Henrik Karlsson might ring a bell for fans of Seven Trees. However, it has been several years since this Swedish project released any new material. In the meantime, one of its members, Henrik Karlsson, began releasing his own music under the sonic alter ego Subverge. Four albums have since been released on his own label, Arcane Dirge. A selection of nine tracks from those albums has been brought together on this compilation, “Select”, and supplemented with three previously unreleased tracks, which also conclude the album.

Seven Trees and Subverge are not really comparable, except for their shared Electronic foundations. That said, Subverge appears to draw inspiration from the legacy of Cold Meat Industry. A pronounced Dark-Ambient influence runs throughout the album, although it rapidly evolves into a more Cinematic sound. The result is an overwhelming production built upon an extremely dark undertone, frequently supported by slow rhythms and powerful orchestral percussion. At times, I even detected subtle Tribal elements. Dark strings color the atmosphere, while more delicate piano arrangements provide contrast and depth. Repetitive sequences create a sense of foreboding and further reinforce the album’s gloomy mood. To be fair, I must admit that the three previously unreleased tracks—seemingly older compositions that simply never found their way onto an album—do not add much to the overall experience and therefore offer little real bonus value.

Nevertheless, “Select” presents an excellent overview of Subverge’s work and serves as the perfect introduction for newcomers, as well as an ideal opportunity for existing listeners to (re)discover the project. As far as I’m concerned, this is an absolute masterpiece. (Rating:8½).

Listen to “Silver Circles”:

https://aliensproduction.bandcamp.com/track/silver-circles

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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Starsign emerged in the 1990s and was driven by the German duo Oliver Teßmer and Matthias Blechschmidt. At the time, they released several EPs, along with an album that appeared in 2003. After that, things went quiet for more than two decades, but the duo revived the project a few years ago. Following several high-profile singles, they released “Silver Linings” earlier this year, featuring 10 tracks.

The influences running through “Silver Linings” are quite diverse, yet they fit perfectly within the Electro-Pop genre. The songs move between quiet, floating pieces on the one hand and more danceable tracks on the other. Depeche Mode can occasionally be felt lurking around the corner, while other tracks seem inspired by Mesh. However, Starsign is by no means a copycat; rather, they have managed to blend these diverse elements into a smooth and enjoyable whole. Some songs are beautifully crafted and reveal subtle details in the production. Personally, I prefer their ‘heavier’ tracks, and although I do miss an undeniable standout hit on the album, “Silver Linings” still has a great deal to offer. (Rating:8).

Listen to “Shiver”:

https://infactedrecordings.bandcamp.com/track/shiver

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 The Neon Judgement called it quits in the late ’90s — although they would return regularly, mainly for live performances — Dirk Da Davo decided to continue solo with Neon Electronics. Over the years, he received support from Glenn Keteleer and Pieter-Jan Theunis. The first self-titled album was released in 1999, ushering in a career that now concludes in 2026 with this final record.

Neon Electronics has gone through several stylistic periods in terms of influences and genre, but on “Liberation” — which feels more like a mini-album — the project returns to ’80s influences. The music and atmosphere radiate Cold-Wave, driven by danceable beats. There is a fine balance between guitar and electronics, resulting in a dark atmosphere enriched by eerie vocals, while additional influences from Techno and EBM also emerge. More than ever before, I hear clear references to The Neon Judgement, though I doubt anyone will mind.

This release contains six tracks (only five on the vinyl edition) as well as two remixes by Ancient Methods and Patrick Codenys of Front 242. The album bids farewell to us with Neon Electronics at its very best, and somehow that genuinely hurts the listener. This is a highly accomplished and technically refined production filled with hidden gems waiting to be discovered. I would also like to highlight the excellent remix by Patrick Codenys, which, in my opinion, even slightly surpasses the original track. The bonus track included on the digital edition is likewise a brilliant piece of work in which melody and sonic chaos blend beautifully together.

“Liberation” is a brilliant release that immediately feels like the epitaph of Neon Electronics and, as far as I am concerned, a project that will be deeply missed. What’s next, Dirk? (Rating:8½).

Listen to “Liberation”:

https://oraculorecords.bandcamp.com/track/liberation

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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“Arousal” is already the third album by Italian duo Les Longs Adieux. With this new release, Federica Garenna and Frank Marrelli continue to build on their established sound while simultaneously allowing new influences and subtle evolutions to emerge.

The album still breathes the spirit of the 1980s, yet this opus perhaps leans even more toward Electro-Wave territory, enriched with wonderfully vintage synthesizer textures that create a certain sense of magic. Throughout the record, a melancholic atmosphere dominates, beautifully reinforced by melodic choruses that give many of the songs an emotional depth. One particular standout is “Le Soldat De Plomb,” which incorporates a few French lyrics and is, in my opinion, by far the strongest track the duo has written so far. The song feels like a genuine gem and showcases exactly what Les Longs Adieux is capable of achieving when everything falls perfectly into place.

After this high point, the album loses a bit of momentum, though it remains an enjoyable and atmospheric listen throughout, even if no additional tracks quite reach the same level.

Les Longs Adieux undeniably possesses potential. They may not have fully realized it yet, but “Arousal” contains at least one truly remarkable song that is bound to resonate deeply with listeners. (Rating:7½).

Listen to “Le Soldat De Plomb”:

https://leslongsadieux.bandcamp.com/track/le-soldat-de-plomb

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

Along with the reissue of “Ritual”, which appeared on CD for the first time, Zoharum is simultaneously releasing this album by Wieloryb. “God’s Final Breath” was released only in digital format via Antyscena last year and is now finally receiving a CD edition as well, although without the bonus tracks.

If you are familiar with Paweł Kmiecik’s Polish project, you will immediately recognize his affinity for Rhythmic-Noise, while also appreciating the way he uses it as a foundation to incorporate Trance/Tribal influences alongside additional Electro elements. The result is an exhilarating production in which power and dark atmospheres merge with hard-hitting beats, provoking frenetic dancefloor energy in the listener. Here and there, raw, possessed vocals are added -and according to me these tracks are the best ones- while other tracks reveal subtle yet highly effective EBM influences. One particular piece even recalls the era when Ministry fully embraced an Industrial direction, although Wieloryb reshapes this into a kind of Industrial-Ambient/Cinematic experience.

This is an extremely versatile opus; perhaps not the definitive reference album in Wieloryb’s catalogue, yet still a highly successful release containing several essential and crushing musical gems. For me, Wieloryb remains one of the most visionary projects within the broader Industrial scene. (Rating:8).

Listen to “Break The Chains”:

https://zoharum.bandcamp.com/track/break-the-chains

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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Wieloryb originally started out as a duo sometime in the 1990s, but evolved into a solo project by Polish artist Paweł Kmiecik (also active within G.A.S.). The project gained some recognition through various hard Rhythmic-Noise releases on Hands. Over the past year and this year, there has been a lot of buzz surrounding Wieloryb: new material, but also reissues such as “Ritual”. Originally released in 2021 on Antyscena as a digital album, it was reissued by Zoharum on CD with three additional tracks.

Wieloryb has never stood still, and the Rhythmic-Noise influences have now expanded into an Industrial-Trance format, spiced with heavy kicks, hard repetitive loops, and spoken samples. It is an overwhelming experience from an artist who defies musical boundaries and, above all, expands them. He appeals to a broader audience, but one that appreciates power and darkness. The three bonus tracks do not offer much additional value, with the exception of the final track. Here, Wieloryb seems to have rediscovered some ambient-oriented material from his archives, while the closer delivers pure, primal power.

Wieloryb is the kind of artist who brings a breath of fresh air to the broader Industrial landscape, while also sounding right at home in an underground Techno temple. (Rating:8½).

Listen to “Fly – Bonus”:

https://zoharum.bandcamp.com/track/fly-bonus

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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Belgian duo Gare Noir is driven by Sam Claeys and Frits Standaert, both also known for their involvement with Red Zebra. After Red Zebra pressed the pause button, the pair began working on their own material, which first resulted in a series of singles and eventually culminated in the release of their debut album “This Is Gare Noir”, featuring twelve tracks.

It quickly becomes clear that both musicians draw heavily from the golden era of the 1980s and the New-Wave movement, yet they manage to inject enough personality and individuality to make the album feel remarkably diverse. Starting from a foundation of New-Wave and Post-Punk, the duo occasionally takes detours into Pop and Rock territory, creating a record that constantly shifts in mood and texture. The entire album is masterfully stitched together, alternating between harder moments and more ethereal passages. Several songs evolve toward genuine climaxes, largely thanks to strong arrangements, clever build-ups, and the sheer power of certain choruses. The charismatic vocals naturally add even more strength and identity to the material. Above all, however, these songs radiate a sense of enjoyment and spontaneity. At times, I can hear traces of Ultravox blended with elements reminiscent of Heaven 17, before the album gradually moves into darker and more distinctive territory.

Personally, I would not have minded if the album had leaned even further into darker atmospheres, but it is clear that “This Is Gare Noir” aims for a broader audience rather than confining itself to a specific niche scene. (Rating:8).

Listen to “We Spin”:

https://wagonmaniac.bandcamp.com/track/we-spin

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

Flemish trio Kregel was formed in 2016 and began releasing EPs in 2020. In the meantime, the band has already arrived at “#7,” a new release featuring four fresh tracks.

Kregel is quite a remarkable band because there are not many acts like them around. Musically, they are deeply rooted in the spirit of the 1980s, particularly the New-Wave and Post-Punk era. That alone is not unusual nowadays, but what truly makes the group stand out is their decision to sing in their native language while delivering wonderfully absurd and abstract lyrics although with a deeper and sometimes sensitive content. Of course, the concept is not entirely unprecedented. Fans of Aroma Di Amore and Arbeid Adelt! will immediately recognize where part of the inspiration originates. Still, Kregel succeeds in translating those influences into something that feels fresh and contemporary. “#7” sounds wonderfully Post-Punk throughout, with one of the tracks even containing a subtle nod to The Stooges. At times the music may appear somewhat simplistic, yet this is compensated by its sheer effectiveness and the dark, menacing atmosphere that runs through the entire EP. The songs gradually build toward hypnotic crescendos and repeatedly invite the listener onto the dance floor.

Kregel may ultimately remain a phenomenon primarily appreciated within Flanders, but I genuinely believe the band possesses enough originality and potential to break through much further. As far as I am concerned, this is one of the finest Belgian discoveries of recent years. (Rating:8).

Listen to “Dode Mus”:

https://wagonmaniac.bandcamp.com/track/dode-mus

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 my opinion, Trilogy is a rather underrated Electro project that emerged a few years ago. Founded and driven by former Trial member Erick Miotke and featuring vocalist Jens Müller (previously active in Human R3source), the German duo returned this year with the double CD “Forced Perspective”.

The main album contains no fewer than eighteen tracks, material the band worked on over the course of several years. As a bonus, listeners are treated to an additional disc featuring the exact same tracklist, but with every song reworked by a different remix artist. The album itself is an extremely elaborate and carefully crafted work in which inevitable Trial influences occasionally resurface, though the atmosphere feels distinctly different and the vocals give the project its own unmistakable character. Trilogy is not a continuation of Trial, but a band with a clear identity of its own. Musically, the influences move somewhere between EBM and Dark-Electro. Certain tracks evoke the atmosphere and precision of Skinny Puppy and Front Line Assembly, while I can also detect parallels with Yelworc. The compositions sound meticulous and polished down to the smallest detail. Dark string arrangements, refined icy bleeps, and old-school EBM elements merge seamlessly with pounding kicks and harsh vocals.

The extra disc is far more than a simple bonus addition. Not only does it revisit the complete tracklist, but each song is transformed by an impressive roster of remixers. I would especially like to highlight contributions from Sleepwalk, Serpents, Terminal State, AD:Key, Pyrroline, and Mildreda, all of whom deliver outstanding reinterpretations. Other notable appearances include T.A.N.K., Brain Leisure, Digital Factor, and the legendary Project Pitchfork. In some ways, this bonus disc may even surpass the original album thanks to the additional variety and perspectives it offers.

“Forced Perspective” is an absolute tour de force and an essential release for every connoisseur of intelligent Dark-Electro and EBM. (Rating:8½).

Listen to “Combat Surfer”:

https://electroaggressionrecords.bandcamp.com/track/combat-surfer

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

Meanwhile, it has already been nine years since Freakangel released their last album, but the Estonian music phenomenon has finally sprung back into action. Over the past few years, the band has released a couple of singles, now brought together on this new EP alongside an additional brand-new track.

“Control” is a somewhat surprising song if you are used to the brutal and ruthless intensity of this band. It leans more toward a dark and atmospheric approach: moody, layered, and driven by a compelling male-female vocal interplay, before culminating in a finale where everything completely explodes. “Death Bloom” then takes us straight back to the essence of what Freakangel stands for: a steel-hard sound with the perfect balance between electronics and guitars, topped off with a possessed vocal delivery. Fans of Combichrist will definitely appreciate this track. The final song delivers a powerful combination of sheer aggression and Cinematic atmosphere, closing the EP on an intense and memorable note.

Now all that remains is to look ahead and hopefully start counting down to a brand-new full-length album, because Freakangel has certainly been missed within the scene. (Rating:8).

Listen to “Control”:

https://alfamatrix.bandcamp.com/track/control-9

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

Belgian Post-Punk outfit The Ultimate Dreamers released their latest album last year, featuring thirteen tracks produced by Len Lemeire of Implant. Initially, Lemeire was only asked to remix a few songs, but the collaboration eventually evolved into a complete metamorphosis of six original tracks. Calling them mere remixes hardly does the project justice, as each composition has been entirely reconstructed from the ground up.

The concept is particularly intriguing because Implant and The Ultimate Dreamers do not exactly operate within the same musical universe. As a result, the songs are submerged in an electronic bath where Len Lemeire is clearly given complete artistic freedom. The outcome shifts between dark atmospheres and experimental textures, but above all feels like a daring artistic challenge. Personally, I am especially drawn to the heavy bassline and Minimal-Electro approach of “Kids Alone,” as well as the seamless cross-pollination between Post-Punk and Implant’s Electronic universe throughout the release. “Spiritchaser” adds an unexpectedly danceable dimension, further broadening the scope of the project.

In my opinion, every track—except perhaps the final one—feels like a genuine experience. This release sounds less like a remix EP and more like an entirely new album by what almost feels like a new band, one that ultimately convinces me even more than the original versions themselves. (Rating:7½).

Listen to “Kids Alone (Late Night)”:

https://alfamatrix.bandcamp.com/track/kids-alone-late-night

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

German band Days Of Sorrow first emerged in the early 1980s before disappearing from the radar, much like many other acts from that era, only to resurface years later. “Raptures” already marks their second album since this resurrection and delivers ten impressive songs.

I will admit immediately that this opus completely blew me away. You could categorize the group as Electro-Wave, but Days Of Sorrow clearly inject their own identity into the genre, making everything sound harder, darker, and far more powerful. The result is a wonderfully danceable fusion of dark Electro-Wave and EBM. The album benefits enormously from its strong production and a series of irresistible choruses, leaving hardly a weak moment throughout the record. This is top-tier Electronic music, elevated even further by commanding vocals that occasionally remind me of Steve Naghavi from And One. Here and there, subtle and moody guitar elements are added to give the songs even more depth and intensity.

“Raptures” contains several absolute gems and is, without question, one of the strongest albums I have heard in this genre in recent months. Nothing but praise and respect from my side. (Rating:9).

Listen to “Love 4 Sale”:

https://daysofsorrow.bandcamp.com/track/love-4-sale

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

Bob Data is a solo project by Aleksandrs O. Berzins, whom some may know from other projects such as Irklis, Audioscope, Formā Anonym, and Negative Values. Following two previous EPs—which felt more like mini-albums—he has released this new EP this year, featuring six brand-new tracks.

Bob Data’s sound is rooted in old-school Electro, where vintage textures strongly define the atmosphere. The music is somewhat minimalist, partly because there are no vocals or samples involved, yet it remains highly idiosyncratic. The tracks feel like a fusion of different influences and styles. Overall, the release leans toward Electro-Experimental music with pronounced Ambient elements that transport the listener into a space-like dimension.

I do miss a trace of vocals on this release, which otherwise alternates between several very strong tracks and, unfortunately, two weaker ones. (Rating:7).

Listen to “Kinetic Rush”:

https://bobdata.bandcamp.com/track/kinetic-rush

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

Darkvolt is a Belgian band driven by Frederik Strobbe and joined on this second album by guitarist Martyn Hanson. The album features no fewer than 17 tracks.

“Spirits Of Angst And Despair” is a fairly varied work in which the influences shift almost from track to track. The album opens with a heavy EBM bassline that is quickly fused with an arsenal of noises. This dense layer of sounds actually forms a kind of common thread throughout the release, while the influences move between EBM, Cinematic, Experimental, and Industrial music. Add to that tracks driven by breakbeats alongside others built on slower rhythms, and the result is a rather chaotic whole in which Darkvolt searches for its identity. That may sound somewhat negative, but although the album moves in many different directions, it still contains several interesting tracks. I especially hear potential in the more EBM-oriented songs, where the addition of guitar creates something resembling an Industrial version of Nitzer Ebb.

In my opinion, Darkvolt mainly needs to refine its own sound and allow this diversity of ideas to evolve into a more cohesive whole, because the potential is certainly there. (Rating:6½).

Listen to “Violence”:

https://dresscodeblack.bandcamp.com/track/violence

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

“Sylfaera The Fair” can certainly be considered a new milestone in the long history of the Italian group Ataraxia. This is the band’s thirtieth album and the conclusion of a trilogy preceded by “Pomegranate” (2022) and “Centaurea” (2024).

Masterfully guided by the heavenly and unique voice of Francesca Nicoli, alongside her long-time collaborators Vittorio Vandelli and Giovanni Pagliari, the group has also invited several guest musicians for this ten-track work. “Sylfaera The Fair” unfolds like an invitation—the siren call of an imaginary, dark mermaid guiding us through bygone and never-existing lands. Musically, Ataraxia remains faithful to a singular fusion of genres, the secret of which only they seem to possess. Their sound can be situated somewhere between Neo-Folk, Ethereal, Neo-Classical, and Medieval music, while also carrying a distinctly Cinematic quality. The strength of the ensemble lies in its rich tapestry of acoustic instruments, seamlessly interwoven with electronic arrangements and electric guitar. At times, the result is epic; at others, it is refined down to the smallest detail. Francesca Nicoli ultimately provides the magical finishing touch with her unmistakable vocal timbre.

This new work offers a powerful and artistic finale to a trilogy that deserves to be discovered and embraced in its entirety. (Rating:8).

Watch the clip “Sylfaera”:

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

E.R.M.T. is a Greek project that has already released several singles, with this EP and a full-length album scheduled for this year.

This EP features four tracks primarily defined by a fusion of dark, hard Techno on the one hand, and Ritualistic, Ethereal chant-like elements on the other. The combination may seem surprising—if anything can still surprise these days—but it is executed exceptionally well. The result goes far beyond standard Dark-Techno, incorporating striking and at times almost ecstatic sound manipulations. In particular, the fragmented passages with tearing electronic textures stand out, occasionally enhanced by sampled guitar elements. The overall sound is raw, brutal, and highly effective.

On one of the tracks, E.R.M.T. pushes things further by incorporating touches of Psy-Trance. The first three tracks, in particular, left a strong impression on me and would fit perfectly within an Industrial club setting.

All in all, this EP comes as a welcome surprise. Anyone with an affinity for dark, underground Techno should definitely give “Abyssal Rites” a listen. (Rating:7).

Listen to an extract of “Vox Abyssi”:

https://amazon.de/music/player/tracks/B0GQD2VV3X?marketplaceId=A1PA6795UKMFR9&musicTerritory=DE&ref=dm_sh_XuHS24Jwxf1km1GpU7nMgziSb

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

Conflux is a new solo project that has found a home on Cryo Chamber. The debut album features nine tracks in which the artist evokes imagery of forgotten books lying open beneath a thick layer of dust in a Victorian attic, drawing on themes of witches, bloodlines, and the occult.

I was somewhat surprised to see this release appear on Cryo Chamber, though I find that refreshing. Conflux incorporates the Cinematic elements characteristic of the label to a certain extent, while also venturing into distinctly Tribal and Ritual territories. A variety of sounds are employed, many resembling acoustic instruments: the flute takes on a prominent role, and I also detected what sounds like a cello. In the background, echoing vocals frequently emerge, further reinforcing the Ritualistic atmosphere. The Tribal rhythms add an exhilarating energy, while at times the mood is carried by colder, more austere soundscapes.

Overall, this is a fairly diverse work that certainly charmed me as a debut opus. It also stands as an intriguing addition to the Cryo Chamber roster, which can only benefit from such variation. (Rating:7).

Listen to “Fundamental Rites”:

https://cryochamber.bandcamp.com/track/fundamental-rites

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

Der Bürokrat is an Italian-French collaboration between Ben (Hammershøi) and Jules (Zug), with the duo crafting a total of twelve tracks.

The project’s influences are firmly rooted in the magic of the 1980s, at times evoking a sense of nostalgia for the earliest Synth-Wave experiments. Certain moments embrace a minimalist approach, bringing to mind acts like Absolute Body Control, while elsewhere the sound shifts toward a more Pop-oriented direction, reminiscent of Welle:Erdball. Despite these clear references, the album maintains its own identity and, above all, a notable sense of versatility. Some tracks even take on a heavier edge toward the end, drawing inspiration from EBM.

All in all, this is an unpretentious and successful debut that, in my view, certainly deserves a follow-up. (Rating:7½).

Listen to “Excésse = Accept”:

https://stanzefredderecords.bandcamp.com/track/exc-sse-accept

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

Following last year’s album “Pleasure Is A Sin”, the French Dark Minimal Project returns with dBoy, best known as the singer of the French dark wave band Je T’Aime. This EP features two original tracks, each accompanied by a remix, and concludes with a fifth and final piece.

The fusion of Dark Minimal Project’s Electro-Pop sound and dBoy’s passionate vocals works remarkably well. The music leans toward an Electro-Wave style, driven by danceable beats. dBoy proves himself a talented vocalist, taking on a prominent and well-deserved role throughout. While both original tracks are solid, I find myself drawn more to the remixes—particularly the one by Peter Rainman’s People Theatre, who is also involved in the project as a producer. The closing track, however, feels somewhat underwhelming.

Overall, this collaboration between two stylistic approaches results in an engaging and largely successful release. (Rating:7½).

Listen to “And Sometimes feat. dBoy Je T’Aime – People Theatre Remix”:

https://darkminimalproject.bandcamp.com/track/and-sometimes-feat-dboy-je-taime-people-theatre-remix

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 Canal Froid, we welcome a French band that has been active since 2024 and released its debut the following year. “Things Are Different Today” feels more like an EP or mini-album, featuring six tracks.

The opening song is performed in French, while the remaining tracks are sung in English, delivered with a noticeable French accent. The vocal style often leans more toward a half-spoken, half-sung approach rather than traditional singing. Musically, the band leaves little room for doubt: this is a Dark Wave-oriented production in which atmosphere—and especially melody—is largely driven by the guitar, despite the presence of electronic arrangements. The guitar effectively dictates the mood, resulting in a collection of generally strong and engaging songs, although one track introduces a slightly more pompous element.

That said, certain aspects of the production could still benefit from refinement. Even so, Canal Froid clearly shows promising potential. (Rating:6½).

Listen to “No Sense”:

https://canalfroid.bandcamp.com/track/no-sense

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

To find the first work by the German duo Troum, one has to go back nearly 30 years. Since then, they have built an impressive discography, collaborating with a wide range of labels. With this new album, they open the doors of Cyclic Law and return with a remarkable opus.

“EmphasYs” was several years in the making, largely due to the conceptual approach centered on the use of instruments. Each track highlights a specific instrument—electric guitar, cello, accordion, didgeridoo, acoustic guitar, zither, and saxophone—while the sounds are further processed and manipulated. The result is a dark yet predominantly serene sonic experience, situated somewhere between Troum’s signature Drone-Ambient style and a more Cinematic and Experimental approach. At times, the listener is drawn into an abyssal soundscape, only to be carried into icy textures supported by deep, resonant tones that evoke a nightmarish atmosphere. A wide range of tonalities and effects comes into play, underlining the duo’s craftsmanship and attention to detail.

The concept may sound challenging, but the outcome fully lives up to the expectations one might have of Troum. (Rating:8).

Listen to “Oxblood Red”:

https://cycliclaw.bandcamp.com/track/oxblood-red

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

Last year, Steven Archer returned with his Stoneburner project and the rather surprising album “Post.Industrial.Occult”, in which he traded his Tribal influences for heavier, Industrial-driven guitars.

The title track, “Invasive Species”, is taken from that album and opens this release with a bang. Guitar and electronic elements are perfectly balanced, driven by harsh vocals and complemented by female chants. An Out Out remix of the track follows, after which we are treated to four additional new songs. On these tracks, Stoneburner explores a different direction, leaning into a more Cinematic approach—except for the final piece, which returns to a more forceful Industrial sound. At times, these Cinematic compositions also venture into Experimental territory, with Archer crafting what feels like sonic collages that occasionally descend into controlled chaos.

In conclusion, this release offers a strong and well-chosen title track, complemented by a handful of songs in which Stoneburner allows himself the freedom to experiment and explore new creative paths which aren’t my favorites. (Rating:6½).

Listen to “Invasive Species”:

https://stoneburnerofficial.bandcamp.com/track/invasive-species-2

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

“Past Perfect” and “Euphoria” can hardly be considered new work, but rather somewhat forgotten and lesser-known—unless to the fans—tracks by Solitary Experiments. Both EPs were originally released as bonus tracks on the limited albums “Future Tense” (2018) and “Phenomena” (2013).

Solitary Experiments ventures into covering fairly well-known songs by even more well-known bands such as Tears For Fears, Yazoo, Propaganda, Heaven 17, Wolfsheim, and others. In my opinion, they do this in a quite convincing way by retaining the recognizability of the original songs while simultaneously transforming them into a more Electro/Future-Pop approach. Not always obvious when you look at the choice of songs, but overall this is certainly a successful operation with, in my opinion, very successful interpretations of Yazoo’s “Nobody’s Diary” and Doro Pesch’s “Für Immer”.

As far as I am concerned, this kind of work is intended first and foremost for the group’s die-hard fans, but it still allows us to admire the group’s talent in the role of a cover band. (Rating:7½).

Listen to “Nobody’s Diary”:

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

Foule is a French duo driven by Zoé Boutin (vocals and lyrics) and Olly (guitar and machinery). Since 2023, they have released several singles, almost all of which appear on this debut album, “Porcelaine”.

The album features nine tracks that embody a dark, enchanting blend of Dark-Wave, alongside elements they describe as ‘dark trap’, ‘industrial’, and ‘witch house’. The lyrics, delivered in an intensely poetic manner, are both dark and devilish in content, yet retain a playful edge that perfectly complements their vocal delivery. The vocals often feel whispered, possessed, and captivating all at once. Foule creates a distinctive atmosphere—at times raw and brutal, yet consistently compelling from start to finish. On several tracks, the guitar takes on a heavier tone, venturing into Post-Punk territory. One track even features sections of sung/spoken text played in reverse, enhancing the eerie, devilish mood while also highlighting the duo’s creativity and boldness.

I have nothing but praise for “Porcelaine”, which, in terms of music, lyrics, and visual presentation, showcases a band with a strong identit y and unique artistic vision. This duo clearly has everything it takes to break through to a wider audience. (Rating:8½).

Listen to “Brûler”:

https://foule-music.bandcamp.com/track/br-ler-2

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

Little is known about Cold Sector. Shrouded in mystery, this is the debut album of the project, presented as a side project of Entangled System—another act about which very little is known. However, unknown does not mean unloved, and with this release, the artist draws inspiration from the increasing dependence on digital systems and the potentially catastrophic consequences of their failure for military and defense infrastructure.

A total of eight tracks have been composed around this theme. The music itself is equally enigmatic, bringing together a wide range of influences. A dominant, obscure Dark-Ambient atmosphere is present, but Industrial textures and Noise-like passages of heavily distorted sound also play a significant role. At the same time, a rhythmic kick drum appears regularly, providing structure, while layers of strings, electronic sequences, and even spoken-word fragments resembling official announcements add further depth. Cold Sector is an extremely varied work that feels unconventional, yet remains carefully constructed and remarkably cohesive. Its hostile atmosphere enhances the intriguing nature of the production, which, partly through the use of recognizable Giger-like textures and Morse code–inspired elements, builds toward a compelling climax.

This is a striking debut from a project that I highly recommend and which, in my view, is clearly destined for a label release. (Rating:8½).

Listen to “Contact Gained”:

https://coldsector.bandcamp.com/track/contact-gained

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 Christine Plays Viola was formed in 2008 and returns this year with its fifth album, following a six-year hiatus. Still operating as a four-piece, the band now releases “F.I.V.E. – Fear Increases Violent Emotions” on Cleopatra Records. The album explores a dark descent into identity, tension, and redemption, conceived, written, and recorded in a period marked by both isolation and confrontation.

Those already familiar with the band will recognize the characteristic 1980s influences, best described as a cross between Post-Punk and Dark-Wave. The guitar plays a central role, shaping the atmosphere and serving as the driving force behind this opus. At times, it even takes on a surprisingly psychedelic edge, though the band never loses sight of its darker core.

The heavier tracks stand out the most, occasionally evoking echoes of Bauhaus. Alongside these, the band also delivers more subdued songs, where the somber mood remains intact, though the overall impact is slightly less convincing. A notable and successful addition is the use of saxophone, bringing an unexpected twist—at moments even hinting at a subtle ska influence in combination with the guitar work.

What may be missing is a truly standout hit, although the album offers several very strong tracks, alongside a few—albeit rare—weaker moments. Christine Plays Viola prove themselves once again as seasoned veterans who have firmly earned their place within the broader Dark Wave landscape. (Rating:8).

Listen to “Confession”:

https://christineplaysviola.bandcamp.com/track/confession

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 Race” is the third album by the Italian trio Grigio Scarlatto. Across its nine tracks, the band raises questions about life, the boredom that can emerge in various aspects of it, and expectations that cannot always be fulfilled.

Musically, these themes are translated into a mature composition in which Shoegaze and Dream-Pop merge. The result is a dreamy experience with distinct, powerful peaks where guitars surge to the surface and the rhythm sets the pace. The vocalist delivers a sensual performance that fits perfectly within the ethereal atmosphere of “The Race”. Here and there, the songs are complemented by precise electronic arrangements, adding extra depth and impact.

“The Race” is an effective work—music that reflects maturity and caresses the ear like a sea breeze. (Rating:7½).

Listen to “Hold Me Tight”:

https://grigioscarlatto.bandcamp.com/track/hold-me-tight

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 is the third album for Patrick Knoch’s German solo project Elektrostaub. It is not a project that releases new material on a regular basis, which may well be due to the fact that the musician continues to work with a variety of guest vocalists. The new album had already been introduced by several promising singles and now arrives with 12 tracks in total.

The guest vocalists on this release include Richard Bjørklund (Spektralized), Salva Maine (Culture Kultür), Lis van den Akker, Echo Image, J:Dead, Alex Braun, Lilli K. Engelhardt, René Anke (Logic & Olivia), Beyond Border, and Mel Gúntzelsson (Future Trail, davaNtage). What stands out in this lineup is the complete absence of label mates, although that is of course not a requirement. Overall, these are all strong vocal performances, and Patrick Knoch has clearly succeeded in finding fitting collaborations. Musically, the compositions remain rooted in pronounced Future-Pop influences. At times, the music evokes a slightly nostalgic, almost retro feeling, yet the tracks fit together seamlessly, combining danceable rhythms with strong melodic structures. Above all, this is an album made for the dancefloor, where fans of classic Future-Pop will feel right at home. Several collaborations stand out in particular—most notably the tracks featuring Echo Image (already a known quantity), Lilli K. Engelhardt, and Beyond Border.

If you believe that Future-Pop is definitively a thing of the past, you may want to skip this release. For everyone else, however, this is a polished and highly successful production. (Rating:8).

Listen to “Too Far From The Pack – Female Edit feat. Lilli K. Engelhardt”:

https://alfamatrix.bandcamp.com/track/too-far-from-the-pack-female-edit-feat-lilli-k-engelhardt

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 previous album “Infecting The Scars”, frontman Kristof Bathory returned to his musical roots with his Dawn Of Ashes project: hard and merciless Electro. “Anatomy Of Suffering” is the latest album from this American project, which embarked on its musical crusade more than twenty years ago.

The opus contains ten tracks, including notable—and some already well-known—collaborations with guest vocalists Johan Van Roy (Suicide Commando), Erica Dunham (Unter Null), and Void Stasis alongside BlakMoth. The album represents a new Electro experience that once again sounds raw, tormented, brutal, and merciless. Kristof Bathory, who has also explored Dark-Ambient territories under his own name in recent years, demonstrates a strong ability to craft an obscure atmosphere. The result is an overwhelming production, meticulously crafted and drenched in sublime string arrangements, to which his terrifying, almost possessed vocal delivery adds extra intensity. Here and there, touches of guitar further enhance the overall impact. The tracks featuring Johan Van Roy and Erica Dunham are solid, though not my personal highlights. Nevertheless, they add an interesting dynamic to the record. There are plenty of other standout moments that showcase Dawn Of Ashes at its darkest and most compelling.

This album is far more than just Dark-Electro featuring Industrial elements; it is, above all, a true experience and sounds devilishly good. (Rating:8½).

Listen to “Viral Decay”:

https://dawnofashesofficial.bandcamp.com/track/viral-decay

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 struck me that this new work by Hybryds appears 40 years after their first release. Sandy Nys has remained the helmsman throughout the years, while in recent times strengthening the band with the addition of Peter De Koning. On this new, expanded work, Hybryds draw inspiration from an imaginary Viking story. And whoever says Vikings immediately thinks of rituals—and when it comes to Ritual music, one quickly ends up with Hybryds.

Nothing new, some might think, but musically this record managed to surprise me completely. You will find familiar ingredients, such as a distinct Ritual and Tribal atmosphere that can at times lead you into a trance-like state. There is also, of course, the phenomenal voice of Madeline Arndt, which has never sounded so ethereal, passionate, sensual, bewitching, and above all, enchanting. Yet this album—particularly its first part—is characterized by unexpected, heavy Metal-Industrial guitar riffs. This creates an unprecedented effect that Hybryds masterfully blends with their other influences. The atmosphere that resonates throughout remains mysterious, at times slightly Eastern in feel, but above all rooted in the Belgian band’s Ritual approach.

The second part of the record is once again extensive, yet stylistically different. Here, guitar playing is used only sporadically, as the music leans more toward Techno-Trance. The Tribal and Ritual elements remain present, but are generally fused into a surprising and highly danceable whole that occasionally comes very close to dance music. The heavenly vocals here even remind me somewhat of certain moments from Delerium. Throughout the album, male backing vocals can also be heard—harsh and passionate—forming a compelling contrast with the female voice.

Hybryds deliver a remarkably surprising record featuring 36 tracks in which they retain their core sound while allowing it to evolve through unexpected influences. It is difficult to say whether this ranks among their very best albums, as it does not always sound entirely like Hybryds. Nevertheless, it is undoubtedly a successful artistic challenge—one that I can thoroughly enjoy. (Rating:9).

Listen to “Iron Axe”:

https://hybrydsmusic.bandcamp.com/track/iron-axe

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

Polish artist Daniel Szwed originally released “Standard Cap” in 2024 as a cassette on Hiss Collective. The work remained under the radar for many listeners but is now being given a new opportunity through this CD format, marking the artist’s second opus to be released by Rope Worm.

Daniel Szwed takes us into a sonic universe where he freely experiments with repetitive noise loops and a wide range of distorted sounds. It often feels like improvisation, yet the overall result remains coherent. What I find particularly compelling about this work is that the Noise elements never descend into a mere wall of sound. This is not chaos, but a carefully constructed composition in which the different elements can be clearly distinguished. For instance, distant screaming voices echo through the mix, enhancing a sense of terror, while other passages are built around explicit Industrial influences.

Reissuing this album on CD is, in my view, a very successful decision, and I am convinced that “Standard Cap” will now reach new listeners in search of something truly unconventional. (Rating:8).

Listen to “Standard Cap 5”:

https://ropeworm.bandcamp.com/track/standard-cap-5

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 French duo Maninkari, consisting of brothers Frédéric and Olivier Charlot, have been active under the name Maninkari for quite a few years, alongside various other projects. Their first work dates back to 2007. With this latest opus—their first on Rope Worm—they deliver the fourth installment in the series “L’Océan Rêve Dans Sa Loisiveté”.

The nine tracks are untitled, which, in a sense, creates a fairly compact whole. Each part feels like a puzzle piece that ultimately merges into a cohesive entity. Maninkari’s style remains something of an enigma—above all, a blend of influences shaped through improvisation. Atmosphere—often infused with Eastern elements—plays a central role in the compositions. This is constructed from minimalist electronic fragments, sometimes combined with subtle rhythms, but also enriched with acoustic instruments. As is their custom, the album unfolds gradually, with many of the stronger pieces revealing themselves toward the end. The atmosphere grows increasingly dark and even grim, resulting in a strong visual quality. The only element I find missing is any form of vocal contribution—be it spoken, sung, or even sampled.

This duo continues to fascinate me with their form of experimental and ambient music, which, for me, remains remarkably accessible. (Rating:7½).

Listen to “Untitled 3”:

https://ropeworm.bandcamp.com/track/untitled-3

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

American artist Antoni Maiovvi has been active for quite some time and can look back on an impressive body of work. At the beginning of this year, he teamed up with Sonic Groove for the first time to release “Subsonic Schizophrenia”, an EP consisting of four tracks.

This release feels like a fusion of Dark-Techno with elements of Acid music, alongside deeper, darker, and more atmospheric textures. Antoni Maiovvi compels listeners to move to his brooding tones, reinforced by hostile atmospheres and, at times, sharper, icy sequences. Personally, I prefer the two tracks where he leans more into Acid, as they evoke to me the American Acid scene of the early ’90s.

Overall, this EP is a strong addition to Sonic Groove’s already rich and high-quality roster. (Rating:8).

Listen to “Face Dancer”:

https://maiovvi.bandcamp.com/track/face-dancer

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

Avro is the musical project of Canadian artist Adam Percy. Originally starting as a duo—with a first release dating back around ten years—the project has since evolved into a solo endeavor. “Psychopathé” contains six tracks and therefore feels more like a mini-album than a traditional EP.

The release opens with an intro-like piece, followed by a well-developed, atmospheric dark Synth-Pop track. The compositions sound refined, and at times there are hints of Depeche Mode in the arrangements. This aesthetic carries through the rest of the record, although there are occasional surprises—such as a track that unexpectedly shifts into a strong, groovy finale. The closing track also stands out, evoking a certain sensuality reminiscent of Bryan Ferry, yet filtered through an Electro-Pop framework with touches of Acid. The vocals are soft and blend seamlessly with the overall production.

I wasn’t familiar with Avro before, but this release proves to be a compelling introduction with plenty to offer. (Rating:7½).

Listen to “Blue Light, Hot Dreams”:

https://avro.bandcamp.com/track/blue-light-hot-dreams

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

Frenchman Jérôme Chassagnard presents this new album featuring eleven tracks. “New” might not be entirely accurate, however, as it includes several reworked pieces—primarily drawn from previously released EPs—alongside tracks that are unfamiliar to me.

To me, Jérôme Chassagnard remains an incomparable artist: someone who consistently follows his own path, resulting in experimental music enriched with a wide range of subtle influences. Here, you encounter cinematic soundscapes with delicate piano fragments, weightless, space-like passages, but also a form of danceable, idiosyncratic lounge music. At times, a voice emerges; often, field recordings can be recognized. Now a slow rhythm resonates, then broken beats take over. The compositions may occasionally feel somewhat fragmented, yet they also possess a certain cohesion—above all, they remain distinctly personal.

This is perhaps one of the most accessible productions I have heard from Jérôme Chassagnard and, to my ears, a thoroughly enjoyable record. (Rating:7½).

Listen to “Floating Cities”:

https://hymen-records.bandcamp.com/track/floating-cities-2

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

Three years after the rebirth of Flesh Field with the album “Voice Of The Echo Chamber”, Ian Ross returns with the sixth album from his sonic alter ego, Flesh Field. “On Enmity” is presented as a work that delves into deeply personal themes, including trauma.

Musically, Flesh Field picks up where the previous album left off. It still feels like a continuation of that rebirth in both sound and style. The Electro foundation of earlier days remains recognizable, but it is now reinforced with powerful, menacing guitars. The epic arrangements add an extra layer of intensity. While this release can be described as a fairly typical American Industrial record, it is also infused with a strong Cinematic and Epic undertone. Ian Ross has certainly not faltered in resurrecting Flesh Field and continues to demonstrate a masterful sense of songcraft and execution. The overall sound is heavy, with an atmosphere that cuts deep and lingers. A double album version is also available via Dependent, featuring remixes by acts such as 16 Volt, Lost Signal, and Mildreda, alongside a track with guest vocals by Tom Shear (Assemblage 23).

While I remain particularly attached to Flesh Field’s debut era, there is much to appreciate in this newer direction, which clearly reflects the project’s ongoing evolution. (Rating:8).

Listen to “The Devil You Know”:

https://fleshfield.bandcamp.com/track/the-devil-you-know-1

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

Meanwhile, it had already been seven years since James Knights released the debut album “Dollar$ & Cent$” under his musical alter ego, Knights. In the interim, a few singles were released, but things remained relatively quiet around the British artist. “Supernatural Lover” changes that.

The album was released in various formats and received a helping hand from Martin Dubka. Knights still sounds as delightfully unhinged as ever, delivering unmistakable ‘happy electro’ vibes. This is a perfect blend of Synth-Pop with a healthy dose of Italo-Disco. Everything carries a strong 1980s feel and gets you dancing with a smile on your face before you even realize it. Knights sounds like a return to life in some distant place via a time machine—glitch and glamour intertwined. The songs are driven by catchy melodies, occasionally complemented by touches of guitar. The final track leans more toward a ballad, but everything leading up to it is pure fun.

Knights remains a real challenge, but one that has long captivated and infected me—although this new work may lack a truly standout hit. (Rating:7½).

Listen to “Knightmares”:

https://knights101.bandcamp.com/track/knightmares

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

Deadly Sins is a recent name to emerge in the Belgian Dark Electro scene. This solo project was set up by CyrbVII, whom some will immediately associate with the EBM duo Wülf7. Following several earlier EPs, the debut album was released earlier this year, featuring 13 tracks, including four remixes.

Deadly Sins leans more toward Dark-Electro, where atmosphere takes precedence over aggressive basslines or pounding beats. Instead, we are drawn into a nightmarish journey, masterfully accompanied by beautiful string arrangements. With a title like “Mad Mind Of This World”, a menacing atmosphere is only to be expected—and CyrbVII delivers exactly that. The tracks are well-developed, and the overall mood is further enhanced by vocals that fit perfectly within the compositions. The album also includes a fairly heavy, club-oriented track that evokes memories of Yelworc. Remixes are provided by Causanation, Gettner, Diverje, and Ner.ogris, adding extra depth to the release.

All in all, this is a promising debut for Deadly Sins and a solid foundation on which to build. (Rating:7½).

Listen to: “Bunker (PartII – Distress)”:

https://deadlysins.bandcamp.com/track/bunker-partii-distress

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 Yorker Reza Seirafi returns with a new album, drawing inspiration from themes of spiritual recursion, emotional circuits, and machine worship. These concepts are distilled into a nine-track release.

Seirafi continues to blend a wide range of influences; he throws everything into the mix, yet the individual elements remain clearly recognizable, spanning Techno, Electro-Pop, Trance, Ethereal, and a darker touch of EBM. With Vexillary, genre boundaries and trends seem largely irrelevant—his work appears driven instead by spontaneity and an abundance of ideas. The result is highly danceable, propelled by solid beats, while also embracing a sensual, ethereal quality when the enchanting female vocals come to the fore.

There is much to appreciate on this record, though my personal preference leans toward its darker moments. (Rating:8).

Listen to “Riptide”:

https://vexillary.bandcamp.com/track/riptide

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

Engelsstaub returns with four stylized tracks, crafted with a precision that seems uniquely their own. “Ubi Luna Fabulas Somniat” transports us to an imaginary, remote, and serene place—where even the moon finds room to dream.

Let’s face it: this EP sounds to me like a message of peace in a grim world. But first and foremost, there is the music, through which the German group, led by Mark Hofmann and Waldemar Zaremba, invites us on an almost ritualistic journey. Each track opens with a few spoken words before unfolding into an ethereal experience, carried by a heavenly female voice. The compositions are quite diverse, yet they form a cohesive and beautiful whole. At times, the music recalls pure troubadour-like elements; elsewhere, it becomes rousing, even epic, driven by more forceful and overwhelming arrangements. Occasionally, it feels as though you are on the verge of a pure trance experience. What continues to stand out about Engelsstaub is the authenticity of their work. This quality emerges not only from the instrumentation and vocals, but also from the refined finishing of every detail.

For me, Engelsstaub remains a reliable choice—a guarantee of creativity, marked by consistently high-quality execution. (Rating:8½).

Listen to: “Eagle Woman”:

https://engelsstaub.bandcamp.com/track/eagle-woman

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

Scott Sturgis is a household name in the world of Power-Noise. Between the late 1990s and the early years of the new millennium, he terrorized the underground scene with his ruthless and, above all, uncompromising sound. During that time, he was also involved in various other projects, but Converter remained a defining name within the scene.

After 2005, however, things suddenly went quiet—until now. More than 20 years later, the American artist has reactivated Converter with this five-track EP, produced by Daniel Myer. The influences of the past now linger more subtly in the background, as if this EP reveals a different side of Converter. While there is still experimentation with distorted sounds, everything feels more controlled and restrained. The music remains dark, yet also incorporates a touch of Minimal-Electro. At times, the atmosphere turns distinctly ominous. Overall, Converter diverges from earlier work to deliver a more accessible record. On one track, a sequence even emerges that is somewhat reminiscent of Front 242. The EP concludes with overwhelming arrangements that, in a sense, form a bridge to the past.

One can only hope that Sturgis has truly reinvented his project. Based on what is presented here, it is fair to say that Converter has a promising future ahead. (Rating:8).

Listen to: “Garden Of Earthly Delights”:

https://ant-zen.bandcamp.com/track/garden-of-earthly-delights

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

Sister May is a Belgian band that has been active for several years now. After releasing various singles and EPs, their first self-released album appeared in 2023. They returned early this year with a new opus. “VII” is presented as a conceptual work exploring different types of collapse and the impact they entail.

Musically, Sister May blends many influences into their compositions. Powerful guitar work is complemented by electronic arrangements, creating a fusion of Rock, Industrial, and Metal. Some passages are quieter and even somewhat ethereal, but that calm is soon disrupted by brutal sounds and menacing guitars. Over this sonic maelstrom rises the singer’s extremely passionate—at times almost possessed—voice.

“VII” sounds dark and aggressive, but above all, it stands as a truly cohesive blend of tightly woven influences. (Rating:7).

Listen to “We Care”:

https://sistermay.bandcamp.com/track/we-care

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

Lina Filipovich is a Belarusian artist based in Paris who has released a considerable body of work over the past five years. “Flowers Of Evil II”, released earlier this year, features eight tracks.

From the very beginning, Lina Filipovich makes it clear that Techno is not necessarily what many expect it to be. For her, it serves more as an element or influence within a broader sonic framework, into which she weaves Ambient textures in a striking and unexpected way. The result is an ethereal atmosphere that adds a distinctive creative twist to her productions. She pays remarkable attention to subtle details—delicate sounds and effects that truly reveal themselves when listened to on headphones. At the same time, her use of Techno structures, driven by a restrained and cool kick, gives the music a sense of movement and makes it surprisingly danceable.

I thoroughly enjoyed this record, which has the potential to resonate with listeners across a wide range of genres. (Rating:8).

Listen to “Obsession”:

https://linafilipovich.bandcamp.com/track/obsession

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 project Undertheskin returned in December 2025 with their third album. This is their first new opus since “Negative” (2019) and also their debut album on Young And Cold Records.

“Negative” was a true gem in the Dark-Wave genre, an influence that is retained on this new full-length release. The music remains steeped in a pitch-black atmosphere, yet “Never / Return” also sounds slightly more melodic and—one might even say—a bit more ‘Pop’-oriented. This is particularly evident in some of the choruses, where they occasionally evoke an imaginary hybrid of Mesh (for the Pop sensibility) and The Cure (for the dark atmosphere). The final section, however, turns darker and somewhat more melancholic, achieving a perfect balance between guitars and synths. Add to that the passionate vocals of frontman and founder Mariusz Łuniewski, and Undertheskin has once again delivered a highly accomplished effort.

In my opinion, this is a band that deserves wider recognition, although any true Post-Punk enthusiast has likely already discovered both the group and this excellent new release. (Rating:8½).

Listen to “End This / Winter”:

https://underskin.bandcamp.com/track/end-this-winter

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 Hoy and the debut album “Getting Closer”, we welcome a new project from Carl Sjöström. The name Scapa Flow will likely ring a bell for many EBM fans from the late ’80s and early ’90s, as Sjöström was a member of that group. He has been active with Hoy for about two years now and has already released several singles and EPs.

“Getting Closer” features ten tracks that genuinely surprised me with their originality. It proves that there are still true musicians and creatives who dare to pursue a sound with real individuality. As a result, it is not easy to pin down Hoy’s genre. There is certainly an Electro-Pop foundation, but it feels highly atypical and often leans toward minimalism and soft EBM elements. The overall sound is somewhat subdued—at times mysterious, yet also floating and atmospheric. Carl Sjöström’s voice is particularly convincing and, above all, a perfect match for the music. Subtle female backing vocals appear here and there, adding further depth. One notable track is the very restrained “Why”, a cover of Annie Lennox. In my opinion, however, it is one of the weaker moments on the album.

To me, this album feels like a genuine revelation: intelligent music that offers something truly fresh within a scene often driven by imitation. (Rating:8½).

Listen to “Confident Smile”:

https://hoymusic1.bandcamp.com/track/confident-smile

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

Ancient Methods originally started as a duo but has, for some time now, been driven by its sole remaining member, Michael Wollenhaupt. With this new work—explicitly presented as an EP, but which, with its seven tracks, feels more like a mini-album or even a full-length—Wollenhaupt draws inspiration from the book of the same name by Guy Debord. In “La Société Du Spectacle”, Debord offers a critical perspective on the consumer society of the previous century.

Musically, this concept is translated into a blend of influences that, once unraveled, reveal elements of Techno, Trance, and Industrial. From the outset, it becomes clear that this is best approached as an EP: three short tracks function more as conceptual fragments, contributing to the overarching narrative rather than standing on their own. The opening track is a true sonic bomb, driven by rousing rhythms and a near-perfect fusion of Industrial and Techno. The atmosphere is cold, even somewhat grim. Elsewhere, a passage is propelled by an exhilarating, heavy kick, accompanied by a compelling female voice courtesy of Night In Athens. Similar elements can be found throughout the other tracks, although Ancient Methods occasionally leans into a more Ethereal direction, while primarily showcasing a veritable arsenal of sounds.

There is certainly much to appreciate in this release, with the immensely powerful opening track standing out in particular. (Rating:8½).

Listen to “Image Is My Commodity”:

https://ancientmethods.bandcamp.com/track/image-is-my-commodity

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

Guillaume Sonne Ombrée is a French multi-instrumentalist who releases his debut album “Calvaire” under the name Ombrée. The background and immediate impetus for this work carry deep emotional weight, as the album was directly inspired by the passing of the artist’s father. It stands as a form of mourning, giving rise to six intense and personal compositions.

Musically, the album often recalls the experimental edge of the 1980s Industrial scene. A dark, raw atmosphere permeates the work, framed by the tolling of a church bell that serves as both its opening and closing motif. In between, a dense collage of sounds and textures unfolds, including field recordings that are tightly compressed into the mix. Guitar and bass lines are heavily distorted, twisted into tormented shapes and submerged in layers of electronic effects. At times, I find myself missing a voice—some kind of rough, almost archaic outcry—yet the absence never detracts too much from the overall impact.

What Ombrée delivers remains compelling and immersive. The production will undoubtedly resonate with listeners drawn to Industrial, Experimental, and Drone music, and Last Few Days in particular feels like a subtle bridge back to the spirit of the 1980s. (Rating:7½).

Listen to “Foie”:

https://ishallsinguntilmylandisfree.bandcamp.com/track/foie

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

Giorgio Ricci remains a busy bee. Known for his past in Templebeat, he is currently also involved with the successful Post-Punk group They Die and released a brilliant minimalist album with Monosonik last year. Toward the end of that same year, he returned with a new self-released album from Templezone, a project that has already spawned three great albums in the past.

Templezone sounds completely different from his other projects and is often described as a kind of sequel to Templebeat. Apart from a striking similarity in the name, however, the music diverges significantly. Ricci builds on a solid Techno foundation, reinforced with elements of EBM and touches of Trance. The album is an explosive, club-oriented work that is impossible to remain indifferent to. The dark atmosphere he injects throughout makes it both accessible and engaging for a wider audience. The tracks are carefully crafted and occasionally enhanced with distorted spoken samples. Some passages take on a rhythmic Cinematic quality, while others lean more toward Psy-Trance.

Productions like this inevitably attract the comment that they are too Techno for an EBM audience and too dark—or too EBM—for a Techno audience. For me, however, it’s purely about the music and its impact, and in that respect, this record is nothing short of a sonic orgasm. Giorgio Ricci is above all a true musical genius in everything he gets involved in.  (Rating:9).

Listen to “Extreme”:

https://templezone.bandcamp.com/track/deadline

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 Years Of Shame, the established Icy Cold Records welcomes a new French duo.

The debut album features eight tracks that immediately lead us down a familiar Dark-Wave path. There is a well-balanced interplay between the guitar, which provides the necessary sense of sorrow and melancholy, and the keyboards, which add an extra, layer of atmosphere—sometimes icy—while also reinforcing the melodic structure. The vocals can sound somewhat sterile at times, yet they also carry a certain sensuality, forming a fitting complement to the music.

Years Of Shame may not bring anything radically new to the genre, but they will undoubtedly resonate with Post-Punk fans thanks to a number of particularly strong tracks. (Rating:7½).

Listen to “Heat”:

https://icycoldrecords.bandcamp.com/track/heat-3

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

Vikowski began as a solo project founded by Italian artist Vincenzo Coppeta and has since evolved into a trio, releasing its official debut album on Icy Cold Records earlier this year.

The album features eight tracks that are clearly rooted in Dark-Wave. The opening track feels like a warm-up, somewhat reminiscent of The Virgin Prunes. As the album unfolds, we encounter slower compositions in which the guitar establishes a distinct, melancholic atmosphere. It is the guitar that truly carries the spirit of the record.

At times, this melancholy drifts into much darker territories, occasionally echoing the sound of Joy Division.

While I wouldn’t say the entire album fully convinces me, there are nevertheless a few genuine gems to be discovered on “Consistency”. (Rating:7).

Listen to “Dedication”:

https://icycoldrecords.bandcamp.com/track/dedication

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