can be heard in the mixing and overall production, areas in which Kilmarth has made great strides.

In short, this album was a pleasant surprise. It demonstrates real potential and paves the way for even greater things to come. Kilmarth seems ready to take the next step and is sure to appeal to fans of labels such as Ant-Zen. (Rating:8).

The album was preceded by the three-track single “Avant de céder…”, covered in Kilmarth releases three-track single ‘Avant de céder…’ as prelude to upcoming album, and Wattergniaux discussed the Soulages concept behind the record in Kilmarth interview: the light inside Pierre Soulages’ black on ‘Au bord des Ténèbres…’.

Listen to “Outrenoir”:

About Kilmarth

Kilmarth is the solo project of Belgian musician Cedric Wattergniaux, working in IDM, glitch and post-industrial ambient. Side-Line first covered the project in 2018 with the ‘Click Interview’ with Kilmarth: ‘Music Is A Legal Drug That Has The Immense Power To Make Us Escape’, published on 19 August 2018, and reviewed the CD mini-album “Catharsis” the same year.

The EP Kilmarth – Derrière Le Miroir (EP – Kilmarth) followed in 2021, together with a video for “M-Fia41”. The two-track single “Baryum” arrived in January 2022 and the mini-album Kilmarth – Better Days (EP – Kilmarth) in 2023, the first Kilmarth release with a guest singer. The debut full-length Kilmarth – Sociological Veranda (Album – Kilmarth) was released in January 2024, preceded by the glitch single “Vergessen”, and the IDM EP “My Son of The Moon” followed in November 2024. In January 2025 Wattergniaux teamed up with D-Fried for the album “Micrometeoritic Flowerpot”.

The concept album Kilmarth – Cherophobia (Digital Album – Adventurous Music), built around the fear of happiness, was issued in January 2026 through the Adventurous Music digital series. “Au Bord Des Ténèbres…” was released on 6 June 2026 on Bandcamp and holds eight tracks, opening with “Le seuil” and closing with “Outrenoir”. It is the first Kilmarth album pressed on vinyl.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

The American duo Magic Wands—comprising Dexy Valentine (guitar, keyboards, vocals) and Chris Valentine (guitar, vocals)—have already released several notable albums and returned this spring with this six-track EP. It features three new songs alongside three familiar tracks presented in a fresh guise.

Magic Wands remain true to their musical identity, carefully blending Dream-Pop with a touch of Shoegaze. The guitar remains the musical highlight, creating a distinctive, dreamy atmosphere while adding a certain zest to the songs. Synths introduce an extra melodic—and at times melancholic—touch to the overall sound. Add to this the dry snare drums reminiscent of the golden era of the 80s and Dexy’s lovely, ethereal vocals, and the result is simply superb. I was particularly impressed by the first two tracks, both of which are new material. The opening track hints at Dark-Wave, yet that dark, dreamy quality remains the band’s trademark. The familiar tracks include the former single “Sacred Mirrors” (featuring Psychedelic Furs guitarist John Ashton), a remastered version of “Wishing Well,” and a remix of “Golden” (originally from their previous album). While these are all good songs, they fall just a notch below the two opening tracks, with “Starline” standing out as my absolute favorite.

Magic Wands continue to do what they do best: cool Dream-Pop. (Rating:7½).

Listen to “Starline”:

About Magic Wands

Magic Wands is a dream pop duo from Los Angeles, California, formed by Dexy Valentine (guitar, keyboards, vocals) and Chris Valentine (guitar, vocals). The project started in 2007 with the single “Teenage Love”.

The debut album “Aloha Moon” appeared in 2011, followed by “Jupiter” in 2015, the “Lazer Bitch” 7-inch on Cleopatra in 2016, “Abrakadabra” in 2018 and the self-released “Illuminate” in 2020.

The duo moved to Metropolis Records, which issued the singles “Joy” and “Time” and the album “Switch” in 2023, followed by the remix album “Switched”. “Hide” and “Armour” came in 2024, and “Across The Water”, “Time To Dream” and the LP “Cascades” in 2025. “Wishing Well” is the duo’s six-track EP for the label.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

End-Tek is a side project of ‘Mortum’, better known for his work under the Human Vault moniker. Under the End-Tek name, he has released several albums, including “Mortal Sequence”, which originally appeared in 2020 as a limited cassette release through No Labels Interested. Due to its limited availability, the album remained largely unknown to a wider audience, but it is now receiving a well-deserved second life thanks to Aliens Production.

“Mortal Sequence” sounds like Electro music crafted in a synth laboratory. Musically, it is a collection—and, above all, a fusion—of diverse influences, ranging from Industrial and Cinematic sounds to Experimental music and IDM, while remaining firmly rooted in Electro. Despite this broad range of influences, the album feels remarkably cohesive. The compositions are characterized by powerful sounds, extensive manipulation, various effects and, above all, a dark atmosphere. The tracks are primarily instrumental, perfectly complementing the mood and overall style of the album. The record contains some brilliant tracks waiting to be discovered. I particularly recommend the second half, which reveals some incredibly intelligent compositions. Traces of a Mortal Constraint influence can also be detected here and there.

It would have been a shame for this album to fade into obscurity. Moreover, this release offers an excellent opportunity to (re)discover End-Tek. (Rating:7½).

Aliens Production issued the digital edition on May 12, 2026. It holds nine tracks, opening with “Re-Arranging Happiness” and closing with a second version of that title.

Listen to “Dead Kultur”:

About End-Tek

End-Tek is the side project of the producer known as Mortum, who also records as Human Vault. The label states that the End-Tek name has been in use since 2005. A first studio album followed in 2008, after which the project stayed inactive for several years, and a second album appeared in 2016.

“Mortal Sequence” was completed in 2019 and reached only a short-run cassette edition, which sold out; the audio was not made available digitally at the time. Aliens Production describes the recording as built roughly 80 percent on hardware rather than modern DAW processing. The Slovakian label also issued the End-Tek EP “Two Poles” in 2023.

Under the Human Vault name, Mortum has worked with the same label on the remix album “Carnal Motives” and the album “Fragment Existence”. He discussed his approach to writing in a Click Interview with Human Vault. The 2026 digital edition of “Mortal Sequence” now makes the third End-Tek album available outside its original cassette run.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

The Greek duo Incirrina, George Katsanos and Irini Tiniakou, formed in Athens in late 2017. On May 29, 2026 they released their third album, “Trace”, through the German label Cold Transmission Music on vinyl, CD, limited cassette and digital. Across three albums the pair have moved from darkwave towards minimal and electro-wave, built on analogue synthesizers, drum machines and Tiniakou’s vocals. I spoke to both of them about the record, the poet who writes their lyrics and what a two-person setup can carry onstage. (Courtesy by Inferno Sound Diaries)

Incirrina interview

Q: “Trace” is already your third full-length album. Looking back on everything you’ve achieved so far, how do you view your journey as a band? And how would you describe and introduce this new record to people who may not have heard it yet?

George: Indeed, after the releases of the albums “8.15” (2019) and “Lip Led Scream” (2022), we are happy to have our third LP “Trace” out by the label Cold Transmission, released 29.5.2026.

We consider the band as a space for exploration, experimentation, personal expression, also as an inner journey and diving into our souls. Incirrina has brought us the joy of sharing our music with people across multiple countries. Until now we have toured in 12 European countries and played in many gigs and festivals, which led to beautiful and completely new experiences.

Irini: In this album, we experimented with instrumentation, rhythm and vocal approach. We used a combination of analogue synthesizers, drum machines, octapad, electric bass guitar, electric piano and acoustic instruments such as kantele, waterphone, melodica. “Trace” includes 11 songs written between 2023-2025 in a 24-channel console, that belong in the genres of dark electronic, synth-wave and cold-wave. The minimal-synth and post-punk roots of our previous albums are still obvious, yet the new songs are enriched with dynamism, depth, and rhythmic diversity and we also explored new ways of delivering the vocals for this album.

Also we would like to note that this album is the result of the collaboration of many people who put their heart and talent into it, and we are grateful to them – these people are Dimitris Dimitriadis (mixing), Anestis Psaradakos (mastering), uBuDancer (artwork, analogue collage), Nestor Theophilopoulos (photography), Maria Deligiorgi/Infrared Media (layout) and Suzy Hermann and Andreas Hermann of Cold Transmission.

Q: If I’m not mistaken, you’ve been active for almost ten years now. How did Incirrina come into being, and how have both your collaboration and the band itself evolved over the years?

George: Our common journey as Incirrina started in late 2017. Since both of us are professional musicians and music teachers, we’ve been involved in numerous bands and projects and music has always been the center of our lives, but neither of us had ever been in a purely synth band before. It was a great pleasure to discover already in our first meeting, in September 2014, that we had the exact same taste in music – we were talking for hours about Jean Michel Jarre, Joy Division, The Cure, Kraftwerk and numerous others…

We became a couple, still the timing for forming a band wasn’t right yet – we were working hard in teaching and the other projects, and simply didn’t have the time to start something new together. But in 2017 life brought things together in such a way that conditions were created for something new to be born. Incirrina came into life with the aim to make music in the style we’ve deeply loved since we were teenagers.

Irini: The first tracks were written right in our living room. Although I do write lyrics, we chose to base our songs on the poetry of William Blake, an artist we both deeply adore. After recording 6 songs, and without thinking twice, we uploaded them on Bandcamp (this was the first EP “8.15”, in December 2018), and suddenly something clicked. We received an unexpected wave of enthusiasm from complete strangers. Essentially, we started with no expectations other than making songs that we liked. It was magical how this evolved.

One year later, in late 2019, the Greek label Geheimnis Records released “8.15” as an LP – the first 6 songs plus 5 new ones. Then COVID hit. During those strange years of isolation, we wrote the songs for our second album, “Lip Led Scream”, which was released by Cold Transmission in August 2022. One thing naturally led to another; some months before the lockdown, we had received an invitation to perform in Germany, in Slow Club Freiburg, a show that finally came to life in May 2022. That was the spark that started this beautiful adventure of European tours and live shows.

In the years leading up to this year’s release of “Trace”, we focused on live performances as well as exploring new sounds and we also scored two theatrical plays in Athens. We are quite strict with our music, even though we compose new tracks very quickly, the ones we choose to release are very few (for every track we release, about four or five others are left behind).

George: We really enjoy jamming and playing together, most of our tracks come alive through this very process. But there are also songs written entirely by one of us, then the other one enriched or reshaped them, regarding arrangement or structure. While we co-write the harmonic and melodic elements of our songs and handle the arrangements together, our individual roles are quite distinct. I focus on the rhythmic side, taking care of the live drums and drum programming, also the basslines and the riffs, while Irini handles the vocals.

Q: One of the defining characteristics of your music is your use of analogue synthesizers. That seems like a very deliberate choice. What is it about analogue synths that continues to inspire you, and how has this aspect of your sound evolved over the years, particularly on “Trace”?

George: Indeed, we have a great love for analog sound and analog synthesizers. Of course, there are plenty digital instruments we really like and also use. I adore Moog synthesizers, their rich harmonic sound fills the ear with very distinct frequencies. I love that you can never have the exact same sound. The instruments that I use do not have a “preset” or “save” possibility, so every time I make the sound from the beginning and I find this really thrilling. Analog synthesizers have personality; I feel like I’m using a sonic canvas when playing them, their sound has so many shades and details.

Irini: We’ve used analog synths on all of our albums. In “Trace”, we paired them with acoustic instruments and also some digital synths, like the AKAI MPC and the Yamaha PS-55. Even though the Yamaha is digital, it’s from way back in 1983, and its sound has this nostalgic warmth that really speaks to us. Our relationship with instruments is just like with people… we have great chemistry and love for some, while others we just can’t connect with at all! An instrument is a whole world of its own, and a single sound can inspire an entire song.

Some tracks started out just from a single sound, like the song “She Is In The Dream”. We also love building lots of layers and textures when it comes to orchestration, and our analog synths are perfect for mixing and layering in different ways.

Q: Are you essentially a duo or more of a trio? I ask because I noticed that your lyrics are not always written by the two of you. Could you explain how that collaboration works, and how the lyrical themes develop in relation to your own musical ideas?

Irini: Musically speaking, we’re definitely a duo; the two of us write and play all the music, and we handle everything that goes into running a band. But at the same time we also have a “secret” third member. This is the poet Konstantinos Londos, whom we are lucky enough to have in our lives as a very special and dearly loved friend. He wrote the lyrics for our last two albums (with the exception of two songs, one on each record).

Konstantinos puts what we feel and want to communicate into words in the most wonderful way. Working with him is magical. A lot of times we’ll discuss a topic that’s really on our minds, and then Konstantinos will write a poem about it… and just like that, we have the lyrics for a song. Other times, we picked some of his existing poems that spoke to our hearts, set them to music, and turned them into songs (like “Mutate” and “Alien Room”).

But either way, there’s always an incredible creative process between the 3 of us – we listen together to the musical ideas, discuss the meaning of the lyrics, how the words flow melodically, and their deeper impact. In the end, after plenty of changes and fine-tuning (and sometimes after a lot of tears) the song finally takes its true shape. Konstantinos has a rare gift for clarity, simplicity, humor, sensitivity and working together with him is really a pleasure. He is an explosive mix of a brilliant Renaissance man, a Homo Universalis, and someone who genuinely prefers to stay out of the spotlight.

Q: Speaking of the lyrics, “Trace” is an intriguing title that can be interpreted in many different ways. The album also explores profound and, at times, rather introspective themes. Could you tell us more about the concept behind the album? And to what extent do the lyrics shape the atmosphere of the music, or is it sometimes the other way around?

Irini: Finding the right album title is usually a tricky process, since it needs to capture a lot of different concepts in just a few words. But with “Trace”, things were easier – the title came about completely spontaneously from Konstantinos, right after a chat about what making this album meant to us. The word means “imprint”, and that’s exactly what this record is: the footprint of a collaboration between people trying to capture in sounds and words the things that spark their thoughts and haunt their nights. This is also stated in the album’s back cover: “Trace” is the imprint of “searching for wondrous, meaningful diversions, novel transformations and transitory acts of care and defiance”.

Thematically the songs deal with the uniqueness of human experience and the struggle of not losing one’s inner freedom and individuality in dystopian times – the “seeming real” where all that is imposed and inhumane presents itself as the inevitable truth (“Always Here”). Celebrating diversity and self-expression, but always connecting and creating with other people, is a way out (“Mutate”). And the album itself is the result of such a process; we consider ourselves, against the odds, as artisans and friends who make music, share it and reinvent ourselves. Other songs cover universal, age-old themes like love, loneliness, the fear of loss, pain of death (“Sometimes”, “Region”), also the relationship with oneself and the connection with the world outside (“Diver”, “Find”), themes like the dream element, the urban landscape, and mysterious, fairy-like figures are touched upon in the songs “Alexia”, “Presence”, “She Is In The Dream”; burning issues of our time like domestic violence (“Alien Room”); and how the “self” connects with today’s world, showing endless introspection but a lack of empathy, human pain, and the way we try to hide it even from ourselves (“ΚΡΥΦΟ”, which means “Hidden”, the only track in Greek language).

George: Since songwriting is a two-way street, as we described earlier, the atmosphere that is created depends on each individual song. When we start composing music for an existing poem, we are influenced by the content, the meaning of the lyrics, and the rhythm of the words and syllables. Conversely, Konstantinos would often listen to a musical theme we had composed and write lyrics over it, based on a topic that was on our minds and that we had been discussing. However, since the general vibe of our music and lyrics is already introspective and relatively dark, we take it for granted that we won’t stray from that… not out of principle, but because the darker element simply speaks to us emotionally and temperamentally.

Q: How do you approach your live performances? More specifically, how do you translate the layered studio recordings, and especially the analogue elements, to the stage?

George: Being a duo has a lot of advantages, like flexibility with rehearsals, the creative process, and traveling. But also has plenty of challenges… Practically speaking, if we wanted to perform our tracks live with their full studio orchestration, we would definitely need at least one more musician on stage. Our compromise is to use backing tracks for the drums, or a portion of them while I play the rest, and then we perform the melodic and bass lines live. We inevitably have to skip several elements from the album… still that’s not necessarily a bad thing for a live performance, because different things take priority on stage. Also, for gigs, we bring along smaller gear. It would be practically impossible for just two people to travel carrying the actual instruments we used to compose and record, so we adapt our sound to smaller, more flexible instruments, which are a mix of analog, hybrid, and digital instruments. When we play in our hometown, things are much easier and we can bring along some of the original (and heavy) instruments used in the recording. But when it comes to touring abroad, since we travel by plane and train, doing that would totally be out of the question for practical reasons.

Irini: Over time, we’ve rearranged some tracks for our live shows to such an extent that they end up sounding quite different from the studio recordings, in terms of orchestration, tempo, and also vocals. This is especially true for songs from our first album. Also, since we love improvisation, we play the tracks a bit differently at almost every gig. We add intros, change up some riffs, and basically transform them depending on the mood of the moment. It would be really interesting at some point to make an album with our older songs exactly as they are played live, in a live recording setup. This happened already with one song, the “Only One Smile Alone”; the original one is “The Smile”, and following the suggestion of Andreas Hermann, we recorded it again in the way we play it live.

Q: Finally, with an album title like “Trace”, it seems only natural to ask: what kind of trace do you hope this album, and Incirrina’s music in general, will leave behind? And what lies ahead for the band in the coming months?

Irini: What we truly want with all our hearts is this: for people who will listen to our music, to feel something, to be moved, to dance, to feel good, or to find a personal meaning in our songs. Through our music, we aren’t seeking self-expression as much as we are seeking connection and co-motion, sharing in something as beautiful as music. We would love for the music of Incirrina to leave a small imprint of beauty in this world. Everything is fleeting and surely everything fades into the oblivion of time, but we would be incredibly happy if, even for just a few moments, we could bring joy to some people… just as we experience the joy of making songs and playing together, in rehearsals or in live shows.

George: In the coming months, we will mainly focus on presenting “Trace” through live performances in Greece and Europe. We definitely want to work on producing some new songs as well, and we also plan to celebrate our 10th anniversary as a band with something special, which we will announce in early 2027…!

Thank you for this interview, and we wish all the very best to you and your readers! Incirrina

About Incirrina

Incirrina is a dark electronic and minimal synth duo based in Athens, Greece, formed in late 2017 by George Katsanos (analogue synthesizers, octapad, drum programming, electric bass guitar, kantele, alto melodica, waterphone, samples, vocals) and Irini Tiniakou (synthesizers, vocals). The pair had met in September 2014 and were already working as musicians and music teachers in other projects before Incirrina became one of their own. Tiniakou first appeared as a guest vocalist on a release by the Greek act Metal Disco before the duo started releasing under their own name.

Their first six songs, built on the poetry of William Blake, went up on Bandcamp as the EP “8.15” in December 2018. The Greek label Geheimnis Records issued “8.15” as an LP in late 2019, adding five new tracks to the original six. The digital maxi-single “Utter” followed in 2020, and in 2021 the duo shared a split maxi-single with The Man & His Failures, “Devastations / R.Daneel”, on Smash Records.

Their second album, “Lip Led Scream”, arrived in August 2022 and was their first record for Germany’s Cold Transmission Music, which has handled their releases since. Reviewing it for Side-Line in 2023, Inferno Sound Diaries described it as “a pure Cold-Wave production which is sometimes reinforced with harder, EBM, elements” and “a well-crafted and fully enjoyable work without any single cut to throw away”. In September 2024 the duo returned with the double single “Immersion”, pairing “Presence” and “Alien Room”, again on Cold Transmission Music.

Incirrina have performed in twelve European countries, including Greece, Germany, Belgium, Hungary and Croatia, with appearances at Plíísken Festival, Morphic Festival, Cold Transmission Festival, Death Disco Festival – The Warm Up, Athens Music Week, Metavasis Festival and the Athens Digital Arts Festival. Their live show began with an invitation to Slow Club Freiburg, a booking made before the pandemic that finally took place in May 2022. In the years between “Lip Led Scream” and “Trace” they also scored two theatrical plays in Athens.

“Trace”, the duo’s third album, was released on May 29, 2026 on Cold Transmission Music across black and crystal-clear vinyl, CD, a limited cassette and digital. Its eleven tracks were written between 2023 and 2025 and recorded through a 24-channel console. Lyrics are by the poet Konstantinos Londos, except “Sometimes”, written by Incirrina. Dimitris Dimitriadis mixed the album and Anestis Psaradakos mastered it, with artwork by uBuDancer, photography by Nestor Theophilopoulos and layout by Maria Deligiorgi/Infrared Media. “Mutate” and “Always Here” preceded the album as singles, and “Mutate” was issued with a video. Side-Line’s review of “Trace” rated it 8/10. The duo say the next months go to live shows in Greece and Europe, with a tenth-anniversary announcement planned for early 2027.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Brian Stillman is an American artist based in New York who is releasing his debut album, “Terminal Days”, featuring nine tracks. The album is politically engaged, with a raised middle finger directed at fascists, oligarchs, tech bros, A.I. fetishists, and human rights abusers.

The music sounds like pure, good old-fashioned Industrial-Metal. The guitar riffs leave no doubt about it, backed by hellish rhythms and vocals loaded with rage. Despite the sheer power of this Industrial-Metal assault, there are also a few more refined Pop arrangements to be found. This makes the whole thing highly accessible, but believe me, the album remains packed with adrenaline from start to finish. There is a fine balance between the guitar work and the synths, creating a powerful and dynamic sound. Ministry fans will undoubtedly appreciate this project.

“Terminal Days” sounds like a very promising debut album, and Negative Agent is undoubtedly a name to keep in mind. (Rating:7)-.

Listen to “Annihilation Kick”:

About Negative Agent

Negative Agent is the solo industrial-metal project of American musician Brian Stillman, who is based in New York. Stillman writes all music and lyrics and handles guitars, synth and percussion programming, sampling and vocals.

The debut album “Terminal Days” was self-released on 8 April 2026 in digital, CD and cassette formats. Steve Wiener plays a guest guitar solo on “Mind Wipe” and Greg Schwan plays guest bass on “Pain Control”. The record also carries a bonus remix of “Fascist Beatdown” by Voidscan. Stillman mixed the album and designed the cover art; Hillary Johnson mastered it at Kale Shelter Studios.

On the Bandcamp page for the release, Stillman states that “Negative Agent is 100% Human. No A.I. is used in any capacity, ever.” “Terminal Days” is the project’s first full-length and its first entry in the Side-Line archive.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Hocico needs no introduction to any fan of Dark-Electro. The Mexican duo has been active continuously since 1993, delivering countless hits and brilliant albums. This new album took a little longer to arrive—around four years—and is available with an extra disc and/or vinyl featuring six additional tracks, including three remixes, one of them by Funker Vogt.

With “Unseen Horror Scenes”, Hocico takes aim at various aspects of our contemporary world. Our environment has been in decline for some time, providing a potent source of inspiration for the duo. Musically, the album contains classic, instantly recognizable Hocico tracks infused with a heavy dose of power and aggression. They remain relentless in this regard, yet highly effective in their compositions and rage-filled vocals. However, the album also seeks to introduce some innovation. We encounter various experiments, ranging from pure Electro-Punk and a breakbeat-driven track to Cinematic instrumentals and even a song featuring a touch of Rap. Notably, the main album contains only one Spanish-language track, which is a departure from their usual approach. Hocico has been trying to introduce some evolution into their work over the years, an effort I certainly applaud. Unfortunately, they do not quite succeed on this record. Despite a few strong tracks, I am left feeling somewhat unsatisfied.

“Unseen Horror Scenes” has merit on many levels, but it is certainly not the album I would choose to introduce Hocico to someone who has just discovered the Dark-Electro scene. Not every album can be the best. (Rating:7).

Listen to “The Screen”:

About Hocico

Hocico is the Mexican electro-industrial duo of cousins Erik Garcia (Erk Aicrag, vocals and lyrics) and Oscar Mayorga (Racso Agroyam, synthesizers and programming). The pair formed the project in Mexico City in 1993, taking their stage names as reversals of their given names, and played their first concert on 18 February 1994.

Early cassette releases such as “Autoagresión Persistente” and “Misuse, Abuse And Accident” in 1994 and “Triste Desprecio” in 1996 were self-released. The studio albums that followed include “Odio Bajo El Alma” in 1997, “El Día De La Ira” in 1998, “Sangre Hirviente” in 1999, “Signos De Aberracion” in 2002, “Wrack And Ruin” in 2004, “Memorias Atrás” in 2008, “Tiempos De Furia” in 2010, “El Último Minuto (Antes De Que Tu Mundo Caiga)” in 2012, “Ofensor” in 2015, “The Spell Of The Spider” in 2017, “Artificial Extinction” in 2019 and “HyperViolent” in 2022.

The duo records for Out Of Line. Recent releases on the label include the four-track “The Screen” EP in March 2025 and the collaboration with Prayers on “Hey Tú” in November 2025, expanded into a four-track EP in December 2025.

“Unseen Horror Scenes” arrives four years after “HyperViolent” and was announced by Side-Line in May 2026.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Melanculia is a project driven by Nino Sable, who released his first album in 2010 and has added several more albums to his discography over the years. The artist, who was born in Porto (Portugal) but is based in the Ruhr region (Germany), returned this year after an eight-year silence with his fourth album, consisting of fourteen songs. His musical universe lies somewhere between Chanson, Neo-Folk, and Balladry. The sound is primarily characterized by melancholy, which is transformed into beautiful, compelling songs, some of whose choruses are surprisingly catchy. A few synth sounds add an extra layer of melancholic atmosphere. The songs have a dreamy quality, yet remain consistently wistful. His deep, warm, and fitting voice is perfectly suited to the overall sound, with the acoustic guitar predominating throughout.

This is an album full of depth and emotion that completely convinced me and will undoubtedly appeal to fans of Rome. As far as I am concerned, it is a beautiful discovery. (Rating:8).

Sable recorded, produced, mixed and mastered the album himself in Essen between October 2025 and March 2026, playing all instruments and singing all vocals. Benno Schlicht added clarinet to “We Are Only Human”, and Sable also handled the artwork. Side-Line reported the release on the day it appeared, on 15 May 2026: Melanculia return with Nino Sable album ‘post mortem’.

Listen to “The Tower”:

About Melanculia

Melanculia is the solo project of Nino Sable, born in Porto, Portugal, and based in Essen, in the German Ruhr region. Sable writes, performs and produces the material himself, mixing indie and alternative rock with slowcore and dream-pop, with acoustic guitar at the centre of the arrangements.

The debut album “The Dazed Prophet” appeared on 18 October 2010, followed by “Paths” on 3 May 2013 and “Seventh Circle” on 10 December 2018. An eight-year gap separates that record from “Post Mortem”, the fourth Melanculia album, which was issued on 15 May 2026 and runs to fourteen tracks across roughly sixty-one minutes.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

New Zealand artist Abby Helasdottir has been active for many years; she released her debut work twenty-five years ago, and many more have followed since. In recent years, the project has been primarily associated with the Winter-Light label. “Níu Kom Ek Heima Fyr Niflhel Neðan” serves as the final installment of a trilogy that began in 2021 with “Ár Var Alda.” The work revolves around the imagery of nine underworlds, evoking a chthonic reflection of the Norse cosmos akin to Kabbalistic mysticism.

Musically, the theme translates into an exquisitely detailed production featuring an impressive sonic canvas. Amidst the myriad sound manipulations, effects, and field recordings, the artist crafts a sophisticated composition that ensnares the listener in an imaginary web. While the atmosphere does not always fully come across—likely due to the sheer scale of the sonic arsenal—one quickly senses the work’s darker side. Although I have known Gydja to experiment less in the past, this remains a remarkable sonic experience from an artist who clearly approaches her work from a unique perspective. The genre sits somewhere between Dark-Ambient, Cinematic, and pure Experimental music. The final track delivers a true apotheosis, blending quiet Tribal elements with a magnificent Eastern atmosphere.

If you are looking for a breath of fresh air within established genres like Dark-Ambient and Cinematic music, this work is certainly worth a listen. (Rating:7½).

Listen to “Heidthornir”:

About Gydja

Gydja is the dark ambient project of Abby Helasdottir, a musician and graphic artist based in Wellington, New Zealand. The project name is an Old Norse word for priestess, and Helasdottir has described the music as dark ambience for dark goddesses. Alongside her own recordings she has produced cover artwork for a range of releases, including titles issued by Cold Spring.

The project dates back to the start of the 2000s, with the CDR “The Darkness Gathering” appearing on Mediatrix in 2001. Later solo work includes “Umbilicus Maris” in 2007 and “Helchemy” in 2009. Helasdottir was one of the artists on the Cryo Chamber collaborative album “Nyarlathotep” in 2016. She also records as Bestia Astrum.

More recent releases have come through the Dutch label Winter-Light, which issued the trilogy completed by this album. It opened with “Ár Var Alda” in 2021, built around the primordial void Ginnungagap, and continued with “Þjóðáar Fnæstu Eitri”, which took the eleven-fold river Élivágar as its subject. The closing title is drawn from the Old Norse poem “Vafþrúðnismál”.

“Níu Kom Ek Heima Fyr Niflhel Neðan” was released on 8 May 2026 on digital and CD. Helasdottir recorded and produced the album at Ultrasound between 2024 and 2025, handled the graphic design, and Robin Storey mastered it.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Frank Zwicker and Klaus Schill began their journey as Sea Of Sin more than 30 years ago. Although the German duo released a remix album about two years ago, “The Shape Of A Lonely Soul” marks their first new studio album in seven years. The album was preceded by no fewer than four singles, which are joined here by four additional tracks to create a body of work largely inspired by inner struggles and the quest to break free from isolation in an ever-changing world.

These are serious and profound themes on which to build Electro-Pop music. Yet Sea Of Sin achieves a delightful duality, balancing the gravity of the subject matter with an upbeat and joyful musical style. After all, music is meant to connect people, and perhaps this approach can help lonely souls emerge from isolation and reconnect with reality. Sea Of Sin retains its quintessential Electro-Pop sound, featuring catchy melodies and strong, memorable choruses. Add passionate vocal performances to the mix, and you get an enjoyable album that leaves you feeling better and happier. For me, the track “Dark Revelations” stands out in particular. It is simply a beautiful composition that would fit perfectly on a film Soundtrack.

Sea Of Sin have returned with just eight tracks, but every single one of them is well worth a listen. (Rating:8).

Listen to “Dark Revelations”:

About Sea Of Sin

Sea Of Sin are a German new wave/pop duo from Hamburg built around founding members Frank Zwicker and Klaus Schill. The band first emerged in the 1990s and launched with the 1995 debut album “Watch Out!” on Subtronic Records. Zwicker handles vocals and lyrics, while Schill is responsible for synths, guitars and production.

They followed in 1997 with the EP “Illuminate”, produced by Heiko Maile of Camouflage, who also handled arrangement, mastering and backing vocals on that release. “Urban Chemistry” arrived in 2000, with Maile again contributing backing vocals.

After a long hiatus the duo returned in 2018 with “Future Pulse“, a comeback album largely built from re-edited earlier material. In April 2019 they issued “Unbroken”, described by the band as their first album of new songs after the break. Later that year came “The Remixes”, which collected remix work from the 2018-2019 period and added the previously unreleased track “Only The Memory Remains”.

The release pace increased from 2020 onward with the singles “Unspoken Words”, “Floating Away”, “Turn Back Time” and “Immaculate”, gathered together with further remix work on “The Remixes II” in March 2021. The album “Tired of Chasing Ghosts” arrived on April 21, 2023. In 2024 the duo marked its 30-year anniversary with live dates.

The singles “Faith!”, “No Excuse”, “Bang Bang Bang”, “Save Me”, “Renegades” and “Dark Revelations” led into “The Shape Of A Lonely Soul”, released on March 13, 2026. Klaus Schill handled mixing and production, Thomas Banse engineered the vocal recordings at Studio B in Stuttgart, and Norman Nitzsche mastered the record at Calyx Mastering in Berlin. The album is available as a CD digipak with a 16-page booklet, as a limited 12-inch black vinyl edition and digitally.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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Scottish artist Roddy Graham has been active for more than 30 years, releasing a substantial body of work under various monikers. Following several recent releases as Electronic Death Black Dogs, he returns with a new opus inspired by Gnostic mysticism, inviting listeners on a journey into the solitude of nature and the use of meditation to get in touch with your inner demons.

He has translated this inspiration into six fully realized tracks that grab the listener by the throat from the very outset. Graham conjures a dark, sombre atmosphere, layering it with Industrial percussion. These percussive sounds evoke the golden age of 1980s Industrial music, blended with more contemporary elements of Dark-Ambient and Cinematic music. In doing so, he builds an imaginary bridge between past and present. Personally, I am particularly drawn to the vintage aspect of the work. Yet beyond the percussion, I was also overwhelmed by the monstrous sounds blasting from the speakers. Occasionally, sparse, ghostly, fragmented vocals—samples, perhaps—emerge from the darkness, and I would have liked to hear more of them, as they add an extra dimension to the compositions. Nevertheless, the work stands on its own as an incredibly solid and impressive production. There isn’t a single weak track; instead, we are presented with a succession of polished and powerful compositions. Electronic sound manipulation, field recordings, a veritable arsenal of effects, percussion, and those occasional vocal elements elevate this work to a true highlight.

“The Bornless One” is an exceptionally creative and expertly crafted opus that is sure to win over many listeners. (Rating:8½).

Listen to “Purification”:

About Electronic Death Black Dogs

Electronic Death Black Dogs is the dark ambient project of Scottish musician Roddy Graham. Discogs lists Audio Code, Blue Oma, Force Bubble, Inhuman Impulse, Inner Destruction and Nervejammer among his other recording names.

The project’s first releases appeared in 2020: the album “The Hidden Paths” on Lake and the self-released “Isolated Tales”. “Dismal Dreams From The Witch House” followed on Noctivagant in 2021, alongside “A Grim Midnight Excursion” on Kalpamantra. Graham joined Winter-Light for “Hinterland” in 2023. Three further albums arrived in 2024: the self-released “The Fourteenth Step” and the Noctivagant titles “Astrotheurgy” and “Machine Spirit Alchemy”.

Winter-Light released “The Bornless One” on April 17, 2026 as a limited CD and as a digital album. Graham wrote and produced its six tracks – “Leave Your World Behind”, “Purification”, “All Roads Lead In”, “Agathodaemon”, “Gnosis” and “Equanimity” – at Blacksoul Studio. Robin Storey of Rapoon mastered the album and Abby Helasdottir handled the graphic design.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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PIG is Raymond Watts, and Watts has been part of the industrial scene since the early 1980s. He started the project in a West Berlin basement in 1988, after years spent engineering live and studio sound for Einstürzende Neubauten and Psychic TV, playing in Jim Thirlwell’s first Foetus live band, joining John Gosling’s Zos Kia, and writing for early KMFDM records. Schaft and Schwein followed in Japan. For more than three decades PIG has been his own outlet, mixing industrial electronics, heavy guitars and dark theatricality. Watts now returns with “Hurt People Hurt”, a ten-track album issued by Metropolis Records on 22 May 2026 and written with his long-time collaborator Jim Davies. In my view it is a strong record, a run of tracks that works like a well-oiled machine. Time to let the man himself speak, but not without a word on the body of work as a whole: respect. (Courtesy by Inferno Sound Diaries)

PIG interview: Raymond Watts on ‘Hurt People Hurt’

Q: “Hurt People Hurt” is arguably PIG’s twelfth studio album (excluding remix albums, compilations and EPs), arriving almost forty years after your debut. Looking back, what remains of the young Raymond Watts from those early days? In terms of your songwriting, production, influences and choice of instruments, how much has fundamentally changed, and how much has remained surprisingly constant?

Raymond: That’s interesting as a couple of years ago when I was getting “Sinsation” and Wrecked” remastered (albums from the mid 90’s) and I was actually asking myself that very question! I could quite clearly hear what I was trying to put together and it was pretty ambitious… but I was mostly glad to realise that I wasn’t in that place anymore. It was quite harrowing to be a voyeur on my own confusion, overwhelming fear and dread.

When I go back to even earlier material such as “The Fountain Of Miracles” from “The Swining” it’s interesting to hear how the choral and gospel influenced arrangements are already so apparent in my writing and arranging… but it’s where I am in my head that gives the album it’s unique stamp for me and I’ll use whatever production tools that are to hand to give birth to it (but I still love a synth and a guitar locked in mortal combat as much now as I ever did).

Q: I don’t want to generalize, but many artists and bands seem to lose some of their creative spark after such a long career. With you, however, I have the impression that PIG just keeps getting stronger, more focused and more intense with every release. Where do you still find the energy, inspiration and sheer enjoyment to keep making music-and, more importantly, to keep creating new albums? And how demanding and self-critical are you, both of yourself and of the people you collaborate with?

Raymond: To start with the last part of the question first: I am fairly intolerably self-critical and demanding of myself and others! I’m still trying to be a bit more relaxed about things but sometimes it has to be ‘just so’ before I can move on. However I have become a lot less neurotically driven my own vision and have really enjoyed collaborating and seeing where the good ship PIG ends up pointing with others in the crew.

It’s kind of you to say that you think PIG keeps getting stronger with each release and where do I find the energy and inspiration from; I’m not really sure is the honest answer… It just keeps coming out of me at the moment and if I look for my muse it may disappear. As I mentioned I am really lucky to have brilliant collaborators in Jim Davies and recently Marc Heal (Cubanate/C-Tec)… but it’s not just the musical collaborators in PIG that blow on the flames but Gabriel Edvy (videos/visuals), Vlad McNeally and Mark Griffiths (visuals) whom I’m very lucky to work with.

It is worth remembering that I did stop doing all things PIG for about 12 years… this was for many well documented reasons but one of them often gets overlooked… predominantly I just felt I didn’t know where to go after “Genuine American Monster” was released. It’s not that it set a high bar, but I felt at that time the cupboard was bare inside me and maybe I needed to let life take place, restock and try and save myself instead of documenting my decline. All of that certainly filled up the well.

Q: You mentioned Jim Davies who over the years has become an increasingly important part of the PIG story. How do you view his contribution and could you also explain a little about the creative chemistry between the two of you and why your collaboration works so well?

Raymond: Jim is integral to the health and welfare of the current PIG incarnation! We’ve been working together more and more since he first did a remix for PIG… and when I heard that I said to myself ‘I’ve got to meet this guy!’. The collaboration works because Jim is incredibly relaxed about me sometimes taking his structures and deconstructing them, and yet he’s incredibly productive so if an idea hits a brick wall it’s not a big deal.

The biggest difference to this era of PIG is how much I enjoy it and feel blessed to be able to plough this furrow compared to the desperately dark place PIG came from in the nineties when it really was a case of ‘I’ve suffered for my art and now it’s your turn’.

Q: “Hurt People Hurt” is a powerful and thought-provoking title. How did it come about, and what does it represent for you? What themes or ideas did you want to explore through this album?

Raymond: The expression ‘hurt people hurt people’ is obviously very much a part of the vernacular in these current times but if you just take one word out of that it means something completely different and yet also distills the meaning further. There’s something quite distinctly PIG about that approach to wordplay which obviously appeals. The statement becomes a command.

Q: I’ve often had the impression that PIG speaks to people who feel like ‘outsiders’-not necessarily because they reject society, but because they feel misunderstood, disconnected, or no longer recognize the world around them. How do you feel about the idea that your music provides a sense of recognition, comfort, or even a form of therapy for some listeners?

Raymond: The fact that people resonate with the material is an extremely powerful fuel. Many of my songs are born of pain and isolation so to find that becoming a route to connection is both cathartic and joyful. Something I never in a million years could see happening.

Q: One thing I’ve always admired about PIG-and “Hurt People Hurt” only reinforces this-is that you’ve never seemed interested in following trends or adapting to what happens to be fashionable. You’ve always remained true to your own artistic vision. In an era where AI is increasingly capable of generating music, do you think authenticity and individuality have become even more important? How do you see the growing role of technology in music, particularly when it comes to creativity, songwriting and artistic expression?

Raymond: If I tried to follow fashionable trends in music I wouldn’t know where to look and even my myopic sense of style could see impending disaster if I followed that route. As regards technology I am woefully bad at trying to get my head around it. Martin Eden who has been in the PIG camp for years as a co-writer and collaborator is incredibly patient at keeping my studio just about working and showing me how to work things in their most rudimentary forms.

I actually love messing about in the studio (and don’t spend nearly enough time doing it) so why on earth would I want AI or whatever take that away? It honestly doesn’t interest me but one thing’s for certain, AI isn’t going away.

Q: Looking back on the making of “Hurt People Hurt”, what proved to be the greatest challenges during the writing and recording process? Conversely, what aspects of the album gave you the greatest sense of satisfaction once everything was finished?

Raymond: I always enjoy the process of making albums… people always tell me ‘don’t make albums, just release individual songs’ but a collection of songs under one umbrella can be the manifestation of ‘the whole being greater than the sum of its parts’. Many chapters can tell a story that one alone often can’t. I usually feel pretty disappointed when I’ve finished an album and have absolutely no idea if it hangs together or not. Doubt becomes the final hurdle so if I start getting any kind of positive feedback it acts as a life raft in a self filled sea of shit and indecision. I do love the struggle though… it becomes all consuming making an album and the momentum is frightening once it gets going but what often starts out as a journey with a clear signpost becomes a dark forest with no north star, no road map and no compass. That’s when I know I’m in the right place.

Q: What can you already reveal about the new-and rather special-EP that will be released after the summer?

Raymond: I have been co-writing with Marc Heal again and it’s been great to have him back in the PIG camp working with us and I was able to persuade the great (and reclusive) Günter Schulz to put his paws on the fretboard in the service of PIG and what a blast it’s been. I hope you enjoy this EP called “Dirt Box” which has four new songs and four remixes by Combichrist, Stabbing

Westward, Rabbit Junk and Cyanotic. It’ll be out on CD/digital thru my label Metropolis and the vinyl edition will only be available at the mercy booth on the “Hurt People Tour” starting late September and covering the US and a few dates in Canada.

Q: Finally, looking ahead, what challenges still excite you creatively? Are there any ambitions, ideas or directions you haven’t yet explored with PIG that you hope to pursue in the future?

Raymond: I recently returned from doing a couple of shows In Tokyo and that was absolutely wonderful. To perform there again after a gap of 24 years and to see so many old colleagues and friends was an absolute joy. So much of my life (and PIG) was fermented there. I was first there with band in 1981 and I spent that summer playing in small clubs and finding music and myself in what felt like an incredibly alien landscape that at once felt like home. I was there for much of the 90’s and early 2000’s working not just with PIG but other bands and projects so to return felt like squaring the circle in a way.

So in answer to your question about what excites me creatively it’s playing the new material live in new environments… maybe doing a few festivals in Europe as it’s never been PIG’s natural habitat. Recording new material and of course I’m really looking forward to our upcoming US tour which is once again both terrifying, formidable and fantastic in equal measure.

About PIG

PIG is the project of English musician Raymond Watts. He worked on tape loops in London and Hamburg before moving to West Berlin, where he started PIG in 1988 in a basement studio opposite the Wall. The engineering and live-sound work for Einstürzende Neubauten and Psychic TV, the stint in Jim Thirlwell’s first Foetus live band and the membership of Zos Kia alongside John Gosling all predate it, as does his writing and performing on early KMFDM records from the mid-1980s. That KMFDM connection ran on and off into the 2000s.

The first PIG album, “A Poke in the Eye… with a Sharp Stick”, appeared in 1988 on Yellow Ltd. in Germany and Wax Trax! in the United States. “Praise the Lard” followed in 1991 and “The Swining” in 1993 as a Japan-only release. “Sinsation” came out in 1995 on Nothing Records, “Wrecked” in 1996 in Japan and on Wax Trax! in the United States the following year with a different tracklist, and “Genuine American Monster” in 1999. Watts worked extensively in Japan across the same period: he wrote lyrics and sang on Schaft’s “Switchblade” in 1994 with Hisashi Imai of Buck-Tick and Maki Fujii of Soft Ballet, and formed Schwein in Tokyo in 2001 with Sascha Konietzko, Atsushi Sakurai and Imai.

“Pigmartyr” arrived in 2004, credited to Watts, and was reissued as “Pigmata” on Metropolis Records in 2005. No PIG album followed for more than a decade. Watts spent the gap writing music for fashion and film, including Alexander McQueen’s “Plato’s Atlantis” and the Metropolitan Museum of Art’s “Punk: Chaos to Couture” exhibition. He returned with two 2015 EPs, “Long in the Tooth” with Primitive Race and “Compound Eye Sessions” with Marc Heal, then the album “The Gospel” on 9 September 2016.

Metropolis Records has issued every PIG album since: “Risen” on 8 June 2018, the covers set “Candy” on 21 June 2019, “Pain Is God” on 20 November 2020, “The Merciless Light” on 23 September 2022, “Red Room” on 17 May 2024 and ‘Hurt People Hurt’ on 22 May 2026. Remasters of “Sinsation” and “Wrecked” appeared on 23 August 2024 and 7 March 2025. Jim Davies, previously of The Prodigy and Pitchshifter, first worked with PIG on the 2022 EP “Baptise Bless & Bleed” and has been Watts’s main writing partner since.

The “Dirt Box” EP arrives on 4 September 2026 on Metropolis Records, although the label’s own store lists 6 September. It carries four new songs, “An American Ideal of Beauty”, “Your Reptilian Overlord Presents”, “Infidel” and “Butterfly”, four remixes by Cyanotic, Chris Hall of Stabbing Westward, Combichrist and Rabbit Junk, and the spoken-word bonus “Atrocity Obsession”. Marc Heal of Cubanate and C-Tec co-wrote and sings on the first of those, with guitar from former KMFDM guitarist Günter Schulz. Side-Line covered the single in ‘An American Ideal Of Beauty’.

The Hurt People Tour runs 44 shows across the United States and Canada, from 27 August 2026 at The Bottleneck in Lawrence, Kansas to 18 October 2026 at Smalls in Detroit, and takes in Cold Waves XIV dates in Los Angeles, Austin and Chicago. Four UK shows follow in December 2026. The Tokyo concerts Watts describes above took place at Koenji HIGH on 25 and 26 June 2026, both sold out, with Jim Davies on guitar and MOTOKATSU on drums.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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Yaroslav Gavrilyuk, aka Brooddark, is an artist from Belarus about whom little background information is available. In 2025, he released the impressive album “Overvoltage” plus a collaborative album with Tsarewitch; both releases appeared on Cryo Chamber. With this newest opus, released by Winter-Light, the artist returns with ten brand-new tracks.

This album is a quintessentially Cinematic work infused with some extra Dark-Ambient influences. Personally, I would have liked some of the tracks to be longer, given the richness of the soundscapes and the atmosphere Yaroslav Gavrilyuk creates within his compositions. Deep, powerful tones erupt amidst dark waves of sound, vibrating through your entire body and seemingly reaching right up to your throat. Some sounds are truly monstrous, creating an ominous atmosphere that, combined with various background noise elements, completely overwhelms the listener with a sense of dread. It evokes a deeply unsettling feeling, leaving you with a profound sense of desolation. The album consists of a succession of powerful compositions, with the artist setting the bar remarkably high.

The album may lack a definitive climax, but otherwise, “Deliro” comes close to absolute perfection. It is a release that absolutely deserves to be discovered—and Brooddark is certainly an artist to keep a close eye on. (Rating:8½).

Listen to “Deliro”:

About Brooddark

Brooddark is the dark ambient project of Yaroslav Gavrilyuk, who works from Belarus. The project first appeared through self-released titles on its own Bandcamp page, among them “Darkness of the Brood”, “Tremor”, “Dreadnought”, “Begotten” and “From the graves”.

Label releases started in 2025 with the album “Overvoltage” on Cryo Chamber. The same year Cryo Chamber issued “Supra Memoriam”, a collaborative album credited to Tsarewitch & Brooddark.

“Deliro” is the first Brooddark release for Winter-Light and appeared on March 27, 2026. Gavrilyuk wrote, produced, performed and mastered the ten tracks himself, with cover artwork by Patricia Schoonenberg. Winter-Light released the album as a digital download and as a glass-mastered CD in a six-panel digifile, limited to 200 copies.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Beyond Border started out as a duo in 2019 and has since grown into a trio comprising Kai Vincenz Németh, Michael Deiters, and newcomer Renee Brandt. With Aftermath, the German band delivers its third full-length album, produced by none other than Rob Dust. The album is also available as a double CD.

Beyond Border remains true to a sound that sits somewhere between classic Electro-Pop and the slightly harder, more dance-oriented Future-Pop genre. Danceability is a key element of this record, an aspect undoubtedly influenced by Rob Dust’s involvement. The album is pure ‘power-pop’, occasionally incorporating guitar riffs to inject even more energy into the mix. What follows is a succession of sensational tracks, sounding like an imaginary fusion of bands such as Mesh, Massive Ego, and Depeche Mode. Terrolokaust and, notably, Ruined Conflict were invited to contribute, with the latter’s collaboration proving particularly infectious thanks to Xavier Morales and his distinctive voice. In terms of production, the album delivers everything one could expect from an Electro/Future-Pop release, while being meticulously crafted down to the finest detail. None of the twelve tracks disappoints. Small details sometimes build towards incredible climaxes, such as the female choral effect that emerges towards the end of the beautiful “Absolution”.

The second disc features a solid selection of remixes, including contributions from Mesh themselves, as well as Eisfabrik and Ruined Conflict. While the Mesh and Eisfabrik remixes are my personal favorites, the more EBM-oriented remix by SK3RED also deserves a special mention.

“Aftermath” is a fantastic album in every asspect, from its compositions and production to its impressive collection of remixes. As far as I’m concerned, this is an album that is bound to appear on many year-end lists of the best releases of the year. An absolute must-have!!! (Rating:9).

Listen to “Absolution”:

About Beyond Border

Beyond Border is a German synthpop act that started in 2019 as a duo formed by Kai Vincenz Németh and Michael Deiters. Renee Brandt later joined, turning the project into a trio. The band describes its music as modern synthpop built as a bridge between the scene and pop.

The first releases were self-released in 2020 and included the singles “First Contact”, “Construction” and “The Damned Don’t Cry” featuring Lis van den Akker, together with the collection “B-Sides, Love, Live And Others”. The debut album “Awakening” followed in 2021, again without a label, and the club-oriented set “Awake The Clubs” appeared in 2022.

In 2024 the trio signed to NoCut for the album “Gathering”. “Aftermath” is its second album for the label and was released on March 27, 2026, as a digital album and as a double CD pairing the twelve new tracks with a full disc of remixes. Rob Dust produced the record, which also features guest contributions from Terrolokaust and Ruined Conflict.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Erik Jarl has been extremely prolific for more than twenty years now. With this new release, he has created another album that serves as a follow-up to a trilogy focusing on the brain and nervous system; the title of the new work speaks for itself.

Two tracks exceed the twenty-minute mark—a characteristic feature of the Swedish artist’s work by now. In my view, however, they often run a little too long, resulting in a lack of variation within the compositions. I am therefore more impressed by the shorter tracks, even though these still clock in at over six and eight minutes, respectively. Here, Jarl creates a mysterious sonic universe using deep, vibrating analogue tones layered with numerous effects, giving the sound a darker quality than usual. The sustained tones often have a hypnotic effect; at times, they sound almost misty, evoking an imaginary astral dimension. Certain passages possess a strong visual quality that sparks the imagination and totally fit within the realms of Cinematic and Dark-Ambient music.

Despite finding two of the tracks somewhat overlong, I consider this one of Jarl’s finest works, with the magnificent “Electrical Impulse 3/4” standing out as a particular highlight. (Rating:8).

The album was released on 23 February 2026 on Zoharum and runs four tracks titled “Electrical Impulse – 1/4” through “Electrical Impulse – 4/4”, filling close to sixty minutes. It is available on CD in a six-panel digipack, on cassette and as a download.

Listen to “Electrical Impulse ¾”:

About Jarl

Jarl is the Dark Ambient and Cinematic project of Swedish artist Erik Jarl, who works from Norrkoping in Ostergotland. The project has been active for more than two decades and is built around a consistent formula of analog sound treatments and slowly repeating, hypnotic passages. Erik Jarl is also known for his work in IRM and Skin Area.

Side-Line first covered the project with the double album “Negative Rotation / Intensive Fracture” in 2018. Jarl has released albums on the Polish label Zoharum on a near-annual basis since, including “Inner Domain” (2020), “Hyperacusis” (2021), “Phonophobia” (2022), “Mindrotation” (2023) and “Isolation Colours” (2024), alongside “Spectrum Confusion” on Reverse Alignment in 2022.

The trilogy referred to here consists of “Neurotransmitters Sphere Music”, “Receptor Radiation” and “Synapse Variation Report”, released on 7 April 2025, three Zoharum albums that share both theme and sound and that deal in turn with neurotransmitters, receptors and synapses. Zoharum describes “Nerve Cell Threads Electronics” as an informal fourth part of that series, and the label states the tracks carry a darker tone than the earlier instalments while keeping the sequencer-based, analogue approach.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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Although Dirk Serries may have retired the Vidna Obmana moniker years ago, albums continue to be released under the name. While these are usually reissues or live recordings, this particular series is generating significant interest. The third installment in the “Twilight Of Perception Redux” series compiles rare and previously unreleased recordings from the Belgian project’s archives, spanning the years 1996 to 2006. The three CDs contain a total of 18 tracks, no fewer than 13 of which fall into the category of—let’s call them—‘curiosities’.

Each disc features six tracks that immediately draw the listener into Vidna Obmana’s unique world. These are long, elaborate compositions characterized by generally slow, tribal rhythms that merge with deep, astral, and dreamlike soundscapes. Dirk Serries’ universe evokes a sense of mystery—and at times, a certain darkness—accentuated by field recordings and various forms of sound manipulation. At times, you feel as though you are wandering through a labyrinth of crystalline sounds; moments later, you are drawn towards an imaginary black hole, only to undergo an almost abyssal experience on the next track. Occasionally, a guitar emerges, played in an Ambient style that adds a touch of diversity to the overall atmosphere. Vidna Obmana was a project that fused different styles into a unique whole—a universe where Tribal and Ambient music formed a symbiotic relationship, sweeping the listener away into an imaginative world of richness, even on the darker tracks.

This album is a perfect addition to the Vidna Obmana discography for many enthusiasts. Even decades after their creation, these tracks retain an irresistible allure—like a forbidden space where you simply have to discover what is unfolding inside. (Rating:8).

Listen to “Threshold Of Obstruction”:

About Vidna Obmana

Vidna Obmana is the pseudonym of Belgian composer Dirk Serries, born in 1968. Serries recorded as Vidna Obmana from 1984 until 2007, when he officially retired the name, moving his active work to the Fear Falls Burning project. The name is Serbian for “optical illusion”. Working in Ambient, Minimal and Drone music, Serries released albums through labels including ND Records, Hypnos Recordings, Soleilmoon Recordings and Projekt Records, and collaborated with artists such as Steve Roach, Asmus Tietchens and Bass Communion. The original “Twilight Of Perception” appeared on Projekt in 1997. “Twilight Of Perception Redux Volume Three 1996 – 2006” compiles archival recordings from that period on Zoharum.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

The Polish band Jude was founded in 1993 and gradually earned recognition within the wider Experimental and Industrial music scene. “Zakaz” was originally released in 2024 by Kulturkampf, but two years later Zoharum is giving the album a welcome reissue aimed at collectors. Alongside the CD edition, it is now also available on vinyl.

I missed the original release, but this reissue finally gave me the opportunity to discover “Zakaz”, and the least I can say is that it is a masterpiece of its genre. This is brutal, archaic Industrial music, with the guitar playing a central role alongside the relentless Industrial drums. The Polish vocals sound utterly possessed, perfectly matching the raw violence of the compositions. More than once, the album reminded me of the early work of Swans, yet Jude sounds even heavier, more intense, and even more merciless. The tracks surge forward without offering a moment of relief, at times drawing the listener into an almost trance-like state. Guitar and percussion merge into a powerful symbiosis that is impossible for devotees of the genre to resist.

This is Industrial in its purest form-stripped of unnecessary embellishments and driven by raw, elemental power. (Rating:8½).

Listen to “Beton Blok. Methodology”:

About Jude

Jude is a Polish industrial and experimental act from Łódź, formed in 1993. The lineup has included Anna Krupska, Jacek Walczak, Konrad Grajner, Łukasz Franek and Wiktor Skok. The band’s discography includes “Combat Exhaustion” (2004), “Stat” (2015), “Ultimate Obedience” (2016, reissue and remaster) and “Pigment” (2017). “Zakaz” was first released on CD and digitally by Kulturkampf in 2024. Zoharum reissued the album in 2026 on CD and vinyl, with Kamil Łazikowski credited as recording engineer, mixer and producer on the original sessions.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Although Robin Storey has been active with his Rapoon project for even longer, he will always be closely associated with Zoviet France. In 2001, the British artist released Cold War: Drm ‘N’ Bass, an album now celebrating its 25th anniversary with the addition of an exclusive third disc. The original double album was conceptual on several levels. Storey explored elements of D’n’B, fusing them with his distinctive musical universe, while also using the work as a personal reflection on the state of the world and contemporary geopolitics.

That theme remains as relevant as ever and serves as the guiding principle of the new third disc, which draws its inspiration from today’s global conflicts. The world seems not to have changed for the better—if anything, it has become even more troubled—yet these developments continue to inspire artistic expression.

The original album has lost none of its magic or power. It is Rapoon at its very best. Tribal influences emerge primarily through the rhythms, intertwined with the project’s familiar Eastern-inspired atmospheres. The music is dark, at times almost bleak, and enriched by the deep, low-end textures that characterize D’n’B. The new album features eleven tracks that echo the themes and ideas of the original compositions while leaning more toward Experimental music and Cinematic soundscapes. Atmosphere takes center stage, with the D’n’B elements receding into the background. Repetitive loops, Industrial textures, and wonderfully crackling samplings from radio transmissions are seamlessly woven together into an apocalyptic whole. I even detected a track with distinct Martial influences, which fits perfectly within the album’s overall concept.

This is therefore far more than a straightforward reissue. It is a thoughtful reimagining of the original work, shaped by the turbulent events of recent years and given renewed relevance in today’s world. (Rating:8).

Listen to “It’s Over Isn’t It?”:

About Rapoon

Rapoon is the solo project of English musician Robin Storey, based in Newcastle upon Tyne. Storey formed Rapoon in 1992 after the breakup of Zoviet France, the group he had been part of since 1980, using the new project to explore what he described as “ethnic musics” and techniques he felt he could not pursue with his former band.

Most of Storey’s recordings in the 1990s appeared on Staalplaat and Soleilmoon, including “Raising Earthly Spirits” (1993) and “The Kirghiz Light” (1995). A 1996 US tour led to a connection with Matt Jacobson of Relapse Records, which released “The Fires of the Borderlands” in 1998. Rapoon’s “Cold War: Drum n Bass” first appeared as a double CD on Caciocavallo in 2001. Later releases include “Time Frost” (2007, Glacial Movements), “The Library of the Dead” (2008, Ewers Tonkunst), “Disappeared Redux” (2012, Zoharum) and “Cultural Forgeries” (2014, Alrealon Musique). In 2019, Storey discussed the project’s approach in a Click Interview with Rapoon on Side-Line.

Zoharum, which had already released Rapoon’s “Disappeared Redux” in 2012, now reissues “Cold War: Drum n Bass” as a 3xCD edition, adding the new third disc reviewed here.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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Une Vraie Gothique – literally translated as A True Goth – is a French duo that came into existence in Paris in 2023, founded by Ulrika and Ferdinand Legendre. This year, Manic Depression Records released their debut album, “R.D.V. Au Cimetière”, an eclectic take on dark Electronic music where EBM, Dark-Wave and Techno collide. Their identity is every bit as important as their music: corpse paint, dark humor, French and German lyrics, and a generous wink towards the codes and clichés of Goth culture all come together to create a universe that is at once serious, absurd and irresistibly danceable.

The album’s nine tracks take the listener on a journey into a world where darkness and absurdity go hand in hand. A defining element of the record is the interplay between the two voices: Ulrika sings in German, while Ferdinand delivers his vocals in French, making many of the tracks feel like a dark and intriguing dialogue. For me personally, this debut is an absolute revelation. A band whose name may initially sound like the ultimate Goth cliché – although I see it much more as a hilarious reference to the scene that clearly inspires them – manages to turn those very clichés on their head. The real strength and originality of Une Vraie Gothique lie in their compositions.

They crack open the codes of different genres and reshape them into something distinctly their own, creating what feels much more like an ode to underground Electronic music than a parody of it. “R.D.V. Au Cimetière” is one of those albums I was instantly sold on. So, it is high time to get to know Ulrika and Ferdinand from Une Vraie Gothique a little better and discover what exactly lies behind the corpse paint, the French and German incantations, and that irresistible urge to meet somewhere in the cemetery… (Courtesy by Inferno Sound Diaries)

Une Vraie Gothique interview

Q: Could you tell us how you first met and how that eventually led to the creation of Une Vraie Gothique? Were there any particular artists or albums that served as important points of reference in shaping your sound?

Ferdinand: We met at a mutual friend’s house, and Ulrika had asked me to help her compose an Electro-Disco track on the theme of the tiger for a performance she was doing at a Parisian cabinet of curiosities. Our conversations about music led us to realize our shared love of Goth music. So we decided to launch this project, starting with the title track, “Une Vraie Gothique.”

We don’t really have any major points of reference, but I’d say we’re influenced by a huge number of different projects. For my part, Suicide Commando and Hocico immediately come to mind, for example.

Ulrika: When that tiger project was finished, we had a sleepover where we were supposed to start working on a Euro-Dance track (one of our guilty pleasures). But instead, we watched “Hellraiser”, sampled ‘Demons to Some, Angels to Others’, (which you can hear at the beginning of our track “Une Vraie Gothique” ) and the process of becoming a true Goth was set in motion! I wish I could tell you another story and say that we probably connected in immaterial realms long before we met four years ago, but that’s still a topic under investigation.

Q: I imagine the band’s name is meant to be taken with a touch of humor, but I’m still curious about the story behind it. Why did you choose Une Vraie Gothique, and if it does refer to Gothic culture, what does that scene and its music represent to you personally?

Ulrika: We get asked a lot about this. Do I relate to the Goth scene and culture? Definitely. Come on, I was reading all classical Goth books, from Ann Radcliffe to Baudelaire, watching my classmates out of the corner of my eye in high school, while taking refuge in the school cloister to take black-and-white photos in long dresses. Do I see myself as a ‘genuine gothic’? Of course no. No one could… let’s then joke about it? In fact, I don’t think seriousness and humor are incompatible, except in Kundera’s “The Joke”, which deals with a totalitarian system.  

For me, the Goth scene is that undeniable feeling of being at home. I go down into a basement, drawn by the light and the sounds, by the promise of an intensity that’s both painful and joyful. Bodies dancing, minor scales. It’s already a contradiction in itself! The Goth scene is about celebrating life, with one foot in another world (the world of the dead, the world of shadows?). There’s a kind of haunting ritual, wrapped in a contemporary aesthetic. I wanna be a part of it, as a priestess. 

Ferdinand: Goth music represents my musical ‘family’. I discovered it through a sampler from Elegy magazine around 2003, and even though I developed my musical taste by listening to a wide variety of genres, it was Goth music that most gave me that sense of ‘belonging’ to a musical family. It was also at these parties that I danced the most and watched others dance. Among Goths, as in any social group, there are certain attitudes and recurring elements that you can have fun with while still respecting them.

My friends and I have always had a great sense of self-deprecating humor, and we loved to laugh at ourselves. At first, we couldn’t quite come to terms with the fact that we were goths, even though we were clearly identified as such by everyone outside the movement who interacted with us. I think “Une Vraie Gothique” tells this story-the playful questioning of a genre’s identity that sometimes tells its followers, ‘If you want to be different, be like us’.

In this project, we’re trying to strike the right balance: the band is perfectly accessible at face value (especially because of Ulrika’s character, who talks almost exclusively about personal things), but you can also have fun reading between the lines to uncover humorous elements.

Q: Strictly speaking, your music doesn’t sound traditionally Gothic. Instead, it blends elements of EBM, Electro-Wave and even Techno, while it’s mainly the atmosphere and the song titles that evoke a Gothic aesthetic. How would you describe your musical identity, and how do you see the relationship between your Electronic sound and the themes explored in your lyrics?

Ferdinand: Ulrika and I both listen to a huge variety of very different music. I’ve listened to a lot of Techno, actually, and quite a bit of Rap, which comes through in some of the tracks and in the way I use my voice at times. I think you’re right: the music itself isn’t necessarily ‘Goth’ in the traditional sense. It’s more of a reflection of a movement that has evolved and influenced many different musical styles. I feel like we’re living in an amazing era for music.

Things are much less compartmentalized than before. There are Pop bands with a Goth aesthetic; Techno has become much darker; and many people in Hip-Hop don’t hesitate to rock leather and latex looks. We use elements that come from all over the place and that serve the purpose of the tracks: metal clangs, animal sounds, and a variety of synths and VSTs.

We want our tracks to be hard-hitting and dark; we compose from the heart, and we’re our own biggest fans. Even if we wanted to make an entire album consisting solely of dark Electro tracks, I’m not sure we could pull it off. We’re diverse by nature.

Ulrika: I like the opportunity to create my own music and follow my own, personal and unique vision. As I said in the previous question, I am definitely truly and completely related to the Goth/dark/alternative scene. BUT I want to be true to myself also, and I have to recognize different parts I am made of. To me, our musical identity is soft & sexy. The scent of Père Lachaise Cemetery on a windy day. Why? We often have a sultry bass line and pleasant, mellow mid-range frequencies.

And I use my voice in a percussive, unsettling, incantatory way (the graves), whilst also allowing myself to incorporate more lyrical and mystical elements (the great wind). My influences  are related to Germany: Deine Lakaien, Welle:Erdball, Helium Vola, Sopor Aeternus, Lacrimas Profundere, Agonoize, Feindflug, Nina Hagen, Bohren & Der Club Of Gore… as far as possible, I preferred to listen to German lyrics and, as I was in Metz in my childhood (East of France), it made more sense to look across the border.  

As for the Electronic aspect, I just want to say that I love powerful basslines and energetic kicks, paired with melodies you can really let loose to. In our lyrics, we’re always talking about connection and energy. ‘Electronics’ comes from ‘electron’. It’s what carries electricity. I feel like I’m right at the heart of my material theme!

Q: How did the two of you collaborate on “R.D.V. Au Cimetière”? What roles does each of you take on within the creative process, and what were the biggest challenges you encountered during the writing, recording and production of the album?

Ulrika: Thanks for this question. It’s great to talk about the creative process! For me, the biggest challenge is finding our signature style, our identity, our voice. We’re walking a tightrope between our influences and our own inner worlds. I’ve made huge progress writing this album by allowing myself to simplify and pare down musical phrases to give them more impact.

I’d like to do that even more. We also try to focus on using variations rather than introducing new elements when we want the song to evolve. One of our favorite questions now is, ‘What if we did a bass variation?’. Right after ‘What filter should we put on the keyboard?’

Ferdinand: We’re both involved in every stage of the songwriting process. We both write and compose equally. Sometimes one of us needs to spend a few hours working on the song alone, and then we come back to it together, but overall we work as a team. Usually, I start by suggesting a rhythm and bassline, and Ulrika adds variations to it, then fairly quickly brings in vocal elements and a narrative direction. Sometimes we work together, and sometimes we take turns, but we always end up with a song to which we’ve both contributed equally.

The biggest challenge was undoubtedly not going off in all directions. There were times when we took the humor too far, for example, and the song became way too parodic, so we had to completely backtrack. As mentioned earlier, our main challenge is finding the right balance between paying homage to that scene and allowing for different levels of interpretation.

Q: You are based in Paris, which seems to have become an increasingly vibrant hub for both the Electronic and Gothic underground scenes. What is it like to be part of that environment? Does a city like Paris influence artists in a way comparable to cities such as Berlin, or does it have its own unique creative identity?

Ferdinand: Paris is lucky to have so many ‘underground’ venues and an endless cultural heritage. The walls have a history, and there are so many people that you always end up meeting others who are interested in what you’re offering and who understand your vision. We also have a vibrant cultural scene in the suburbs-I’m thinking of cities like Montreuil, for example, which have always been very open to alternative ideas. I don’t know if our city influences us the way Berlin might, but it certainly offers us plenty of opportunities to connect with others.

Ulrika : I find inspiration in old places. I love cemeteries, and coming across churches, works of art, and objects from the 12^th century is definitely a source of enchantment. I studied at the school of the Louvre, which had a profound impact on me. That’s why I chose to live in Paris. 

Besides, it’s the only city I know where I can go to a medieval music concert of Hildegard von Bingen or Perrotin on Monday, a Black-Metal show on Tuesday, a math lecture on Wednesday, an Electro-Goth show on Thursday, and a batcave show on Friday. We’re incredibly lucky to be surrounded by this beautiful heritage, and I want to honor and share it. I feel enriched by this multicultural history of dark music from today and yesterday, sometimes looking back several centuries !

Q: Have you already started working on new Une Vraie Gothique material or other projects? Looking back at “R.D.V. Au Cimetière”, how critical are you of the album today? Are there aspects you’re particularly proud of, and are there things you would approach differently next time?

Ulrika: We are currently working on a documentary that we filmed in February 2026 in California at the Mars College Festival. We had the immense pleasure of being invited by Vanessa Rosa and Gene Kogan to the desert to collaborate with the artists/developers and create a song about Euler’s Basel formula, in which we seek to convey the emotional impact of a theoretical argument. That’s my ultimate quest! We’re finishing up the composition of the song and wrapping up the editing! Is math Gothic? It’s full of formulas, after all.

As for the album, this is my first release with this kind of project. There are inevitably things we’d like to take further, but I’m extremely proud of the work we’ve done, and I enjoy listening to the tracks without feeling like they’re mine. That’s a good sign!

Moving forward, I’d like to simplify things even more, making them even more effective and precise. Asking myself, ‘What can we take away?’ rather than ‘What can we add?’ ‘Less is more’ (Mies van der Rohe) is a powerfull statement.

Ferdinand: I’m very proud of this debut album; it really sums up our work and the first narrative arc of Une Vraie Gothique. That said, I can’t wait to release new material, and we’re already working on the next album. In fact, we’re playing several songs live that aren’t on “R.D.V. Au Cimetière” but will be on the next one, such as “France Gothique” or the more recent “Anathème.”

I think we’ve both grown in many ways; I don’t think there’s any aspect we’ll need to approach fundamentally differently next time. We’re going to keep putting out great songs and try to get our music out there at festivals and abroad. We’re also very happy with our first music video, “Nuée Ardente,” directed by Anaïs Novembre, which brings a welcome new visual dimension to the project.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

6YPAH is a Slovenian/Italian duo releasing their debut album here. It appears to be a conceptual work inspired by the early years of the Soviet space program and the space race with the USA.

The duo crafted this six-track album primarily using analog equipment. The opening track immediately transports us to a bygone musical era, perfectly matching the album’s concept. Clear Krautrock influences are evident, with the psychedelic guitar taking center stage. Gradually, a balance develops between guitar and electronics, with the warm analog textures adding further depth. The music consistently evokes a sense of nostalgia, at times leaning toward an ’80s aesthetic and even incorporating touches of Wave-Pop. Vocals are present throughout, although they serve more as an additional layer than as the main focus of the compositions.

This strikes me as the kind of album that truly benefits from a visual component, allowing its concept to unfold to its fullest. It is a highly commendable debut that will especially appeal to a discerning audience. (Rating:6½).

Listen to “Vedno S Tabo”:

About 6YPAH

6YPAH is a Slovenian duo formed in Nova Gorica in 2009 by singer and keyboardist Jani Toplak and guitarist and bassist Giorgio Multineddu. The project calls itself “transboundary,” pairing Slovenian songwriting with a base that stretches across the nearby Italian border into Gorizia. 6YPAH mixes synthwave with krautrock and 1970s and 1980s German electronic influences, and sings in Slovene.

The duo self-released its first recording, “Electronic Visions Across The Border” (CDr, catalog RSSCD02), in 2023. 6YPAH then signed to Final Muzik for “Prozorno Mesto,” a concept album inspired by the Soviet Buran space program and the space race with the United States. Bandcamp lists the release date as 7 April 2026, while Discogs dates the release to 2025. The album was recorded and mixed at Resounding Sounds Studio in Gorizia, Italy, and mastered by Gregor Zemljic in Ljubljana, Slovenia. Guitarist Matteo Birsa performs a guest solo on “Vedno S Tabo.” The album’s limited CD edition is capped at 200 copies, tying this release to the duo’s ongoing work built around analog synthesizers and Cold War-era imagery.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

The Italian group Contrastate originally formed in the late 1980s. Over the years, and through line-up evolutions, this Experimental outfit has built up an impressive discography, with numerous releases appearing on a variety of labels. This latest work takes us back to 2014, when the band intended to compose a Soundtrack for a film that ultimately never came to fruition. The music, however, endured and was finally completed and released more than a decade later as a collection of eight tracks.

Contrastate is known for its uncompromising Experimental sound, yet on this album it is clearly noticeable that the material was conceived as a film Soundtrack. The record is highly varied, shifting between minimalist electronic sequences and a genuine patchwork of sounds. At times, Contrastate creates an unsettling atmosphere, only to let it evolve into passages with a subtle Jazzy feel, supported by gentle rhythms. Field recordings are also present throughout the album, alongside occasional industrial elements.

The album possesses a distinctly Cinematic quality, inviting the listener to imagine their own story and accompanying film. For me, this is accessible Experimental music that remains engaging without sacrificing its adventurous spirit. (Rating:7).

Listen to “The Tongue Of Fire”:

About Contrastate

Contrastate is an experimental group formed in 1987 in London by Stephen Meixner and Jonathan Grieve, joined in 1992 by Stephen J. Pomeroy. The project grew out of earlier work under the names The Disciples of Delmonte and The State Organisation, drawing on the industrial and experimental music scene of the 1970s and 1980s as well as experimental film, theatre, and writing. Contrastate was inactive between 2000 and 2010. Releases have included “A Breeding Ground for Flies” and its 2016 vinyl/CD companion “No Eden Without Annihilation”, assembled from live recordings made across Europe between 2012 and 2014. The group’s latest album, “Seven Flies Feeding Inside The Tears Of A Woman’s Eye”, released on FinalMuzik, revisits music originally written in 2014 for an unrealized film soundtrack.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

It had been five years since the Spanish Dark-Electro project Asseptic Room released its previous album. Carlos Ruiz—formerly active as Dioxyde—and his companion Mario González now return with 16 new tracks that make up this fourth official album.

Asseptic Room remains firmly rooted in dark, gloomy Electro, but this time the atmosphere takes center stage more than ever before. The songwriting is exceptionally detailed, yet the album’s greatest strength lies in the overwhelming sense of atmosphere it creates. At times, it even feels like the Soundtrack to a dark, dystopian film—Cinematic Dark-Electro would be a fitting description. The music is tormented and intense, driven by raw vocals delivered in both Spanish and English. Industrial elements occasionally emerge, adding extra power and texture to the already dark soundscape. Towards the end of the album, the music gradually becomes harder and more dancefloor-oriented. Personally, I still consider this to be the band’s strongest side, although that is, of course, a matter of taste.

In any case, “Deconstructor” comes highly recommended for anyone with a passion for extremely Dark-Electro. The album may have flown somewhat under the radar, but it is certainly well worth discovering. (Rating:8).

Listen to “Shame And Forgiveness”:

About Asseptic Room

Asseptic Room is the Spanish dark electro project of Carlos Ruiz, who started as a DJ in Madrid in the late 1980s before forming Dioxyde with Marcos Calvo in 1998, releasing the debut album “Torschlusspanik”. Ruiz left Dioxyde in 2004 and founded Asseptic Room, releasing the albums “Morbid Visions” in 2006 and “Visceralofobia” in 2011 via Advoxya Records.

Mario González joined the project, and the pair released the double album “Extinction Or Reawaken” via Advoxya Records. “Deconstructor” is Asseptic Room’s fourth official album, also released via Advoxya Records, arriving five years after its predecessor.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

“Incarnate” marks the third album from the American band False Figure, with the trio delivering eleven tracks on this release.

The band’s influences clearly hark back to the golden era of the 80s, spanning various—although closely related—genres. Dark-Wave elements are immediately recognizable, primarily brought to life through the guitar work, alongside subtle traces of Shoegaze. At times, the sound leans more towards Rock, while there are even passages reminiscent of Jangle-Pop—think Aztec Camera. It feels like an imaginary meeting point between The Cure, Joy Division, The Smiths, The Jesus & Mary Chain, and Aztec Camera. “Incarnate” is a diverse record, featuring several standout tracks. This variety makes for an accessible listening experience, ensuring that there is something to appeal to a wide range of listeners. Despite its stylistic diversity, the album never feels disjointed; rather, it comes across as a tight and cohesive production.

False Figure was not a band I was particularly familiar with, but this release has certainly won me over. (Rating:7½).

Side-Line reported on the False Figure release “Incarnate” on Cruel Subordination Records in March 2026, detailing the tracklist and the limited vinyl pressing.

Watch the clip “Say Nothing”:

About False Figure

False Figure started as a Bay Area three-piece built around Andrés Ruiz (guitar, vocals), with Ian on drums and Alex on bass. In 2017, the band self-released the 7″ single “Cardinal Cross b/w Exhale”.

A self-titled album followed on May 25, 2018, released by Near Dark Records and Last Hour Records. On June 11, 2019, the band released the EP “A Promised End.” Later cassette pressings followed via Reclusion Records and Transylvanian Recordings.

On November 1, 2022, the band released “Castigations.” Three years later, in late 2025 and early 2026, the band issued advance tracks for “Incarnate,” including “Flowers in Bloom,” released on January 29, 2026.

For “Incarnate” the line-up consisted of Kevin Defranco (guitars), Kienan Hamilton (bass guitar), and Andrés Ruiz (vocals, guitars, drum programming, keys). The album, released via Cruel Subordination Records on digital, vinyl, and cassette formats, is the band’s third full-length.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

After releasing their previous two albums on Icy Cold Records, the American band Darkswoon returns with their latest full-length release, a ten-track album that further explores their signature sound.

The band remains faithful to its established influences, balancing between Dark-Wave and Shoegaze while occasionally incorporating elements of Ballads and Dream-Pop. At times, these different styles merge within a single track, beginning with fragile, atmospheric passages before gradually building towards heavier climaxes where the guitars take center stage. Vocalist Jana Cushman’s voice combines sweetness with intensity, delivering performances that are both passionate and emotionally charged. With “Antivenom”, Darkswoon finally manages to fully convince me. The production feels richer and more dynamic, while the album carries a sense of urgency and drive that I had not always detected in their previous work.

“Antivenom” is an enjoyable and diverse release that should appeal to listeners with a taste for dark, atmospheric music. (Rating:7½).

Listen to “Thread”:

About Darkswoon

Darkswoon is a band from Portland, Oregon, described on Discogs as playing elektrohaze, a self-styled blend that mixes Dark-Wave and Shoegaze with Ballads and Dream-Pop. The lineup includes Jana Cushman on vocals and guitar, Rachel Ellis on synths and drum machines, Norah Lynn on bass, and Andrew Michael Potter. The band released the album “BIND” on February 9, 2019, followed by “Bloom Decay” on September 14, 2022. Additional Bandcamp releases include the “Eaten By Wolves” EP, the remix collection “Human Faults Remixed”, and the earlier titles “Silhouettes” and “Year One”. Side-Line first covered the band on April 3, 2026, when Darkswoon shared “Antivenom” as the second single from the new album. “Antivenom” was released April 3, 2026 through Viasonde, with the album recorded and produced by Jana Cushman and Jeremy Wilkins and mixed by Jeremy Wilkins.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

In a relatively short period of time—the band was only formed in 2020—the Italian act They Die has established itself as a notable presence within the broad spectrum of Dark-Wave and Post-Punk. With their fourth album, they return with a conceptual work exploring themes such as illusion, self-deception, manipulation, and personal transformation. At its core, it is also about removing the masks we wear and confronting reality.

It is a deeply poignant subject matter that the duo has translated into nine dark and compelling tracks. The guitars create a bleak, almost apocalyptic atmosphere, while the synth lines introduce melancholic melodies that become particularly infectious during the choruses. The songs shift between slower, more atmospheric passages and faster, more dynamic moments, yet the overall mood leaves the listener with a persistent sense of tension and unease. The deep, carefully produced vocals further enhance the feeling of ‘Weltschmerz’ that permeates the album.

Thematically, ‘Smoke And Mirrors’ is certainly not an album that leaves the listener with a sense of carefree optimism. However, beneath the darkness, the songs reveal a glimmer of hope. Perhaps there really is a light shining in the distance after all?! Once again, They Die prove that darkness can be a powerful source of inspiration for creating deeply moving and outstanding compositions. (Rating:8).

Listen to “No Face”:

About They Die

They Die is an Italian electro duo founded in 2020 by Giorgio Ricci, previously known for Templebeat (Dynamica-Machinery, Sub/Mission, 21st Circuitry). Unlike the 90s Electro/EBM sound of Templebeat, They Die pursues a darker, more Gothic-leaning Dark-Wave and Post-Punk direction. The project released its debut album “Emptiness Prevails” in July 2022, followed by “Black Magic” in February 2024 on Swiss Dark Nights. “Smoke And Mirrors”, the band’s fourth album, continues that release chronology on the same label.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Digital Factor was founded more than 30 years ago, yet the project led by Mike Langer shows no signs of losing momentum. On the contrary, it continues to surprise and evolve. For this new album, Gwendolyn Gaffa officially joins the lineup, contributing to a concept inspired by the creative spirit of 80s New-Wave.

It would be unfair to dismiss this as a mere imitation of ’80s music. Instead, Digital Factor revisits the production techniques, instruments, and sonic aesthetics that defined the decade, transforming them into a contemporary and distinctive sound. While many of the tracks subtly reference influential acts from that era, they never come across as derivative. I can hear echoes of Kraftwerk, Depeche Mode, and Fad Gadget, yet these influences are skillfully reinterpreted into an experimental form of Minimal-Electro that remains unmistakably Digital Factor. At first, “0.8” may not reveal all its strengths. It is not an immediately accessible album, but one that gradually draws the listener in and continues to surprise with its rich blend of influences and ideas. There are several outstanding tracks to discover here, making this, in my opinion, one of the strongest albums Digital Factor has ever released. The occasional female vocals add an extra layer of variety and elegance to the overall sound.

“0.8” is likely to challenge listeners precisely because it refuses to fit neatly into a single niche. Yet that is also its greatest strength. Rather than reinventing itself completely, Digital Factor embraces innovation by reimagining the legacy of the 80s, resulting in an album that feels both nostalgic and strikingly forward-looking. (Rating:9).

The album was preceded by the “They Will Forget You (When You Die)” EP, which served as its first preview.

Listen to “Poor Mind”:

About Digital Factor

Digital Factor started in Altenburg, Germany, in 1993. Formed by Mike Langer, Torsten Heise, and Tino Schmidt, the later line-up phases included Guido Litke and Leo von Leibnitz. Musically the project brings a mix of EBM and electro with later on also synth-pop, techno, and crossover elements.

The first release was the 1994 Hard Records EP “F.A.L.L.I.N.G.-Down”. A move to Hyperium / Hypnobeat followed, bringing “Relationchips” in 1995, “On Demand” in 1996, “De Facto” and “Countercheck” in 1997, and “Over One Million Times” in 1999. After a quieter period, the band returned with “One More Piece” in 2006, “Look Back To Go Forward” in 2009, and “Trialog” in 2011.

Alfa Matrix signed the band in 2020 and released “Come With Me”. That release was followed by “A Chemical Process” in 2021, a few back-catalogue reissues, the “What?” EP in 2022, and in 2023 the singles “I Am What I Am” and “Ouvre”, along with the charity album “G.B.A.-General Behavior Abrogate”.

Gwendolyn Gaffa joined Mike Langer as a permanent studio and live member ahead of the “They Will Forget You (When You Die)” EP, released in April 2026 as the first preview of “0.8”, the full album reviewed here.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

The members of the Norwegian trio Tazer introduce themselves only by their aliases: ‘CALICO’, ‘ONI-X01’, and ‘DRUMNIBAL’. Beyond that, they prefer to keep an air of mystery – something I won’t attempt to unravel here. Their focus is on the music rather than the people behind it, and rightly so. I first discovered Tazer through their earlier EP, but it is their self-released debut album, “Taze Is The Rule”, that truly demands attention. It has been a long time since a debut record has hit me with this kind of force. This is pure sonic aggression, forged from a relentless fusion of EBM, Metal, and Techno. Every track is crushingly heavy, leaving nothing standing in its wake. The songs strike with the intensity of an imaginary war machine, determined to conquer dark dance floors and every poor soul brave enough to step onto them. Tazer sounds like an explosion whose full impact has yet to be measured. Fortunately, the band took the time to answer a few questions and shed some light on the ideas, influences, and vision behind “Taze Is The Rule”. (Courtesy by Inferno Sound Diaries)

Tazer ‘Taze Is The Rule’ interview

Q: Let’s start by clearing up a few things: where do Tazer and the project’s name come from? Who is behind the aliases, and what has your musical journey been like up to this point?

CALICO: The Tazer project officially kicked off in 2024 when we wrote our first EP, “9001 Volts”. We chose the name Tazer because we wanted something that felt high-voltage but was also instantly recognizable. A small taser can pack a massive punch, and that just felt like the perfect metaphor for our energy. As for our aliases, they are symbols. Honestly, who we are behind them really doesn’t matter, we are our music, and we prefer to let the tracks do the talking.

Q: What have been the key influences and sources of inspiration behind your music, and what does this particular form of expression mean to you?

ONI-X01: We’ve always been massive fans of bands like Rammstein and Combichrist, but we really wanted to inject our own flavor into the mix. The goal was to create something heavy and raw, but also immediate and danceable. By mixing Metal with classic EBM elements, we want to hit people right in the gut and pull them into a completely new kind of mindset.

Q: How did this debut album come together, and how were the songwriting and production responsibilities divided among the band members? Looking back, what were the biggest challenges you faced while creating it?

DRUMNIBAL: This album is the result of years of hard work. Out of the 10 tracks we originally wrote, 5 of them ended up on the “9001 Volts” EP. So, over the next two years, we had to write 5 brand-new tracks to bring the album back to 10. During that time, our sound naturally evolved and the line-up shifted into the trio we are today.

Our creative process is pretty organic: we usually start with electronic riffs, build a solid structure, and then layer on the guitars, bass, and vocals. Lyrics always come last because they depend entirely on the vibe and emotion the music triggers in us. We write everything together as a team, no strict division of labor, just pure collaboration.

Q: If I understand correctly, “Taze Is The Rule” is more than just an album title – it also serves as a kind of manifesto for the band. Both lyrically and musically, the track comes across as hard-hitting, provocative, and uncompromising. Could you elaborate on that? What does it reveal about your perspective on the world and the society we live in?

ONI-X01: You hit the nail on the head. “Taze Is The Rule” is our manifesto, our creed, and our undeniable truth. It all started with this first track, which really opened our eyes and made us realize exactly what we wanted to create. We feel like the world is lacking a bit of discipline right now; everything seems to get lost in superficial noise and trivial complaints that don’t really lead anywhere. That’s why we felt the need to forge music that brings back some of that discipline, giving people an ideal to rally behind with a sound that’s tough, but fair.

Q: Both your music and visual identity seem perfectly suited for the live stage. What have your experiences been like so far, and what can audiences expect from a Tazer performance?

DRUMNIBAL: Throughout our musical journeys, we’ve spent enough time on stage to consider ourselves live veterans. However, with this specific project, we are completely rethinking our approach to live shows to deliver something genuinely fresh and powerful. We know it’s a challenge, ‘cause the live scene is incredibly competitive right now, and coming up with original ideas takes a lot of the discipline we talk about. We apply that same focus to our music videos, carefully crafting our identity through every choice of makeup, wardrobe, storyline, and camera angle.

Q: Are you already working on new material or perhaps even a follow-up album? Do you have a clear vision of how Tazer will evolve in the future and where you would like to take the project?

CALICO: We definitely have a long-term plan, which includes diving into a second album. We already have some ideas cooking that we hope people will love. Right now, though, the main focus of that plan is locking down and developing our live shows. We honestly can’t wait to bring these tracks to the stage and connect with the crowd under the banner of ‘Taze is the Rule’.

About Tazer

Tazer is a Norwegian electro-industrial project formed in 2024 by musicians performing under the aliases CALICO, ONI-X01, and DRUMNIBAL, and signed to Hellektrokution Records. The band debuted with the single “A Razor Can Slit, A Tazer Can Kill” on 5 November 2024, followed by the self-released EP “9001 Volts” on 21 December 2024. Of the ten tracks the band had written by then, five appeared on that EP; the remaining five, plus five newly written tracks, became the ten-track debut album “Taze Is The Rule”, released via Hellektrokution Records on 30 April 2026. The album combines EBM, industrial metal and techno, with influences including Rammstein and Combichrist. Tazer returned in October 2025 with a Halloween video for “I Put a Spell on You”, and in May 2026 released the single “Raise The Voltage”, the album’s fifth track, via Hellektrokution Records, Spotify, YouTube and Bandcamp. The band is now focused on developing a live show and has begun writing material for a second album.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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It took the Norwegian duo Kant Kino nearly nine years to release their fourth album. Despite this lengthy hiatus, EBM fans are unlikely to have forgotten the band, as their previous full-length releases were polished, expertly crafted examples of the genre.

While EBM remains the album’s primary influence, “Echoes Of The End” also ventures into other sonic territories. The result is a compelling fusion of EBM and Electro-Pop, with occasional touches of Future-Pop. Some tracks recall the melodic approach of Assemblage 23, while the album’s darker moments evoke the early work of Skinny Puppy. At its core, however, “Echoes Of The End” remains a hard-hitting, relentless EBM record, impeccably executed and enriched with vintage-inspired synth textures. The powerful yet controlled vocal delivery perfectly complements the album’s atmosphere. We are treated to no fewer than 24 tracks, although for me the collection is ultimately defined by the irresistible “Choice.”

Kant Kino is back—and not a moment too soon. While their sound has evolved, they continue to deliver EBM of the highest caliber. (Rating:8½).

Side-Line previously covered the announcement of “Echoes of The End” in April 2026, when the album was confirmed as a digital deluxe edition and a physical 2CD via Alfa Matrix.

Listen to “Choice”:

About Kant Kino

Kant Kino is a Norwegian electronic duo from Oslo, namely Lars Henrik Madsen and Kenneth Fredstie. The project formed after they wrote a tribute track for the ElektroStat festival, after which a Bunkertracks compilation appearance led to their Alfa Matrix signing.

The duo’s debut album, “We Are Kant Kino – You Are Not”, appeared in 2010. It was followed by the “LRSBSS EP” on April 15, 2012, then the second full-length “Father Worked In Industry” on February 22, 2013. “Father Worked In Industry” was mixed and mastered by Claus Larsen of Leaether Strip. That release also produced the download singles “Just For The Comfort Of Sleep EP” on March 26, 2013 and “Ich Liebe Katarina Witt EP” on November 22, 2013.

While working toward the third album, the band previewed new material with the teaser “Life” in February 2016. While working on a new album, they self-released the Motörhead/Kraftwerk hybrid “We Are The Roadcrew (Robots)” on December 16, 2016, ahead of “Kopfkino”, which was released on Alfa Matrix on January 13, 2017.

In May 2017, Alfa Matrix built the first “Matrix:Reb00ted” volume around Kant Kino remixes. The duo later appeared on the Coldkill vs Kant Kino EP “Silent Morning” in 2018, released the Depeche Mode cover single “Pimpf and Touch Faith” in September 2019, and self-released “Enough! (Demo)” on June 30, 2022.

Kenneth Fredstie in the meantime mastered “Face The Beat: Session 3” and Kant Kino contributed “Ich Liebe Katarina Witt (Video Edit)” and “Life (No Fucking Guitars Edit)” to the Face The Beat series. They also contributed a remix for Modulo One’s “No Way to Win”, and remixed the Side-Line charity single “Ukraina” in December 2022. In February 2026, Kant Kino returned with “Rodney: End-State Variations”, followed by the fourth album “Echoes Of The End”, reviewed above.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Hungarian artist István Gazdag has built a solid reputation within the EBM scene through his primary project, First Aid 4 Souls. A true workaholic, he is also active with side projects such as First Aid Tech. Two years ago, he released the outstanding debut album “Tech Under Your Skin” under this moniker. That impressive work is now followed by a new release featuring—once again—no fewer than 22 tracks.

The influences remain largely unchanged. István Gazdag continues to experiment freely with a wide range of styles, moving from EBM—inevitably inviting comparisons to Front Line Assembly—to Tribal and Psy-Trance elements that occasionally evoke the spirit of Juno Reactor. Acid sequences emerge throughout the album, while guitar passages provide yet another subtle nod to the latter’s signature sound. Despite these obvious influences, First Aid Tech never comes across as derivative. Instead, the music feels like a seamless fusion of the various styles this sound guru effortlessly combines. There are no vocals, although carefully selected samples add extra depth and variety. The tracks frequently exude a menacing atmosphere that perfectly complements the album’s dark overall mood. Once again, Gazdag delivers a meticulously crafted production that merges boundless creativity with sophisticated, high-tech production values.

To my ears, this new opus plays like the imaginary soundtrack to a “Matrix”-esque film. Above all, however, it stands as a brilliant, elaborate, and deeply immersive obscure Electro production. (Rating:8½).

Listen to “Play My Game”:

About First Aid Tech

First Aid Tech is a project of Hungarian electronic musician István Gazdag, who is also the driving force behind First Aid 4 Souls and Stahlgeist. First Aid 4 Souls, active since 2007, is known for its blend of industrial, EBM, dark ambient, trance, and new wave, often featuring guest vocalists. Stahlgeist deals in EBM that recalls the early years of Front Line Assembly and Wumpscut.

Gazdag has performed and DJed under the First Aid Tech moniker for years, but the project’s first official release, a self-titled techno body EP featuring 4 tracks and 4 bonus remixes, only appeared on Alfa Matrix on December 4, 2023. The debut album, “Tech Under Your Skin,” followed on October 17, 2024. In a Side-Line interview, Gazdag described First Aid Tech’s sound DNA as rooted in 90s electronic music, citing Cabaret Voltaire, Orbital, Yello, Juno Reactor, LFO, Underworld, Empirion, and Future Sound Of London as reference points. The project now returns with its second full-length, “Back To Agartha.”

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

This new EP from Brussels-based (Belgian) Lovelorn Dolls is a truly special—and above all, deeply emotional—release. Following the sudden passing of Bernard Daubresse, the band has chosen to issue these songs as a tribute. The tracks were still written and recorded with Daubresse, with the exception of the closing bonus track. That final song serves as the ultimate farewell, performed by Kristell together with several friends during his funeral.

I have watched this band evolve over the years, and their latest album, “Deadtime Stories” (2024), was a magnificent achievement. These new songs continue along the same path, showcasing the perfect balance between aggressive Goth-Metal guitars and melodic, ethereal synths. Towering above it all is Kristell Lowagie’s voice—fragile yet powerful, vulnerable yet commanding. The result is a sublime blend of raw intensity and irresistibly melodic, Pop-infused choruses. The bonus track, however, stands apart. Deeply personal, understated, and profoundly melancholic, it provides a fitting and moving conclusion to this tribute.

Lovelorn Dolls is not coming to an end. The band will continue with producer and guitarist Eric Renwart, embarking on a new chapter under the most difficult of circumstances—just when it seemed they had truly found their stride. (Rating:8).

Listen to “Call Me Your Ghost”:

About Lovelorn Dolls

Lovelorn Dolls began in Brussels, Belgium, in 2010 as Lovelorn, formed around vocalist Kristell Lowagie and guitarist, programmer and producer Bernard Daubresse. The pair released the demo “An Intense Feeling of Affection” in 2011 and signed to Alfa Matrix, issuing the debut album “The House of Wonders” in 2013 and “Japanese Robot Invasion” in 2014. Further EPs “After Dark”, “The Thrill” and “Happy Valentine” followed, along with a reworked edition of “An Intense Feeling of Affection”.

After a pause in activity, the band returned with the EP “Lament” and the album “Darker Ages” in 2018, then the fourth album “Deadtime Stories” in 2024 on Alfa Matrix/Spleen+. Guitarist and engineer Eric Renwart joined the group for the 2025 “True Crimes” EP. Bernard Daubresse died in November 2025. Lovelorn Dolls continues with Lowagie and Renwart, and issued this Digital/CD edition of “True Crimes” as a tribute to Daubresse, its songs written and recorded with him except for the closing bonus track.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Nolwenn Boyet and Ronni Gauderat make up the French duo Buzzkill. Active since 2024, Buzzkill previously released an EP on Ganache Records. For their debut album, “Wasteland”, they joined forces with Manic Depression Records, a move that will help expand their audience. “Wasteland” blends Cold-Wave and Minimal-Electro influences, with a raw, uncompromising sound driven by icy synth textures and deep, brooding basslines. Nolwenn Boyet’s cold, detached vocal delivery complements the music throughout. I spoke with both Buzzkill musicians about the making of “Wasteland”. (Courtesy by Inferno Sound Diaries)

Buzzkill interview

Q: Let’s start with the origins of Buzzkill. When and how did the band come together, and what are your individual musical backgrounds? How did those experiences inspire you to form Buzzkill?

Nolwenn: We created a band shortly after meeting Ronni. At first, the project was very different from what it is today. We didn’t have the ambition to make something professional out of it, we just wanted to make music and spend time together. At the time we were a trio, with Ronni on bass and vocals, Axelle on synths and me on drums. When Axelle left the band, we wanted to try something else.

We started experimenting with a duo setup where I took over the vocals and synths, and the drums became electronic. We quickly felt that something was working. We compose together quite naturally and found a good balance as a duo. At the end of 2024, we wrote our first EP, which was a starting point for us. It really captured the beginning of Buzzkill and helped define our identity.

Ronni: I started playing music at 15, as a drummer in a Grunge band, which later became a Rock’n’roll band that I still play in today. At the same time, I taught myself guitar and started several other projects, including a Shoegaze band and a swamp Garage band with which I toured for eight years and released two albums. Today, I’m also working on a Synth-Punk duo alongside my other projects. My musical background is quite eclectic, maybe even a bit chaotic, but I’ve always liked moving from one style to another. The creative process is what motivates me the most. I just like writing music and exploring different directions.

Nolwenn: My journey as a musician actually started with Buzzkill. I had never sung, played synths or composed music before. I had only played a bit of drums when I was a teenager. Meeting Ronni is what pushed me to get into music. I like this kind of unexpected path and I’m still learning as I go. Ronni and I come from very different musical backgrounds, but we share the same approach. Keeping things simple and raw.

Q: Earlier this year, you released the debut album of Buzzkill, “Wasteland”. Looking back on the entire creative process, what stands out to you most? What was your vision for the album in terms of its sound and production?

Ronni: What probably stood out the most to us were the conditions in which we recorded the album. We did it in a garden shed, during a heatwave. It was a strange feeling to create such cold music while being in 40 degree heat. Maybe that’s what naturally led us towards the atmosphere of “Wasteland”.

Nolwenn: Like for our EP, we recorded everything ourselves. We used pretty much the same equipment, but we had improved a lot in the way we used it and knew more clearly where we wanted to go. With “Wasteland”, we wanted to create something that felt more like a complete album, with a stronger overall atmosphere. We also wanted to lean further into the Electronic side of the project. We spent more time working on synth textures, drum sounds and the atmosphere of each track. I also discovered my voice more and found the way I wanted to use it. For the bass, we wanted to keep that raw and upfront feeling, with a sound that doesn’t feel overproduced.

It was already part of the EP’s identity, and I think it shapes a big part of what Buzzkill sounds like. We were also careful about which songs we wanted to include. That’s why the album only has seven tracks. It felt complete that way, and we liked the idea of keeping it short and intense. For the mastering, we worked again with Mathis Kolkoz (Blind Delon), who also mastered the EP. We really like his work and trusted him for this.

Q: “Wasteland” is a bleak and evocative title. What does it represent to you, and which emotions shaped the music and inspired the lyrics?

Nolwenn: “Wasteland” represents our vision of an apocalyptic future. It’s a deliberately exaggerated and pessimistic vision, but deep down it doesn’t feel that unrealistic today. We wanted a strong title that would immediately evoke an empty and hopeless landscape. We were quite inspired by the post-apocalyptic and desert aesthetics of movies like “Dune” and “Mad Max”, as well as games like “Fallout” and “Borderland”.

The lyrics came from our anger and anxiety about the current ecological and social crises, but also from the feeling of injustice around the fact that the most vulnerable people are always the first to suffer the consequences. Through “Wasteland”, we imagine a future where no one can escape the collapse, not even the most privileged. It’s a sad thought that maybe the only moment when these inequalities could disappear is when we’re all facing the end of the world.

Q: In a way, “Wasteland” feels like the soundtrack to a world in decline – a place where people are struggling with both themselves and the reality surrounding them. How personal is this album, and what is your perspective, both as artists and as individuals, on the state of the world today?

Nolwenn: This album is very personal because it comes from the way we experience the world today and the anxiety it creates in us. But I think it speaks to a lot of people, especially younger generations who know they’ll grow old in this world, or at least in what will be left of it.

As I’m answering this interview we’ve reached 42°C in our city. There are major forest fires happening in our country and people are dying because of the heat, while political responses still seem completely disconnected from the reality we’re facing. It’s become impossible not to think every day about what the world will be like in 10, 20 or 30 years, and under what conditions we’ll be living. “Wasteland” is our cathartic way of putting words and sounds to the distress we’re feeling lately.

Q: I’ve always found it fascinating that some of the darkest, most nihilistic themes can inspire such compelling and even danceable music. There seems to be an intriguing contradiction between despair and movement. How important is that contrast to Buzzkill, and what role does music play for you as a means of expression?

Ronni: This contradiction is very much part of the DNA of Post-Punk. We’ve always liked that contrast in bands like Joy Division. We like the idea that music can make you want to dance while talking about very dark subjects. We also felt that fast tempos and repetitive rhythms were the best way to express tension and urgency. If we have to live in a world that’s falling apart, we might as well dance through it.

Q: Let’s talk about the live Buzzkill experience. What can audiences expect from a Buzzkill performance, and what atmosphere or emotions do you hope to create on stage? How do your songs evolve in a live setting compared to their studio versions?

Ronni: Live we try to keep things intense and direct. We don’t talk much, sometimes not at all. We like to step back and let the music take the lead. We try to build a set where the atmosphere can evolve naturally. We like playing almost without breaks because we enjoy the feeling of a 45 min set that keeps moving, with very little time to come back down. It’s a way to convey that overwhelming feeling we have. The bass also brings something very organic and physical to the live experience. I play it through both a bass amp and a guitar amp.

Q: Finally, what are your expectations and ambitions for Buzzkill following the release of “Wasteland”? What can listeners look forward to in the near future?

Nolwenn: We didn’t really expect “Wasteland” to get much attention at the beginning. We just told ourselves: let’s do our thing and see what happens. We were lucky to meet our friend and manager Stephy just before its release, and she really helped us give the album more visibility. Our main goal now is to keep defending the album on stage, in France of course, but also to start playing in other European countries.

We’d like to keep developing the project, see where this album can take us, and keep writing because it’s what drives us in life. We also want to keep surrounding ourselves with people we appreciate, discover new projects from the underground scene, and share the stage with artists we love. We’re already thinking about the next album and we’ve started writing again. We want to explore new directions, maybe something a bit more Electro-Punk, with more repetitive and hypnotic structures, while still keeping what makes Buzzkill Buzzkill.

To finish, we just want to say to everyone reading this: keep supporting the underground scene and independent artists. Keep going to concerts in dark and humid caves, discovering local bands and getting lost on Bandcamp. This counterculture only survives because people choose to support it. Thanks for that.

And thank you, Stéphane and Side-line for the interview 🙂

Nolwenn and Ronni – Buzzkill

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

About two years after the EP “Love Me Now (Not)”, American artist Azul Far returns with the debut album from her sonic alter ego, The True Union. Production duties were handled by Travis Bacon and Sebastian Komor, with additional contributions on selected tracks from Jamie Cronander (Combichrist), Hellhammer (Mayhem), and Tony Särkkä (Abruptum/Ophthalamia).

If you were already familiar with the EP, this album will hit you with even greater intensity. A palpable sense of rage runs throughout the record, fueled by personal experiences and emotional turmoil. Call the result Metal, Industrial, or simply a fusion of both—occasionally enriched with symphonic arrangements. Dark, aggressive, EBM-infused basslines further reinforce the album’s power, while Azul Far’s vocal versatility proves equally impressive. She effortlessly shifts between ferocious outbursts and more melodic, almost Pop-oriented passages, even as the music charges forward like a runaway train. The songs are short, uncompromising, and explosively powerful, giving the album the impact of a sonic blitzkrieg—it is over almost before you realize it.

The True Union is a relentless listening experience that leaves little room to catch your breath. It is a fierce and uncompromising debut that is sure to claim plenty of victims—or rather, devoted new fans. (Rating:8).

Side-Line first reported on the album’s Alfa Matrix release in April 2026, when “Sleepwalk” arrived as an 11-track digital album produced by Sebastian Komor.

Listen to “One By One feat. Komor Kommando”:

About The True Union

The True Union is the industrial metal and dark electro project of American singer and composer Azul Far, founded in 2009. A 2022 Side-Line report on the act joining Alfa Matrix listed The True UnioN as a Dallas-based act in its opening line, while the same article’s detail section placed the project in Denver, Colorado; Side-Line has not resolved which city applied at the time of founding. The project was originally conceived as a studio-only outlet, with Far beginning to recruit musicians for live performance from 2017 onward.

The True UnioN joined the Belgian label Alfa Matrix in 2022, first appearing on the label’s “Sounds From The Matrix 023” compilation with the track “Purousthai”. The same year, the project released the EP “Love Me Now (Not)” on Alfa Matrix, produced by Sebastian Komor with additional work from Siggi Bemm, Travis Bacon and guitarist Jamie Cronander (Combichrist). The EP also featured Azul Far’s guest vocals on “One By One”, a track written for the Komor Kommando EP of the same name, after Komor worked on production and mixing for The True Union. In March 2023, Azul Far discussed the project in a Side-Line interview titled “An order amongst the chaos!”

The True Union’s debut full-length, “Sleepwalk”, followed in April 2026 on Alfa Matrix as an 11-track digital and CD album, again produced by Sebastian Komor, with additional contributions from Travis Bacon, Jamie Cronander, Hellhammer of Mayhem, and the late Tony “IT” Särkkä of Abruptum and Ophthalamia, who died in 2017.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Some may already be familiar with the Mexican solo project Ego Bliss through the debut album “What The Future Holds” and the subsequent EP “Future”. This follow-up took more than two years to complete, making the wait a fairly long one.

Ego Bliss remains true to its influences, delivering a style best described as powerful Electro-Pop. EBM elements provide the necessary punch, while other tracks lean more towards Future-Pop. Throughout the album, the production is polished and meticulous, resulting in a collection of consistently strong songs. “Afterlife” also offers enough variety to keep things engaging from start to finish.

While the album may not feature an obvious hit single, it more than makes up for that with a solid selection of powerful, well-crafted tracks. I particularly enjoyed the contrast between the dark, aggressive basslines and the bright, melodic Electro-Pop arrangements, a combination that gives the album much of its appeal. (Rating:8).

Side-Line reported on the album’s Infacted Recordings release in June 2026.

Listen to “Moments”:

About Ego Bliss

Ego Bliss is an electronic project from Tijuana, Mexico, and a recent signing to Infacted Recordings, the German label founded in 2001 and run by Torben Schmidt, which focuses on electro, synth-pop and futurepop. Before joining Infacted, the project issued earlier work through the Mexican label Sector Industrial Producciones; Side-Line reviewed the EP “Future” and the album “What The Future Holds”. According to the label, “Afterlife” was shaped over about two and a half years and draws on themes of loss and change. The twelve-track “Afterlife” is Ego Bliss’s first release for Infacted Recordings, following its earlier work on Sector Industrial Producciones, and is reviewed here on Side-Line.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

While George Klontzas will probably remain best known for his work with Pre.Emptive Strike 0.1, he has meanwhile firmly established himself with his solo project, Teknovore. Released earlier this year, “Hamartia” is a five-track EP featuring guest vocal performances by Mathieu Caudron (Moaan Exis) and Marie Lando (Grabyourface), each appearing on one track.

Teknovore continues to refine a sound rooted in uncompromising Hard-Techno. The music hits with tremendous force, propelled by massive, earth-shattering kick drums and enveloped in an unrelentingly dark atmosphere. EBM influences have largely receded into the background; the project’s current direction leaves little room for unnecessary embellishments or gimmicks. Instead, every track drives relentlessly forward with raw intensity and precision. Powerful lead synths cut through the pounding rhythms, adding another layer of energy, while the guest vocals provide welcome variation and extra depth.

“Hamartia” is a ruthless, uncompromising release that perfectly captures the sheer power of Teknovore: hard, intense, and impossible to ignore. (Rating:7½).

Listen to “Coercion”:

About Teknovore

Teknovore is the solo project of Greek musician George Klontzas, previously known for his work in Pre.Emptive Strike 0.1, and also involved with Croona and Cynical Existence. He set up Teknovore after the final Pre.Emptive Strike 0.1 album, “Progeny Of The Technovore” (Infacted Recordings), a title from which the new project takes its name. Teknovore mixes EBM, EBSM, psytrance and industrial techno, built around science-fiction themes, cosmic horror, and the metaphysics of identity.

The project’s debut album, “The Theseus Paradox”, was self-released on Bandcamp on 1 July 2022 and featured guest vocals from Jay Taylor of J:Dead, Jay Ruin of RNZR/Ruinizer, and Fredrik Croona. It was followed by the album “Caerdroia” on 5 July 2024, “Liminal Space” on 13 June 2025, and the collaborative track “Aphorism” with Draven on 29 August 2025. Tracks are mixed and mastered by Dimitris Douvras at Lunatech Sounds, with cover art by Nikos Stavridakis at VisionBlack. The five-track EP “Hamartia”, released via Infacted Recordings on 13 March 2026, is Teknovore’s first release for the German label.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

For anyone familiar with the Italian underground electronic scene, Diskonnekt may appear to be a relatively new name. In reality, the duo is the result of years of musical experience brought together in a project that finally allowed its members to fully embrace their passion for electronic music. The band was formed in 2018 by producer and composer Vincenzo together with vocalist Andrea. The name Diskonnekt carries a meaning that goes beyond its dancefloor-friendly sound: it symbolizes the need to disconnect from what has become harmful or no longer serves a purpose, and reflects a broader commentary on today’s digital world, where an early internet that was once open and unrestricted has gradually evolved into an environment dominated by control and regulation. With “La Morte Del Sole” released by Halotan Records, Diskonnekt now presents a new chapter in its artistic journey. The album further develops the duo’s dark electro sound, combining powerful rhythms with an introspective atmosphere. It provided the opportunity to talk with the band about the origins of Diskonnekt, the ideas that drive their music, and the creative process behind the new release. (Courtesy by Inferno Sound Diaries)

Diskonnekt interview

Q: “La Morte Del Sole” is your second album. How did the transition from your debut album to this new work unfold? What were the main triggers and sources of inspiration behind both the music and the lyrics?

Vincenzo: The earliest songs of the first album were quite Experimental. At that time I preferred to make faster songs with D’n’B rhythms and hardstyle elements, while keeping the darkness in the melodies. All combined with Andrea’s screaming. It was all instinctive, I didn’t think about chasing any genre. I liked to have various bases from song to song cause I didn’t want to get bored myself listening to the songs first. Then I started to slow down a bit and came out something that we liked more and more, using more the pounding rhythm typical of Techno but also of EBM. This transition phase is represented by a 3-track EP released in 2021, as well as the single “Eyeopener”.

We got a taste for it and in 2024, while I was going through a very controversial personal period, I started writing the songs contained in the new album. “La Morte Del Sole“ is the impossibility of reaching the truth, both in the knowledge of everyday events and in personal relationships. Some lyrics are a bit introspective and personal such as “Oggi Qualcosa Muore” (translated “Today Something Dies”), others talk about the reality that surrounds us in a decadent key. Some others express irrepressible impulses and strong feelings for which one can go so far as to die. The pounding and distorted rhythm typical of EBM comes to our aid as a solid basis for expressing our points of view, added with our beloved Acid parts, dark atmospheres and melodies.

Q: How did “La Morte Del Sole” come to life? Could you take us through the different stages of its creation, from the initial ideas to the finished album? What were the greatest challenges you faced, and which moments gave you the strongest sense of accomplishment?

Vincenzo: The first song that established the new formula was “Piombo (Lead)”. As I always do, I started from the rhythm. As a big fan of The Prodigy, the part I like to take care of the most is B’n’D, because it’s  the one that drag everything forward and make the floor shake.

Choosing the sounds this time was a longer and more refined process, I never wanted to settle. It was a fairly long and delicate process, and not easy. Each track needs its time. I also took care of post-production much more, I personally took care of everything including mastering. Andrea’s voice in this new formula has found the right space to best express all the anger. The biggest challenge each time is to simplify everything, because often during the composition different sounds and layers are inserted which are then useless and even dispersive. Simplicity and being direct are the hardest things to obtain. But once finished, the album immediately gave us a great feeling. And we wish the same to our listeners. We can say we put on it everything we had inside.

Q: One thing that immediately struck me while listening to the album is the constant sense of power and aggression that runs through the songs. It feels as though a great deal of anger, frustration, and tension found its way into the music. To what extent is music a means of channeling, regulating, or even exorcising such emotions? How do you personally experience this process, and what role does making music play in your life beyond artistic expression?

Vincenzo: Music is literally my everything. I could not fulfill myself in anything else. In addition, I work in a music rehearsal room so I live every day in contact with bands. But as I live it, making music is above all catharsis. A process of personal purification, the final effect of which is a transfer of energy. In our case, as you well said, a considerable amount of power and aggression comes out. Because these are the sensations that, first of all as listeners, give us energy. Music is a form of non-verbal communication, but very strong and powerful, for us the most natural way of communicating our emotions.

Q: Many Dark-Electro artists present a dystopian vision of the future, and Diskonnekt is no exception. Do you feel that reality has now overtaken fiction in that regard? Looking at the world today, how much do these developments affect you personally, both as artists and as human beings?

Vincenzo: I think that we no longer need to think about a dystopian future, reality has now outclassed it. Living in a society where truth is almost a crime and lies are dogma, we have exceeded all expectations in this regard. Orwell’s “1984”  is no more science-fiction. Of course, all this is a source of inspiration, as we prefer to talk about the sick part of existence, both inside and outside of us. You can read it more or less explicitly in the lyrics. “Realtà A Circuito Chiuso” (translated: “Closed-Loop Reality”), for example, refers to the myth of Plato’s cave, of how one can get to see the truth and continue to prefer the lie, because perhaps more comfortable, to be socially accepted. “La Morte Del Sole” (translated “Death Of The Sun”) is the child of today’s reality, the perversion of power without limits, the celebration of lies, the truth (the sun) impossible to pursue, the overload.

Q: I imagine that performing live is a central aspect of Diskonnekt, especially given the importance of atmosphere and visual presentation within the genre. What have your experiences on stage been so far, and what do you hope to convey to an audience when you perform live? Is there a particular mission or philosophy behind your live shows?

Andrea: We started performing live right away, even before we released the first songs. We have a great desire to broadcast our music live. Being two people on the stage, sometimes we made use of some dancers, some experiments turned out to be very relevant and we think we can repeat it in the future. Combined with the right atmosphere and the right audience, our musical proposal can be better appreciated on live performances. Often it happens that people who come to our concerts do not know us and discover us in this way, this makes us very happy. Our mission is to convey all our energy to people.

Q: If you had to associate Diskonnekt with a film, a book, a historical event, a specific year, and another artist or band, what would you choose in each case, and why?

Andrea: We could associate it with films like “The Matrix” or “Strange Days”, because Diskonnekt has that nocturnal atmosphere, a bit dystopian and melancholic, but with flashes of light. It’s music that makes you feel like you’re in a rainy city at 3 a.m., where everything seems disconnected but is actually connected. A real closed-circuit reality.

About Diskonnekt

Diskonnekt is an Italian dark electro duo formed in 2018 by producer and composer Vincenzo together with vocalist Andrea. The project released its self-titled debut album in 2020, followed in 2021 by a 3-track EP and the single “Eyeopener”. A further single, “Radio Otagron”, appeared in 2024.

Diskonnekt’s second album, “La Morte Del Sole”, was released on 10 April 2026 through Halotan Records as a seven-track digipack CD and digital album, with free MP3 and FLAC downloads offered through the label. Side-Line reviewed the album on 14 June 2026, rating it 9 out of 10 and calling Diskonnekt “a name to remember”.

This interview marks Diskonnekt’s first extended conversation with Side-Line, covering the origins of the project, the themes behind “La Morte Del Sole”, and how the band approaches its live shows.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Timo Revna—also known for his work with Reichsfeind—has been active under the name Destroy Me Again for several years. For “Fill The Void”, he selected no fewer than 18 tracks from the project’s back catalogue, reworking them into fresh new versions and even re-recording the vocals.

Destroy Me Again remains instantly recognizable, staying true to its distinctive Future-Pop influences. There is a perfect balance between driving EBM basslines and soaring Trance-inspired leads, resulting in a sound that is powerful, melodic, and irresistibly danceable. At the same time, Destroy Me Again offers enough variety, making room for a few calmer, dreamier compositions alongside the more energetic material. There are darker moments as well, while several tracks are enhanced by beautiful male-female vocal duets. I hesitate to make direct comparisons, but fans of X Marks The Pedwalk will undoubtedly find plenty to appreciate here.

Fill The Void is an excellent retrospective that not only highlights the evolution of Destroy Me Again but also demonstrates why this project deserves a much wider audience. (Rating:8).

Listen to “Persona”:

About Destroy Me Again

Destroy Me Again is a project based in Frankfurt am Main, Germany, signed to Infacted Recordings. It is fronted by Timo Cromm, who is also known for his work with Reichsfeind. The project’s catalogue includes the albums “Living In Space”, “Dopamin” and “Cold By Design”, along with several earlier EPs. For “Fill The Void”, Cromm revisited 18 songs from that back catalogue, reworking the arrangements and re-recording the vocals for a retrospective set that spans the project’s Future-Pop sound.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Thalie Némésis is a French artist who together with The Memory Of Snow founded her own label.” Dé(s)figurations” is her latest album, featuring a collaboration with Eva|3 on one track, while mixing and mastering were entrusted to Peter Rainman.

The album opens with a powerful composition that recalls Industrial and Goth-Metal, immediately showcasing Thalie Némésis’s enchanting voice. As the record unfolds, it gradually reveals calmer and, above all, more dreamlike pieces, although several of them are punctuated by explosive, heavier climaxes. Her Ethereal vocals act as a guiding force, leading the listener like a mermaid—or perhaps a muse—through a magical sonic landscape. The floating, atmospheric passages often evolve into something almost Cinematic. Towards the end, a growing sense of foreboding takes hold, culminating in a mystical and captivating closing track.

Above all, Thalie Némésis is an artist with a distinctive artistic identity—something I find far more compelling than the work of those who simply rely on a predictable ‘copy-and-paste’ formula. (Rating:7).

Side-Line covered the release of “Dé(s)figurations” when it came out on Meridian Noir Records in May 2026.

Listen to “Ruptures”:

About Thalie Némésis

Thalie Némésis is the solo project of the French musician Nathalie, based in Aix-en-Provence. The project first appeared in 2013 and released early material in 2014, including work with Les Modules Étranges, before a long pause. Thalie Némésis returned with the 2025 EP “Catarsi Apotropaica,” which forms the first half of “Dé(s)figurations.” Nathalie co-founded Meridian Noir Records, a French label for dark alternative music, with Albin Wagener of The Memory of Snow, whose album “Inside” the label released in June 2026. “Dé(s)figurations,” out May 22, 2026 on Meridian Noir, is reviewed above.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Mängelexemplar (MNGLXMPLR) has been active for 15 years, steadily winning over fans with its distinctive synth-driven sound. On this latest album, the German duo—Lilli B. and Joa Carisma—presents eleven brand-new tracks.

The title track, which also serves as the opener, is a brilliant composition that perfectly embodies the spirit of Minimal-Wave and Electro. Highly danceable, it combines fantastic synth work, robotic vocals, and unmistakable Kraftwerk-inspired textures. In my opinion, it ranks among the finest Electro tracks released in recent years—a genuine masterpiece. While the remaining songs may not quite reach the same extraordinary level, the album consistently delivers music of the highest quality. The warm vintage production and classic 80s drum machine rhythms evoke a powerful sense of nostalgia, yet MNGLXMPLR effortlessly transform these influences into a fresh, contemporary sound where minimalism meets meticulous craftsmanship. Subtle EBM elements occasionally surface, and a few darker compositions add extra depth, but the album never loses its focus or momentum. The closing track, sung in English, provides a welcome contrast to the predominantly German-language material.

“Neue Zukunft” is an exceptionally accomplished release, with every element perfectly balanced. It is a remarkable album that deserves to be discovered by anyone with a passion for classic Electro, Minimal-Wave, and intelligent Electronic music. (Rating:9).

Listen to “Neue Zukunft”:

About Mängelexemplar

Mängelexemplar (MNGLxMPLR) is a synth wave duo from Düsseldorf, Germany, active since 2011. The lineup comprises Lilli B. on lyrics and vocals and Joa H. (Joachim Saleina) on synthesizers, rhythm machines, and vocals. The duo releases through Infacted Recordings and its own imprint, Carisma Studios. Their previous full-length, “Non Plus Ultra,” appeared in 2020. Mängelexemplar previewed the follow-up with the singles “Hochhausdach,” “Mängelexemplar,” “Neue Zukunft,” and “Kontraste” before Infacted Recordings released the “Neue Zukunft” album digitally on March 27, 2026, with Carisma Studios issuing a limited 12-inch vinyl edition. That album, reviewed above, is the duo’s first full-length release since “Non Plus Ultra.”

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Null Subject is a British solo project based in Bath. That always makes me think of Jane Austen’s novels, in which Bath frequently appeared as the place where the ‘beau monde’ gathered during the summer months.

With Null Subject, however, we get a potent antidote to summer and merriment. This is harsh, relentless Rhythmic-Noise—a seven-track release that quickly descends into pure terror. The way the tracks are constructed is captivating, with subtle details that immediately catch the ear. From music-box-like openings and spoken-word samples to metallic textures, there is always an element that draws your attention before rapidly giving way to harsh, repetitive loops.

This is more than just a successful debut; it is a remarkably confident statement that is sure to appeal to fans of Rhythmic-Noise. The project would certainly be at home on one of the established labels within the genre. (Rating:7½).

Listen to “Ludovico Technique”:

About Null Subject

Null Subject is a solo rhythmic noise project based in Bath, England. The project released its debut album, “The Despair Rapture”, as a self-released digital download on March 11, 2026. The seven-track album includes “Sometimes The Intrusive Thoughts Win”, “It Never Ends”, “The God Inside My Ear”, “Ludovico Technique”, “They’re The Reason You Can’t Sleep”, “The Despair Rapture” and “We Falter”. No further release history or label affiliation has been published for Null Subject to date. “The Despair Rapture” marks the project’s first reviewed release on Side-Line.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Simon Paul Goold is an English artist who has been active for several years under the pseudonym D•SiPAUL. After releasing a series of EPs since 2022, he returns this year with his first full-length album, featuring 11 tracks.

This is a surprisingly engaging record on which D•SiPAUL blends a variety of Electronic influences. The sound occupies the space between EBM, Future-Pop, and Electro-Pop, while the sultry vocal delivery and driving rhythms give the music a sensual yet consistently dark edge. Powerful, highly infectious choruses elevate several tracks into genuine highlights. The production is equally impressive-rich, polished, and at times almost overwhelming.

For me, “Bathed In Neon Light” is a highly successful introduction to D•SiPAUL, confirming him as an artist well worth keeping an eye on. (Rating:8).

Listen to “It’s No Good”:

About D•SiPAUL

D•SiPAUL is the recording project of English artist Simon Paul Goold, based in Welwyn Garden City, UK. Goold describes the project’s sound as dark electronic melodies and harmonies, with haunting vocals. He released his debut EP, “ITCH”, on 14 January 2022, followed by “Under The Same Sun EP” and “Mode Re-Formula” on 6 March 2024, and “ITCH 2” on 20 March 2024. “The Silence EP” followed on 18 February 2025, and “Beautiful Mess EP” on 2 May 2025. D•SiPAUL released his debut full-length album, “Bathed In Neon Light”, on 8 May 2026 via Bandcamp.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Some artists need no introduction; their track record speaks for itself. Mention The Klinik, Absolute Body Control, Monolith, or Sonar, and Eric van Wonterghem immediately comes to mind. His newest project is EXPO. Under this moniker, he released the debut album “Interconnection” on his own label, Prodam Records, in late 2025. With “Interconnection”, the Belgian electro pioneer moves into electro-ambient territory, sounding quite different from what we have come to expect from him. This is no conventional dark-ambient record either: Eric keeps his own sonic stamp on every composition. What struck me most is the power radiating from these soundscapes, a quality I associate with the best drone-inspired music. The album asks more of the listener than most of Eric’s earlier work, and it keeps revealing new details with every listen. Reason enough for an Eric van Wonterghem interview about the origins, ideas, and future of EXPO. (Courtesy by Inferno Sound Diaries)

Yet this is far from a conventional Dark-Ambient release. Instead, Eric has infused the compositions with his own unmistakable sonic identity and artistic vision. What struck me most was the sheer sense of power radiating from the soundscapes-a quality often associated with the best  and most visionary Drone-inspired music. EXPO may be less immediately accessible than most of Eric’s previous work, but it is a compelling and rewarding album that reveals new layers with every listen. It marks an exciting new chapter in his career, and one can only hope it will be followed by further releases. That alone makes this the perfect moment to sit down with Eric and discuss the origins, ideas, and future of EXPO. (Courtesy by Inferno Sound Diaries)

Eric van Wonterghem interview

Q: Eric, over the past 40 years or so, you have been involved in numerous projects and have experimented with different genres. EXPO appears to be your first venture into a more Ambient-Electronic and Cinematic sound. Had this been an idea you had been considering for some time, and how did EXPO actually come into existence?

Eric: I always liked to experiment in many different styles in Electronic music. I am fascinated in sounds since youth, the Ambient sessions I do make that more often in the studio it is like my therapy. I also like to explore the power of one type of noise or one filtered note played on a instrument, or listen to percussive sounds put into effect pedals , it can create an ‘out of this world’ endless new sounds.  Mostly these sessions are just made in that moment and disappear after that, or many end up now onto harddisk as since last year I did record many real time sessions having a small multitrack connected to the equipment.. nothing more to do then push the record button to capture that moment.

One weekend I decided to use a recording like that and put it out on vinyl under the name EXPO (of sounds) a name I choose as a base for all the sound sessions I do. So Happy it is released on vinyl instead of putting it on the data shelf between the rest…

Q: What are the main ideas and concepts behind the EXPO project and the album “Interconnection”, both thematically and musically? How did you translate those ideas into the music itself?

Eric: For this project I use minimal instruments or machines to create sound sessions and atmospheres that I like to hear away from  the rush, work and party world. I think it would fit nicely in a small (art) exhibition or an abandoned place where I can simply enjoy making this sound without feeling the need to live up to the listeners’ expectations. It is that all and everything in this world is somehow connected and influence other things, and I need as much time light and I also need  darkness. In a way  EXPO is the counterpart from the Monolith and Sonar sound. Working on different projects makes me feel more complete as a musician. I don’t think I could stay with just one project for my entire life, even though, if you’re aiming for success, that’s probably the best approach.

Q: I understand that approaching an Ambient composition is very different from writing a track for Monolith, for example. What have you discovered about yourself through this process, and is there anything you learned as a composer while creating this album?

Eric: Oh I am always into discovering or tryout new ways, super interested in all this new technology. For EXPO I stepped away from song structure what give an unbelievable freedom to let just focus on sound and ambience. For myself I discovered in this moment it’s a very nice way to express myself as an artist.

Q: Looking at the song titles on “Interconnection”, the album seems to present a rather dark and dystopian view of the world we live in today. How do you personally see this rapidly evolving world, especially at a time when so many people are struggling with mental and emotional challenges? And in your view, is the situation really that different from the 1980s, when you first started making music?

Eric: It is terrible what goes on for many nowadays, leaders take away security from the people, add higher taxes, higher payments, make bad choices and all must accept it..,,.. Still I refuse to involve all this in my music as for me it is the only place to get away for a moment. In the 80s when I was  young it didn’t affect me so much, having more energy,  go the weekend out, back to work on Monday and making plans for the future. It is a big difference. In choose the title “Interconnection” in another context. It’s about a connection between different systems that need the other to function well.

Q: So the title suggests connection, communication, and networks, yet many of the tracks evoke feelings of tension, solitude, and uncertainty. Do you think modern technology has truly made humanity more connected, or has it simply created the illusion of connection while people become increasingly isolated from one another?

Eric: With or without the technology?  As I got ASS,  isolation  gives me peace in my mind, it really is.… But I know it’s a problem for most people to get isolated so I keep this short 🙂

Q: Dystopia often seems to have become reality, a reality in which machines-and I’m thinking especially of artificial intelligence-are increasingly taking over tasks once performed by humans. On the one hand, this feels closely connected to the theme of “Interconnection”, while on the other hand AI itself has become a creative tool, as I suspect the album cover may have been generated with the help of AI. How do you look at this development critically, both as a human being and as an artist?

Eric: For the music I need to be creative myself. As I said I am interested in sound, creating a song or noises, even if it takes time to get some idea in the mind out on the recorder.

In my opinion AI used in music is a gift for those who directly want to skip the joy of making music and like to be posers on the stage more then creating something.

I know AI can make better tracks then me. If you think in time and money, it’s perfect for many.

The sleeve from the album is made by Rafael aka 400 blows a graphic designer who made it all from scratch. However after that I let AI make some video loops starting from that sleeve design and edit this in a video program mixed with the sound to have some EXPO videos on Youtube/music

Q: Do you have specific plans to bring EXPO to the stage, perhaps in combination with visual artists or multimedia elements? How do you see the future of this project evolving?

Eric: One day I like to do that, but I guess it will stay in a  small  cosey setup. I give it time as it’s more important for me to compose the tracks and I like to put it on a limited vinyl and hopefully I’ll be able to do it again.

For all my projects I had in mind at some point to work with video artists, designers, performers, extra musicians, but it’s not easy to travel and cover costs with new projects.

We will see what future brings, but I hope it will be still a lof of things:)

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

“An Order Of Things” marks the seventh studio album by the Belgian band La Jungle. Originally a duo, the group has now expanded into a trio -featuring two drummers, delivering nine new tracks.

La Jungle has earned widespread recognition within the broad Krautrock scene over the years, and it is easy to understand why. Their compositions are meticulously constructed, driven by hypnotic crescendos that gradually build towards powerful climaxes. Propulsive drumming and scorching psychedelic guitars combine to create a distinctive sonic experience, one the band manages to sustain throughout almost the entire album. Vocals appear only sporadically, functioning more as an additional texture or atmospheric element than as a conventional melodic focal point. Along the way, La Jungle is unafraid to broaden its palette, weaving in unexpected influences—including touches of Techno—that further enrich the music.

I have been a fan of La Jungle for many years, and “An Order Of Things” offers yet another compelling demonstration of the band’s remarkable creativity and musical vision. (Rating:8).

Listen to “Witches Carousel”:

About La Jungle

La Jungle is a techno, krautrock and trance project from Mons, Belgium, built around Roxie and Jim, joined more recently by a second drummer, Da. The band has toured extensively, passing the 700-show mark over more than a decade on the road. Side-Line spoke with the group in a 2023 Click Interview about organic trance music.

La Jungle’s discography includes the self-titled “La Jungle” (2015), “II” (2016), “Past // Middle Age // Future” (2019) and “Ephemeral Feast” (2022). “An Order Of Things”, released in 2026, is the band’s seventh studio album and the first to feature the group as a trio with two drummers.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Planetdamage is a Hungarian Electro project driven by Mariusz Bari. “Killcaps” is the artist’s second album, featuring 15 tracks, including several remixes.

Planetdamage delivers a distinctive yet familiar brand of Electro. The music draws on a wide range of influences, from EBM basslines and Trance-inspired leads to Techno and Psy-Trance elements. The overall sound is powerful, meticulously crafted, and at times even visionary, highlighting the artist’s creativity. While subtle traces of Front Line Assembly can be detected, the music is much more than a mere homage. The pitch-shifted vocal production is perfectly suited to the dark, futuristic atmosphere Planetdamage creates. The remix section is equally impressive, with contributions from Kris Baha, Angelspit, and—last but certainly not least—Statiqbloom.

This is a compelling album that I can wholeheartedly recommend to fans of eclectic, modern, and intelligent Electro. (Rating:8).

Read the news on “KILLCAPS”.

Listen to “Renaissance (Mimicry) v.2”:

About Planetdamage

Planetdamage is the Budapest-based solo project of Máriusz Bari, a writer, journalist, lecturer and musician. Planetdamage was founded 2016 and is one of two aliases for Bari’s musical work, the other being RTFXX.

Bari self-released the EP “Snapshots of a Surveillance Manifesto” on May 25, 2016. After that, he moved to Two Gods Records, the label run by Martin Bowes of Attrition, where he released “Angst” on December 1, 2016 followed by the physical “Angst LP/2CDEP” on September 23, 2017, and “Stray Signal” on February 1, 2018.

He then shifted to Black Pill Red Pill Records with “Hi Rez Lo Life”, released on January 11, 2019. It was followed by “Scraps” on June 16, 2020, the debut full-length “Relapse Protocol” on November 13, 2020, and “Relapse Protocol – The Remixes” on May 31, 2021. Later releases include “Black Ice” on March 4, 2022, the RTFXX release “Cheatcode (Neongreen is Humanmeat)” on March 3, 2023, the 2024 cover “Én leszek a mély”. The project also participated on the Hungarian compilation “New Horizon”, and now there’s “KILLCAPS”, the album reviewed here.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

The name Henrik Karlsson may ring a bell for some listeners, as he is best known for the Swedish Dark-Electro project Seven Trees. It has been since 2022 that Seven Trees last released new material. About a year later, Henrik unveiled the debut album from Subverge, his solo project. As he explains in this interview, he no longer felt compelled to adhere to the familiar structures of Dark-Electro and EBM. Instead, inspired in part by the legacy of Cold Meat Industry, he began exploring a very different sonic landscape. Subverge merges Dark-Ambient and Experimental music with slow, hypnotic rhythms, resulting in a sound that is both immersive and distinctive.

To date, four albums have been released through Henrik’s own label, Arcane Dirge. Earlier this year, he teamed up with Alien Productions to issue two compilation releases, bringing together a carefully curated selection of album tracks, compilation contributions, collaborations, remixes, and previously unreleased material. These collections provide an excellent introduction to a remarkable project that transforms its influences into something deeply personal and creative. I spoke with Henrik Karlsson about the evolution of Subverge, his creative philosophy, and the musical path that led him there. (Courtesy by Inferno Sound Diaries)

Subverge interview

Q: It strikes me that the first Subverge album was released after Seven Trees’ last activity to date. How did Subverge come about, and to what extent is Seven Trees still active today?

Henrik: Although the first Subverge album was released in 2023, I have silently been trying various Subverge sound designs and concepts since around 2016. I did a couple of compilation tracks in 2016-2017 together with Worms Of The Earth, but aside from that I wanted to take my time to refine the sound and was also busy working on Seven Trees material. Alternative versions of the aforementioned compilation tracks are available on my latest compilation, “Sequenced Suffering”. Those were early experiments, but both me and Dan (WotE) were really happy with how they turned out so I decided to include them on the release.

As for Seven Trees; although we have talked a lot about making new material for the past 2-3 years, we have been pretty much inactive as a team since our latest release, the remix album “End/Dead” (December 2022). Earlier this year, however, we decided to start working on new material. We have a few tracks that we’re working on, and that are quite close to completion, but have not decided what to do with them yet.

We have mixed feelings about being on a label since you always have to wait far too long from when the material is finished until it is released, to fit the label’s release schedule. This is only natural of course, but it can be quite frustrating. So, we are looking to do some kind of self-release first, probably a single or EP to start with. We are eager to get some material out there and I don’t think we will be working towards an album right now. If things work out well with these tracks, we might consider it in the future.

Q: Musically, Subverge takes a very different direction from Seven Trees. What led you to this shift in composition? What were your initial influences and references, and what are you trying to express musically and artistically through Subverge?

Henrik: I was honestly rather tired of working with the typical verse/chorus/verse/chorus layout of tracks that’s in Industrial and most other genres, and felt like experimenting with a whole different more ‘free’ structure. I started out doing a lot of Death-Industrial and Power-Electronics, but ultimately felt like something more Dark-Ambient-esque was closer to what I wanted to express as Subverge.

With Subverge I want to explore the darker shades of the human psyche, to stir up excentric emotions and to hopefully have the listener indulge in the pitch black soundscape shaped during profound rituals. I don’t feel like I have any particular influences that SUBVERGE draws on, but as for DI/PE some of my favorite acts are Brighter Death Now, Genocide Organ and Control.

I started listening to Dark-Ambient in the early 90’s -mainly buying albums from Roger Karmanik – so of course Raison D’être, Morthound, In Slaughter Natives and Arcana are some given subconscious debris. I actually made a playlist called “Zechrum Roots” (“Zechrum” being my first album) on Spotify which contains a lot of what was probably going on deep in my mind when composing that album. Aside from CMI related acts, and other Dark-Ambient projects, I seem to gear towards early Delerium quite often, according to others.

Q: Subverge’s music sounds like a kind of legacy of the Swedish Dark-Ambient scene, yet it also seems to go a step further, as it incorporates more Electronic elements and even rhythmic structures. How do you perceive your own music, and can you give us some insight into your compositional process versus your studio setup and capabilities?

Henrik: My compositional process is very unorthodox. For the past 3-4 years, I have challenged myself basically every day to do these ‘90 minute flow sessions’ where I as quickly and focused as possible enter a flow state and make as much music as is possible in 90 minutes. These 90 minute ‘flow embryos’ typically turn out well, and I later on often make complete songs out of them. Most of what’s on my latest albums started out as 90 minute embryos, just polished and developed on later.H

When it comes to ingredients (electronics, rhythm) -unless I make more of a ‘concept album’ such as “Triox Rudna”, I really have no boundaries of what to use as long as it fits the track in question. I don’t like to only use what’s traditionally used in a specific genre, I want to inject some of my own ideas, even if the foundation might be close to Dark-Ambient. For example, I feel that “Etterath” is the opposite of “Triox Rudna” with more explorative and experimental soundscapes.

Q: In the meantime, you have already released four studio albums on your own label, Arcane Dirge, and this year two compilation releases appeared on Aliens Production. How do you look back on these different releases and the overall growth process behind them? And what do these compilations mean to you?

Henrik: Well, personally I think these 4 albums are rather different from one another, while still staying within the same realm. “Zechrum” is a bit more Martial and Neo-Classical, “Etterath” is rather Experimental, “Xoubec” is somewhere in between, and “Triox Rudna” is made to be more towards the meditative and contemplative form of purer Dark-Ambient. The latter is the album I am most satisfied with so far.

As for growth I do think that certain aspects of my composing, mixing and production have become better and better as time has gone by. The 3-4 years of daily ‘90 minute flow sessions’ have become detrimental for my output these days – they lead to a lot of music being made and a lot of finished tracks.

As for the compilations, the first one – “Select”, is a release I wanted to make as an introduction to the more meditative and contemplating side of Subverge, for people who haven’t heard my stuff before. I picked what I feel are the most appropriate tracks from the albums and sequenced them accordingly, and threw in 3 unreleased tracks as well.

“Sequenced Suffering” on the other hand is more of an album really than a compilation, since it has no previously released material, and it flows like an album. But, since it consists mostly of alternate versions and remixes of tracks from previous releases, aside from the 4 new tracks, it felt most appropriate calling it a compilation. I am really happy with how these turned out and I feel both were necessary for me to make before proceeding with new material.

Q: On several of your albums, you seem particularly focused on the human inner self and psyche. Which aspects of this fascinate you most, and how are they translated into music-or vice versa?

Henrik: I think I’ve always had a fascination for the human psyche, as in states that fall outside ordinary experience – trauma, addiction, the ways people get caught and can’t move forward. For example, in Seven Trees a lot of the lyrics are about getting caught in various forms of abuse – such as doing hard drugs, or just being unable to strive in life due to whatever reason. I think Subverge is not so different from this, it’s just that there are no vocals, so the music itself gets to be in the very forefront of describing these topics.

I think this comes through largely because of how I work – in those focused flow sessions I mentioned, I’m not consciously setting out to depict these states. They simply surface. The process seems to bypass the deliberate, planning part of the mind and lets whatever is underneath come through more or less directly, which is probably why the music ends up where it does emotionally rather than where I might have ‘designed’ it to go. As a reflection of this I mainly like to name my songs in an unconventional way for being Dark-Ambient, such as “I Failed” and “One Last Embrace”, because I think it fits the song and what I’m trying to project using them.

Q: To my ears, the Subverge music also has a strong cinematic quality. Have there already been projects-or are there any in the pipeline-that combine your music with visual art? And which film, book, or even event/disaster would you choose as a conceptual backdrop for your work?

Henrik: On the visual side, the artwork for my releases is a genuine collaboration rather than something added on afterwards. They’ve mostly been done by Ville Hising, who has an eye for translating what I do into visual art. But also -my partner, Jeannie Nadeau, is a photographer. The cover and digipak for “Triox Rudna” was designed by her and was made largely based on photography with a custom-built camera that captured the path of the sun over an entire year – a single long exposure spanning twelve months. She’s now also working on the visual world for my new project, Hierophania. So in that sense music and visual art have been intertwined in what I do.

As for what’s still ahead, making music for a movie or short film is actually high up on my list. I have done two tracks for horror book YouTube launch trailers, which was quite difficult, compressing my composing style to just 1:30 a track in length. One of these ended up finishing off the “Xoubec” album. I would love to make music specifically for somewhat deranged and just plain weird movies. As a backdrop I would love for certain tracks to be played alongside really introspective and bleak movies such as “The Lighthouse”, “Eraserhead”, “Stalker”, or “Kafka”.

Q: What does the future hold for Subverge and any other projects you are currently working on?

Henrik: Right now I am aiming to release an album with the new project I mentioned that I just started – Hierophania. It’s more of a somewhat droney Dark-Ambient style, with a different layout and experimentation compared to Subverge. The first track with this project will appear on the Santa Sangre annual compilation in mid July, and I expect the full-length, “Naos Tenebrae” – which is 100% finished – to be released sometime this fall.

The latest stuff I’m working on sounds closest to this new project, so I might do another full-length as Hierophania. I haven’t decided where to take the next Subverge yet. I make a ton of music, so a new album might surface in late 2026 or early 2027. I expect the new Seven Trees material to be released in September, or in case life happens or we decide to do a few more tracks: late 2026.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Fulvio Guidarelli has been active in the music scene for more than four decades, and through his Lisfrank project, he is rightly regarded as one of the pioneers of the Italian Electronic underground. On this latest album, he presents ten tracks inspired, at least in part, by Orwellian themes.

The music is highly eclectic, yet the songs remain united by a clear affection for the sounds of the 1980s. Whether delivering powerful, EBM-infused tracks driven by solid, razor-sharp basslines or more restrained, atmospheric compositions, Lisfrank never loses sight of his early influences. It is therefore no surprise that analog equipment played a central role in shaping the album’s warm, authentic sound. On several tracks, the deep vocal delivery even recalls Peter Murphy.

At times, the stylistic diversity makes the album feel somewhat uneven. Even so, it is the harder, more EBM-oriented moments that stand out as the strongest and most compelling parts of the record. (Rating:7).

Listen to “The Big Lie”:

About Lisfrank

Lisfrank is the solo project of Fulvio Guidarelli, based in Savona, Italy, active on vocals, synthesizers, drums, and programming. The project began in January 1980. In 1982, Guidarelli founded Mask Productions and released the project’s first album, “Man Mask.” He returned in 2009 with “Mask Rewind,” a collection of tracks recorded in the 1980s, followed by “Elevator” in 2014 and “The Human” in 2020. On April 25, 2026, Lisfrank released “He Sees You” on Praedae Registra Records, the digital/CD album reviewed here.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

With the American solo project Shadows Hold, Cold Transmission Music welcomes a promising new artist who has released a slew of singles and several EPs over the past few years, with a number of those tracks now appearing on this debut album.

The record opens with a compelling Dark-Wave sound in which the guitar occasionally evokes The Cure, while shimmering synths add an extra layer of darkness. The deep, cavernous vocal delivery perfectly complements the album’s brooding atmosphere. During the second half, the music shifts towards a more pronounced Electro-oriented sound, with the guitar moving into the background to make way for melodic synth textures. This side of the album is equally rewarding, offering several standout tracks. The only minor drawback is the brevity of the songs; on more than one occasion, I found myself wishing they had been allowed to develop further.

“Bound In Chains” is an album with two distinct faces, yet despite that contrast, it ultimately proves to be a highly successful debut for this project. (Rating:7½).

Listen to “Nosebleed”:

About Shadows Hold

Shadows Hold is a solo Dark-Wave and Post-Punk project based in Los Angeles, California. Before releasing a debut album, the project built up a catalog of standalone singles, including “Nexum”, “Divine”, “Your Lips Against Mine”, “Glass”, “Faceless”, “Fog” and “Visceral”, several of which resurface in reworked form on the debut. “Bound In Chains” collects that run of singles alongside new material and is released by Cold Transmission Music.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

When we speak of dramaturgy, we often think of the theatre and the roles actors assume on stage. However, the term can also refer to a sociological phenomenon—still the subject of ongoing research—concerning the roles people adopt and, so to speak, ‘perform’ in their daily interactions and the situations they encounter. Scottish artist A. Harrington has translated this concept into the ten tracks that make up his second official full-length album.

The music remains deeply rooted in the 1980s. New Order emerges as the most obvious point of reference, although I can also detect traces of The Cure in some of the guitar sounds. Overall, however, the sound leans more towards Electro- and Wave-Pop than on previous releases. At times, the songs even take on an unexpectedly bright and uplifting character—and I mean this not as a criticism, but as one of the album’s greatest strengths. Erasure also comes to mind as a possible influence. Despite these melodic touches, the overall sound remains slightly darker, more minimalist, and unmistakably idiosyncratic. There are even moments of playful fun, such as a sequence that unmistakably evokes the legendary Trio resulting in a great song.

Propter Hoc remains faithful to its influences while continuing to evolve its own identity. I thoroughly enjoyed this new release. (Rating:8).

Listen to “Pony Up”:

About Propter Hoc

Propter Hoc is the solo project of Scottish artist A. Harrington, known as John, who began recording during the 2020 pandemic lockdown after early tracks posted online drew a quick, positive response, leading to a deal with Cold Transmission Records. Harrington released his debut album, “Zodiac Carousel,” followed in 2025 by “Seduction and Betrayal” and two additional EPs.

Propter Hoc’s new album, “Dramaturgy,” is his latest full-length release via Cold Transmission Music.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com