Stockholm post-punk/goth band A Projection will reissue their third album “Section” as a limited edition white vinyl LP with amended cover artwork on 6 February 2026 via Metropolis Records, with pre-orders now open on Bandcamp.

Originally released on 25 October 2019, “Section” marked the band’s first collaboration with Metropolis Records and captured their move from a more guitar-led sound towards a blend of post-punk, darkwave and indie rock. The album includes the singles “Something Whole”, “Lucy Shrine” and “Substitute”, each supported by official videos.

For this 2026 edition, “Section” appears on white vinyl with revised artwork closer to the band’s original concept, while preserving the 11-track album sequence familiar from the 2019 release: “Something Whole”, “Strange”, “Time”, “Fall”, “Substitute”, “Verdicts”, “Lucy Shrine”, “Down”, “Diffusion”, “Live Again” and “Disbelief”.

“Section” followed the Tapete Records albums “Exit” (2015) and “Framework” (2017), closing the group’s first chapter with original vocalist Isak Eriksson before bassist Rikard Tengvall moved to lead vocals. After an enforced break during the 2020 lockdown period and further line-up changes, A Projection shifted towards a more synth-based sound on their fourth album “In A Different Light”, released by Metropolis in November 2022. That record introduced stronger early-1980s darkwave influences and featured contributions from Henrik Linder (Dirty Loops) and Sarah Boom (Turquoise).

About A Projection

A Projection formed in Stockholm, Sweden, in 2013 as a post-punk band drawing on The Cure, Joy Division/New Order, Sisters of Mercy, Interpol and Editors, alongside electronic influences from Kraftwerk, Depeche Mode, D.A.F. and The Knife. The original line-up featured Isak Eriksson (vocals), Amos Pagin (guitar), Mattias Rue (bass), Linus Högstadius (synths) and Jesper Lönn (drums).

The group first signed with Hamburg label Tapete Records, which released their debut album “Exit” in April 2015 on CD and LP, establishing a sound rooted in 1980s post-punk with elements of darkwave and indie. Tapete followed this with the second album “Framework” in January 2017.

In 2019 A Projection signed to Metropolis Records. Their third album “Section” arrived in October 2019, recorded at Redmount Studio and presenting 11 tracks that combined New Wave, post-punk, gothic and indie rock elements under the new vocal leadership of bassist Rikard Tengvall following Eriksson’s departure. Metropolis later issued the fourth studio album “In A Different Light” in November 2022, showing a shift toward a more synth-oriented, darkwave-informed sound. In 2025 the band also marked a decade since their debut with the “Exit 10 Years” edition.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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COP International will release the “Los Angeles – From The Ashes” charity compilation tomorrow. You can already pre-order it now for 10 USD. The release will only be available through Bandcamp.

The devastating fires in Los Angeles also destroyed “one of the most vibrant artist communities in the world” so COP International’s Christian says. “Many of our friends, collaborators, and fellow artists were displaced, with some losing everything. Among those deeply affected was Louise Fraser of Muricidae Music, a beloved COP International artist, who lost her home in the tragedy. In the face of this devastation, we knew we had to take action. This is our response: “Los Angeles – Out of Ashes”—a massive 75-track Bandcamp compilation, bringing together an extraordinary community of artists, labels, and supporters.”

All net income from the release will be donated directly to the American Red Cross, helping fire victims and aiding ongoing relief efforts. Since it’s Bandcamp Friday tomorrow, Bandcamp will waive its fee, ensuring that every dollar goes to those in need.

The 75 bands included are: Black Needle Noise, Blackcarburning, Dogtablet, Stoneburner, Inertia, Carrellee, The Halo Trees, I Ya Toyah, Jane Jensen Music, Muricidae Music, NØIR, Die Kammer, Black Angel, Night Ritualz, SJÖBLOM, Red Lorry Yellow Lorry, Chris Connelly & Dan Milligan, The Cassandra Complex, KY music, Louise Fraser, G.W. Childs IV, Junksista, Johnny Tupolev, unitcode:machine, Deathline International, The Russian White, Icon of Coil Official, Brigade Enzephalon, Monody, Lights of Euphoria, Black Nail Cabaret, Ruined Conflict, Solemnshapes, A Projection, Magic Wands, Beborn Beton, TORUL, Lost Signal, Orange Sector (offiziell), Interface, genCAB, MESH, Destroy Me Again, Sapphira Vee, Dstrtd Sgnl, Klack, TREASVRE, xotox, Frontal Boundary, nolongerhuman, Bellhead, V2A, Metamorph, Red Lokust, WESENBERG, Psyclon 9, Flesh Field, Principe Valiente, Death By Love, Winema Suehead, Sick Jokes, Chiasm, The Hunger, Vaselyne, Solar Fake, Girls Under Glass, NORMORIA, Stabbing Westward, Jesus On Extasy, The Shadow Majlis, Amulet, Suicide Queen, Ego Likeness, Schattenmann, Beasto Blanco.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Celebrating its 30th year, Audioglobe, the most important distributor in the darkwave scene, just shared a statistical review, revealing the shifts and trends in the darkwave (and related) music genre.

Our readers will surely remember that we have reported on these stats for years, until 2018, the first year that Audioglobe didn’t communicate these stats. Sebastian Koch from Audioglobe explains: “Some customers never really cared that much about these, as they have better things to do than reading boring mails from the undersigned. But… Surprisingly there are quite a high number of customers, that sort of ‘complained’ about the fact, that no stats were being done any longer… The reason is: I was simply always far too busy in past years. Anyway: Here we go with the first new stats since 2017!”

So here are some export facts.

Top 10 Bestselling Labels of 2023 (export)

1. FABRIKA/DEAD SCARLET
   • She Past Away, Lebanon Hanover, Selofan, Kaelan Mikla, M!R!M, Doric…
2. METROPOLIS
   • Birthday Massacre, Delerium, Front Line Assembly, A Projection, KMFDM, Legendary P.D…
3. ICY COLD/MANIC DEPR.
   • Twin Tribes, Je T’aime, Traitrs, Kill Shelter, Closed Mouth, Talk to Her, Schonwald…
4. ALFA MATRIX
   • Alien Vampires, Front 242, Metroland, Die Robo Sapiens, Elm, 808 Dot Pop, Helalyn Flowers…
5. RUSTBLADE
   • Claudio Simonetti, Ennio Morricone, Lycia Lunch, Spiritual Front, Ketvector, Legendary Pink D…
6. OUT OF LINE
   • Blutengel, Hocico, Solitary Experiments, Suicide Commando, Signal Aout42, Erdling…
7. TRISOL
   • Sopor Aeternus, Rome, Clan of Xymox, Asp, Ostara, Skinflicks, Nachtmahr, Mantus, Soman…
8. DEPENDENT
   • Kirlian Camera, Girls Under Glass, Spectra*Paris, Mildreda, Black Nail Cabaret, Beborn Beton…
9. ARTOFFACT
   • Actors, Noise Unit, cEvin Key, Kaelan Mikla, Ploho, Sacred Skin, Kauan, Ken Mode, Spectres…
10. AUERBACH
    • Spiritual Front, Sol Invictus, Tenhi, Moon and the Night Spirit, Haavard, Hekate, Orplid…

Best Export Territories of 2023

If we look at the Audioglobe stats, we notice that Germany and Greece remain the company’s strongest markets, continuing a trend that has been consistent for ages. However, the 2023 statistics reveal some notable shifts.

Canada, once a prominent market for Audioglobe, has surprisingly disappeared from the export landscape. In contrast, the United States and the United Kingdom have re-emerged as significant territories, marking their return to prominence in the darkwave music scene after several years.

The most unexpected development in 2023 is the rise of Australia as a key market. This growth stands in stark contrast to Switzerland, which, despite its affluence, has seen a sharp decline in sales. Sebastian Koch adds: “The (by far!) lowest sales of all countries where we export to, was to Switzerland… The rich Swiss don’t buy records! Since I left the country (1990), something is wrong back home!”

Here is the top 10 list of export territories:

1. Germany
2. Greece
3. Netherlands
4. Portugal
5. USA
6. United Kingdom
7. Australia
8. Spain
9. Russia
10. Poland

Not in the top 10, but France, Japan, Malta, Brazil, Sweden, Mexico, and Perù are also good export territories for Audioglobe.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Out soon, March 26, is the debut album by the experimental electronic act World Dream Conspiracy: “Sexy Jazz Night”. The project itself was formed amidst depression, a drug addiction and COVID. “Sexy Jazz Night” will be released on limited edition vinyl via The Circle Music & Logical Absurd.

“Sexy Jazz Night” was recorded between September and October 2023 at WDC, Castle Rock, Colorado. Mixing and mastering were done by David Moore, as were the videos and artwork accompanying the release.

World Dream Conspiracy are: David Moore, Linda P. and Josef Nosel.

The project was born in 2023 by a group of friends from a small town in Colorado, USA. The band’s story originates at a psychiatric clinic where they were battling drug addiction and depression post-Covid. When talking of their origins, the band said: “We found ourselves in a dimension very distant from anything contemporary, but rather with the collagists and the most extreme experimenters of the industrial scene, the most intellectual and expressionist one if we want. We wanted to be amazed in this world that seems like a dream but isn’t very dreamy.”

“Our dimension is something you don’t expect”, the band added when describing their music on “Sexy Jazz Night”. “A change of skin, a continuous mutation, growth, defeat, an internal ailment, an explosion of joy, a projection, a conscious state, a loss of consciousness and balance. You don’t have to think to listen, you don’t have to remember a text and you’re not interested in knowing what will happen, you trust, you touch interior notes, a certain emotionality, there is also a lot of poetry and a continuous constant search for special situations and unique environments, with a constant macabre attitude and a latent dose of irony.”

World Dream Conspiracy video

It is in the clinic that World Dream Conspiracy gave its first concert in the clinic in front of patients, during a Christmas party. That performance, simply called “Live at the Clinic” by the band, has been recorded but not released (yet). A video, created by the band’s David Moore, to the track “That Strange Feeling Of Not Knowing You At All” is now available to watch.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Genre/Influences: Wave-Pop.

Format: Digital, CD, Vinyl.

Background/Info: After having released their two first albums on Tapete Records, at the end of 2022, Swedish formation A Projection released their second album on Metropolis Records.

Content: A Projection remains strongly influenced by good-old 80s New-Wave music although this album also appears to be a new start. While previous works  were mainly driven by guitar,  “In A Different Light” features a clear and mainly electronic sound. Effects, arrangements, deep bass lines, melody lines, drums and production of the vocals are bringing us back to the 80s.

+ + + : One could say A Projection is just one of the numerous 80s emulations I think this band also has a true 80s spirit. It comes through in nearly every little detail. They carefully listened to 80s productions and I immediately thought of bands like Alphaville and Camouflage. “Paris Stockholm” and “Regenerate” both are true contemporary Wave-Pop jewels.

– – – : The work is rather different than its predecessor; the influences are still 100% 80s like but it all sounds different.

Conclusion: “In A Different” sounds as a cool flashback. 

Best songs: “Paris Stockholm”, “Regenerate”, “Careless”, “Anywhere”, “Confession”.

Rate: 8.

Artist: www.aprojection.com / www.facebook.com/aprojectionband

Label: www.metropolis-records.com / www.facebook.com/MetropolisRecords

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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The Stockholm based post-punk outfit A Projection is back with an all new album on Metropolis. “In A Different Light” includes the band’s recent singles “Darwin’s Eden”, “No Control”, “Careless” and “Anywhere”. The album also includes contributions from fellow Swede Henrik Linder of Dirty Loops and Sarah Boom of the Brussels-based Turquoise.

Formed in 2013 as a post-punk outfit they are both influenced by The Cure, Joy Division/New Order, Sisters of Mercy, Interpol and Editors, and by electronic acts such as Kraftwerk, Depeche Mode, D.A.F. and compatriots The Knife. The first three albums by the band – “Exit” (2015), “Framework” (2017) and “Section” (2019) – developed from minimalist beginnings into a more accessible sound but with a strict post-punk aesthetic and attitude.

The band recently left the indie oriented Tapete label to join the more electronically leaning Metropolis roster for the release of “Section” resulting in a more synthesizer based style with influences from the 80s and contemporary darkwave.

Below is the video for “Anywhere”.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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By the end of 2021 Mexican formation Sodomy Down The Cross unleashed the gfull length album “Sodomy Down The Cross”. The album was released by Insane Records revealing a powerful and enraged Dark-Electro format. The band introduced their work as ‘Reborn from the ruins of a country consumed by violence where every day crime steals the front pages of the main national newspapers, where people live in fear of being riddled with bullets, where the sound of bullets becomes in the usual aural landscape inside and outside the big cities Sodomy Down The Cross explores through a new sound the reverberation of constant fury and aggression in a corrupt society.’ This is a production I highly recommend to all lovers of great Dark-Electro music. I asked a few questions to ‘BlackNeyton’ and ‘Ivanov Scylla’.

(Courtesy by Inferno Sound Diaries)

Q: Can you tell us a bit more about the origins of Sodomy Down The Cross? How did the band saw the daylight and what have been the main sources of inspiration?

BlackNeyton: The origins of Sodomy Down The Cross are going back to 2001 at the border between Mexico and the United States, Texas and Tamaulipas to be more exact.

My personal influences that in turn gave life to the project initially were bands like Mysticum, Samael, Limbonic Art, Ulver, Burzum, Arcturus, Satyricon, Marduk, Deicide, Aura Noir, Nocturnal Breed, Morbid Angel, Mayhem etc and of course bands like Wumpscut, Skinny Puppy that allowed me to merge styles. I was looking for a new sound that combined the brutal atmospheres and riffs of Metal with Industrial and rhythmic sounds, with a heartbreaking voice, a theme of incitement to violence, the macabre, obscurantism, evil and thus influence the music to the listener.

Ivanov Scylla: Sodomy Down The Cross serves as an opportunity for me to share that dark vision of the world through music, to generate a catharsis and allow a bit of liberation for the alter ego that we all have inside.

The inspiration comes from my observation of the world and reality that often surpasses fiction and invites us to reflect, to annoy each other and shout at the world with the things that we do not agree with, the things that we continue to allow to happen thanks to the selfishness that becomes like the hydra in our consumerist society. My influences are bands like Tactical Sekt, Aslan Faction, Hocico , Suicide Commando , Skinny Puppy , Ministry etc…

Q: The name of the band definitely has something aggressive and provocative, which also comes back in the lyrical themes of the album “The Dead Live The Living Kill”. What do you try to express and what’s the importance to externalize aggressive topics throughout your music?

BlackNeyton: The name itself is a metaphor that can have the meaning each person wants to give it, the image that each one forms in its mind, perhaps something religious, satanic, worldly, sexual or perverse.

For me personally it reminds me of the story of Genesis 18.20.21 of Sodom and Gomorrah, everything that these cities represent in other cultures, starting from there I imagine music taking that place as a reference but besieging it in the present and future.

Ivanov Scylla: The lyrics are a reflection and a projection of human wickedness, that which causes us to continually stay at war, that which allows us as humans to remain stoic in the face of human pain, all that anger that remains imprisoned every time we see the news and we realize the decadence in which we live, it is a scream of fury!

The aggression in our lyrics is an invitation! To know and investigate what each of the stories we want to tell with our music is about.

Q: What kind of album did you’d in mind when starting the writing of “The Dead Live The Living Kill”? What’s your way of working and what’s the input of each member?

BlackNeyton: From the beginning we thought of making an album with Industrial rhythms and EBM overtones, more urban sounds and gloomy atmospheres, focused on the dancefloor as an experiment to give way to a new sound and new releases to come.

My way of working could be said to be that of any composer, on a day-to-day basis I begin to create sounds and melodies in my mind, which later accompany me, I put together like a puzzle and you focus on them in the studio until you create and polish what you imagine. There are sessions of 6 hours per day, non-connective, but most of the composition is mental, I travel a lot and my team always accompanies me, that is my case. I’m in charge of music production.

Ivanov Scylla: Definitely something Industrial!! There is no aspect that represents technological evolution and social involution as much as Industrial music, the automatism of the roar and the creak of the machines, mixed with harmonies, melodies and dark atmospheres, the human part of the band.

I try to contribute in the vocals, lyrics and visuals, everything that the musical part of Sodomy Down The Cross projects to me. It is an intense conversation between the rhythmic and melodic sequences, with the lyrics in each of the songs, my job is to achieve that our visions merge to make the message of the band unify, to enter the same journey.

Q: What elements of the album make you proud and what are the elements you would like to improve?

BlackNeyton: The songs give me a good feeling which makes the music more expressive. It creates emotion and allows you to escape from reality. We try to do something different than the standards so we experiment with other styles. The response of the people has been surprising in such a short lapse of time.

Artem from Sleetgrout mastered the album and did a great job. He managed to give quality and strength to the sounds. His work was very professional and got my my respect.

The improvements like new rhythms and more elaborated atmosphere will be heard at the next album which we are working on.

Ivanovscylla: I love listening to the album over and over again and never got a bored feeling. It makes me think that there is something special and addictive coming through the music.  I can’t help it but I move, dunk, sing… so every time I can it feels exciting to rediscover the album again.

If there was something that I wanted to improve, maybe it would be personal. Sometimes it is difficult to deal with that alter ego that we constantly talk about in our songs and let him allow us to work in peace haha it is a constant internal struggle, the point will be to agree more with us ourselves to be able to express everything we still can, through music.

Q: I noticed there’s a lyrical clip for the song “Die Fünfte Sonne”, which I think is not exactly the most representative song for this aggressive album, but it also is the opening track. Why did you make a clip of this song and what’s the importance of a debut track?

Blackneyton: “Die Fünfte Sonne” is a song that tells a story about our culture. We are part of that ‘Preshispanica Aztec, Mayan, Olmec’ culture. We see it everywhere, we live it, eat it and breathe it, it flows in  our blood and spirit. We wanted to tell the story of the fifth sun, the story of a new beginning. People who know that story will understand the clip as it is a journey, which we were looking for to share.

Ivanov Scylla: “Die Fünfte Sonne” is the door that allows us to enter our musical journey, we try to tell a story about our traditions, our past, one that is often unknown even to our own society that allows us to illustrate how life acts in a cyclical way; create and destroy , remember and forget. It is our metaphorical way of creating a bridge between albums (a new beginning).

Q: The album has been released during the ongoing pandemic so I can imagine it’s not an easy thing considering aspects as promotion and live shows. How do you manage this situation and what are the further plans about shows, remixes, releases etc?

BlackNeyton: The theme of the show, which is something that interests us in the future, as soon as conditions allow us. Without a doubt, we will enjoy that energy that is felt in the live shows, but at this moment our priority is to compose music.

It was because of the pandemic that Sodomy Down The Cross began to work on new music and become interested in new projects. This was possible thanks to meeting interesting and talented people like Vladimir Mironov, who introduced us to Evgeniy Fesslav Vorozheykin from Insane Records, who is a very  professional and good friend.

Insane Records is a very good label doing a professional job. We we are already working on remixes and very soon on the next album.

Ivanov Scylla: The pandemic has reduced on a large scale the way in which society relates and we are not the exception, but in pandemic times we have found new ways of working, of conversing and of meeting again musically, it has not been easy by any means, but we will focus our batteries on new releases, on the visual accompaniment of our music, and continue doing what we like. Sodomy Down The Cross is our revulsive, our way of liberating, our way of putting society in front of a mirror to realize how terrific it can be.

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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Swedish formation Then Comes Silence this year released their fourth full length album entitled ”Machine” (SPV Oblivion & Metropolis Records). The band is active since a couple of years now, but strikes back with a renewed line-up. Alex Svenson (vocals, bass, synthesizers), Jonas Fransson (drums), Mattias Ruejas Jonson (guitars) and Hugo Zombie (guitars) worked together with producer Alex Svenson while the album has been mixed by Stefan Glaumann (who already worked together with bands such Rammstein, Clawfinger, The 69 Eyes, Killing Joke ao). The result is a fully accomplished post-punk and cold-wave driven work, which will become without a shadow of a doubt one of the best albums of 2020. I got in touch with the band asking them a few questions.

(Courtesy by Inferno Sound Diaries)

Q: Your new album “Machine” also is the first one with a ‘new’ line-up. Can you give us more details about ‘Then Comes Silence V.2’ and do you notice main differences/changes with the old line-up?

Jonas: Mattias (previously in A Projection) and Hugo (previously in Los Carniceros Del Norte) joined us between ”Blood” and ”Machine”. The new line-up feels really good, we have become close friends and we are working very well together. They are both great musicians and now it feels like we are all moving in the same direction with Then Comes Silence.

Q: What have been the main ideas and themes for the new album? Did you encounter challenges and/or main difficulties in the writing process?

Alex: ”Machine” follows the same theme as the previous albums, like death, finity, mortality and the human  ego. If you want to write you need dedication, energy and discipline. Inspiration is all around us. All the time and everywhere. You can’t wait for a perfect moment, you just have to start working and the ideas will come.

Q: I honestly didn’t hear any minus point on “Machine”, but do you hear some aspects to improve and/or eventually elements you wanted different and/or better? And what are the criteria to know a song/album is finished?

Mattias: I haven’t listened so much on the album since it got released, but I do play some stuff differently live compared to the album. It has more to do with my way of expression than that I want to improve my work on the album.

A good rule is to give the album/song a specific amount of time to come to fruition and when the time is up, the album/song is done.

Q: I’ve been always fascinated by the mix of influences featured in your work, but the 80s cold-wave and post-punk elements both remain very present. What does the 80s mean to you in terms of inspiration and major artists? And how do you put all these influences together?

Hugo: I think that we have more influences from the 50s, 60s and 70s than from the 80s. So maybe we sound like 80s artists because we have the same influences they had back then, not because we try to sound like them. 

About putting the influences together, well, I think is kinda like being in a kitchen: Influences are the ingredients, Alex is the chef and the band are the cook’s assistants. You can use the same ingredients as other people, but your dish will always have your personal touch.

Q: Your album has been mixed by Stefan Glaumann, but I think most music lovers don’t always realize how important a good mix can be. Tell us a bit more about this essential aspect of a recording and how did the collaboration with Stefan Glaumann happened? Anything to add about the production process?

Alex: The mix is very important. It can be compared to film editing when making a movie. There’s a camera man, a story, a director etc… but the editing can be decisive for the result of the film. The same goes for the mix of an album.

We knew about Stefan Glaumann, but had never met him. We wanted a colder sound with a punch. That’s what you get working with him. He is a master of the metal sound. He knew about us and liked my voice so he was excited to work on ”Machine”.

Even though I don’t play metal and probably never will, I believe the scene has many qualities. We payed a visit in their garden to see what flowers we could bring with us. It was probably something that came to my mind when we worked with Nuclear Blast in the past. I have always wanted to get into the metal club. I grew up with it along with many other genres, but they would probably just call me a poser. The metal scene can be quite conservative and strict.

I did the music production of the album and took care of the recording. I tried to make it as easy as possible for Glaumann to take over the wheel in the mix.

Q: Because of the Covid 19 pandemic, gigs, tours and festivals have been cancelled and/or postponed. What’s the impact of it all on the new album and what’s your experience with the live streams?

Hugo: It sucks and the impact of it all has been huge. We were waiting like one year for the album to be released, and then we release it just the day the world stopped. So it’s very difficult to promote a new album without touring, but anyway we are overwhelmed by the support we have from people buying the new album, merch… that’s really helping us and our labels to keep on keepin’ on.

We did a live stream in May, and it was weird but I had a really good time, and it was even better when I read a lot of messages from friends saying that thanks to the stream they were able to forget about all the shit happening around us for one hour. Anyway, the most important thing at the moment is that everyone stay safe and healthy, we’ll have fun soon.

Jonas: The album release worked fine, it’s just super annoying not to be able to do gigs and tours, we really miss it a lot. The last month we’ve been busy with building a new rehearsal studio, that has been a nice change from just sitting at home and doing nothing. The studio is very close to be finished and soon we can start making music again.

Mattias: We did a proper live stream with a full crew taking care of everything just to be able to put out a proper live stream for everyone to enjoy, we even engaged the audience and let them decide the set list and people seems to have enjoyed it.

Alex: We should be lucky to have social media. Imagine this same situation 15 or 20 years ago. Even though we won’t be able to play and tour like we usually do, the new album gets good attention on the social platforms. To me ”Machine” has become very much connected to 2020 and it was released on the same day almost all of Europe got into lockdown.

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

“We Lose The Night” is the brand new video for the Swedish post-punk act Then Comes Silence. The track is taken from the upcoming album “Machine”. You can view the video below. The band’s new album “Machine” will be released on March 13.

Post-punk from Stockholm since 2012

Then Comes Silence is a quartet based in Stockholm, Sweden. Since the band’s very first show, as the opening act for A Place to Bury Strangers in 2012, the band released 4 albums: “Then Comes Silence” (2012 – Novoton), “Then Comes Silence II” (2013 – Novoton), “Nyctophillian” (2015 – Novoton) and “Blood” (2017 – Nuclear Blast).

In 2018 the band opened for Fields Of The Nephilim and Chameleons Vox in Germany and they are more frequently playing other festivals in Europe. In 2018 Seth Kapadia and Jens Karnstedt left the band and the former session musicians and touring substitutes Mattias Ruejas Jonson (ex-A Projection) and Spanish born Hugo Zombie (ex-Los Carniceros Del Norte) became the new members in the band.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Swedish post punk goth rockers Then Comes Silence have joined Metropolis Records for North and Central America and thus leave Nuclear Blast who had released their last album “Blood” worldwide. Their new album “Machine” is now being finished, and we’ll be able to offer you extra info pretty soon.

Then Comes Silence was formed in Stockholm in 2012. The same year they released a self-titled album “Then Comes Silence” on Novoton. It was followed the year after by “Then Comes Silence II” and in 2015 by “Nyctophillian”. Their 4th album, “Blood”, was the first (and only) one on Nuclear Blast.

In 2018 Seth Kapadia and Jens Karnstedt left the band and the former session musicians and touring substitutes Mattias Ruejas Jonson (ex A Projection) and Spanish born Hugo Zombie (ex Los Carniceros Del Norte) became the new members in the band.

You can check the band’s last studio album below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Genre/Influences: Cold-wave, post-punk, wave-rock.

Background/Info: Set up in 2013 and operating from Stockholm (Sweden) A Projection released two albums on Tapete Records. After an important change in the line-up saw their bass player become the new singer, the band signed to Metropolis to unleash their third album.

Content: The sound of this band can be easily found in the darkest hours of the 80s. They often reminding me of New Model Army with a touch of Sisters Of Mercy on top. I can also evoke Echo & The Bunnymen for one of the songs. But the songs also reveal a very personal touch, which is more rock-minded. The songs are powerful and carried by great guitar playing and the singer’s deep timbre of voice. The songs are short, but powerful.

+ + + : “Section” is not innovating, but mixing several influences –which are mainly getting us back to the 80s, together. The guitar parts are impressive, now injecting power and this typical dark touch and then becoming more sensible and dreamy-like. I personally prefer the harder cuts, which are ruling over this opus of 11 songs. The debut cuts are stunning pieces of cold-wave with an extra rock flavor on top, but I also have to mention the dreamy outro “Disbelief”.

– – – : The songs are pretty similar and become predictable after a while, but you don’t really hear me complain.

Conclusion: Metropolis clearly has a fine nose to discover talented dark-wave/post-punk inspired formations. And the least I can say is that A Projection is a talented formation, which will for sure catch a wider attention thanks to their move towards Metropolis Records.

Best songs: “Substitute”, “Time”, “Something Whole”, “Diffusion”

Rate: (8).

Artist: https://aprojection.com /

www.facebook.com/aprojectionband

Label: www.metropolis–records.com / www.facebook.com/MetropolisRecords

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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The post-punk/indie/goth act A Projection, which formed in 2013 in Stockholm, Sweden, has released two albums to date: “Exit” (2015) and “Framework” (2017). Out on October 25th is the band’s brand new album, “Section”. It will be the first album after the departure of their original singer, with former bassist Rikard Tengvall replacing him.

The band partnered with the US based Metropolis Records for the worldwide release of “Section” and also just issued the song “Lucy Shrine” as a new single taken from the record.

Here’s the single “Lucy Shrine”.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Fresh news from the dark electro act Siva Six. The band is currently working on a new (5th) album, with Dimitri Douvras (Nightstalker, Rotting Christ, Tethrippon) behind the mixing desk once again.

Here’s what the band’s frontman (Z) has to say about the process: “It’s always hard and painful for me to go through this procedure, I make albums because I have reasons to do so and this is the first album that was written outside Athens, in Leipzig, which was the ideal ghost town for me to concentrate on the concept. A projection of my latest experiences and adventures is what it’s all about.”

The album will be released somewhere next year.

The band’s most recent release is “NYX”, featuring reworks. You can listen to the album below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Fans of dark, atmospheric guitar music should add the 24 of March 2018 in their agenda as Golden Apes will host the 9th edition of the Dark Spring Festival at the Berlin-based Bi Nuu Club.

Playing live will be Motorama (RUS), Whispering Sons (BE), Golden Apes (DE), A Projection (SWE) and Sweet Ermengarde (DE). For those of you which don’t know Motorama, the band is by far the best-known representatives of the Russian Post Punk/New Wave scene.

The festival will continue in the late hours with DJs Thomas Thyssen (Pagan Love Songs) and Jürgen Jakob (Cold Beat Berlin) with a mix of goth, wave, post-punk and indie-classics.

Tickets are available via www.apes.1a-shops.eu and www.koka36.de .

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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