This summer, I came across “I’m Too Young to Die”, the debut album by German artist Oliver Decrow. His Minimal-Electro/Wave music evokes an ’80s flashback, enhanced by a modern and personal touch through its gritty analog synth sounds. Released by the renowned Cold Transmission label, the album captivated me with its cold, sterile aesthetic layered over deep, human themes. It felt like the perfect opportunity to reach out to this promising artist. (Courtesy by Inferno Sound Diaries)

Q: Can you introduce us to the musical world of Oliver Decrow? Where are you from, and how did you first get drawn into the world of electro music?

Oliver: I’m from Dresden, East Germany. I began producing music at an early age at school, but it really took off when I studied fine arts at the Art Academy in Dresden. During that time, I met several DJs and shared a studio with a local DJ and tattoo artist. He introduced me to music from the 80s, Italo-Disco, Cold-Wave, and Minimal-Wave like Decadance, Medio Mutante, S.M. Nurse, John Maus, SS-Say, Deux, Eleven Pond, Knight Action, Charlie (Spacer Woman), Moderne, and Linea Aspera.

During this period, I also spent time in shared apartments (WG’s), moving from one party to another. I had no money, and survival was hard, but discovering and enjoying music became a release, helping me get through each day and deeply impacting my personality.

While painting, we would listen to Intergalactic FM or Bohren & der Club of Gore (Piano Nights).

During my studies, I decided to leave Germany and moved to Montreal, where I lived in a tiny flat and made music every day. It was there, and in New-York, that I filmed my first music videos. I’ve always been a computer guy, but I try to bridge the digital and analog worlds. So, making music as an art form or expression felt natural for me. I did many collaborations and projects back then. I also worked with opera singer Annette Jahns, who would visit my cheap basement in Dresden once a week, bringing a bottle of good wine and something to eat and then we produced music together. Rest in peace, Annette! Around this time, I also met Sneaker DJ, who gave me valuable production tips and mastered my first tracks.

Q: You released your debut album “I’m Too Young To Die” this year. A first album is always special, so how does it feel to have it out, and what was the journey like in creating it?

Oliver: ‘Stress test’ is the first thing that comes to mind, especially in the last few weeks. My first album is like a retrospective of three years of making music. There are songs where, as soon as I hear them, memories of specific stories and situations come rushing back. For example, the suicide of my best friend is reflected in the track “Horse Hoof,” and “In My Room” deals with experiences I had with my mother.

The journey to my first album was full of doubts, joy, depression, anxiety, and great moments. Yin and yang -it was a rollercoaster, much like my life. Nothing was stable; everything was questioned. But I’m glad I made it. It was also a relief to finally finish something after such a long time.

One of the most rewarding parts of the journey was meeting new people and connecting with positive individuals worldwide who shared my interests, experienced similar situations, and could relate to my music. I learned a lot during the process and fulfilled a long-term dream. In the end, everything came together. You know, making an album is personal -you open your heart for everyone to see, and that often comes with a price. But I’m already looking forward to the next chapter of my life.

Q: Your sound echoes ’80s Electro-Wave with a modern twist. Which artists or albums have had the most significant impact on you, and how do they influence your music?

Oliver: Life has influenced me the most. I make music primarily to express my emotions or to lose myself in my inner world. If I had to name a few artists who have impacted my style or approach to music, they would be Boy Harsher, Sneaker Dj, Joy Division, Jennifer Touch, Molly Nilsson, Boan, and DAF. But my influences often change, and I love discovering new artists like VOID Palace, Abu Nein, Nights In Athens, Lila Ehjä, Laura Krieg, Kris Baha, Lovataraxx, Asymetric80, Years Of Denial, ManMachine, and Curses.

I’m drawn to artists who present their music in a way that feels authentic, not just like another copy. For example, I met ManMachine at the Ombra Festival in Barcelona last year, and after chatting with him, I saw his music differently. A man, a father, a keyboard -it felt warm and pure. My music is more influenced by emotions and life events than by specific artists, so to speak.

Q: Many of the album’s tracks were performed live before being recorded. How did these songs evolve during the recording process, and what changes or improvements did you make?

Oliver: That’s an interesting observation, and you’re right. The songs on my album really grew during live performances. I redid some finished tracks, adjusting the vocals and synth parts after realizing during live performances what could add that final touch. Every track underwent a few makeovers after live shows. I see the process like painting. You build something up and then destroy it to create something unique and new. The challenge is knowing when to stop.

Q: You already evoked some lyrical themes in your songs which are quite dark and intense. What drives these narratives, and how does turning personal struggles and dark subjects into music serve as a form of therapy or healing for you?

Oliver: Yes, your question holds the answer. I won’t go into detail about how difficult my life was because everyone has their own stories, struggles, and fate. Music is definitely a form of therapy for me. It’s an art form and a way to break out of daily routines and the system we live in. I often wonder what the world will look like in 10 or 20 years, with all the technology, greed, commercialism, and hate. But I know that there will always be people searching for real emotions, analog experiences, and real intelligence or just something like breathing fresh air in the woods.

Q: Are you already working on new material? What can we expect in terms of singles, remixes, videos, live shows, and future projects with your label G50 Records?

Oliver: Of course! A remix tape is coming out, and new tracks are in the works. I love diving into music, especially when life hits hard, and right now, it definitely does. This year, you can catch me playing in Nuremberg at the Bunker Rituals Festival (28th of September), in Dresden with Lovataraxx (20th of October), and in Chemnitz with Left For Pleasure (14th of December). G50 Records is like a DIY label with no aspirations for profit. I’m not sure if there will be any projects with my old friends, like the Klassenfeind-project, but who knows?

I’m really happy with the guys from Cold Transmission Music, namely Andreas and Suzy. It’s like a real family feeling, and we talk daily about the scene and our next creative ejaculations.

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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(Photo by Paul Heartfield) Goldfrapp co-creator Will Gregory has shared another track, “Parabolic Sleuth”, from the upcoming deluxe edition of the Will Gregory Moog Ensemble album “Heat Ray: The Archimedes Project” inspired by Archimedes’ work. “Heat Ray: The Archimedes Project” has been completely performed on analogue synths, with the BBC National Orchestra of Wales.

“Heat Ray: The Archimedes Project” is set for release on Mute on 27 September. The deluxe edition features insights from the recreational mathematician, comedian and author Matt Parker, best known for his YouTube series, “Standup Maths”. The nine pieces written and presented by Parker each introduce a track from the album.

The album has been augmented with two bonus tracks, “Heavy Logic” and the track we present today, “Parabolic Sleuth“.

A series of live dates will coincide with the release – starting with Hidden Notes festival in Stroud before three performances with the Britten Sinfonia at the Barbican, London Basingstoke and in Saffron Walden and a further date in Southampton for the ensemble.

The Will Gregory Moog Ensemble members include Portishead’s Adrian Utley, a longtime collaborator of Will’s, who co-produced and plays on the album. Mute’s Daniel Miller is its “kind of executive producer”, and he even played on one of the tracks. “Given he’s been into synths right from his early days, and is a genius with them, that was a good moment”, alongside John Baggott, Graham Fitkin, Simon Haram, Vyvyan Hope-Scott, Ross Hughes, Hazel Mills, Daniel Moore, Hinako Omori, Eddie Parker, Harriet Riley and Ruth Wall. Their instruments include Minimoog, Moog Voyager, Korg 700s, Prophet 6 and Roland JX3P.

Will Gregory Moog Ensemble dates

• 21-22 Sep – Hidden Notes Festival, Stroud
• 8 Oct – Barbican, London – with the Britten Sinfonia
• 9 Oct – Basingstoke, The Anvil – with the Britten Sinfonia
• 10 Oct – Southampton, Turner Sims
• 11 Oct – Saffron Hall, Saffron Walden – with the Britten Sinfonia

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. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Seattle darkwave trio, Licorice Chamber, led by goth frontwoman Layla Reyna (Strap On Halo), have announced their forthcoming EP, “Sentience”, and a series of US West Coast tour dates for July 2024. Joining Licorice Chamber on their ‘Grey Skies Tour’ are Replicas (Takoma) and 2Libras (Seattle).

The new “Sentience” EP is introduced by its lead single, “All I Ever Wanted”, a song that Layla coyly describes as being “about desire.” Since her debut solo outing as Licorice Chamber with “The Taste of Falling” EP, Layla has been joined by bassist Joe Fox and former Strap On Halo bandmate Marc Jones on guitar. The trio has been actively gigging around the Pacific Northwest since 2022 and now announce their first West Coast tour in July 2024.

Layla shared her thoughts with ReGen Magazine:

“We had about a dozen or so songs that we had initially intended to release as a full-length album. But time waits for no one, and we are extremely eager. These four songs came together so effortlessly that we were able to add them to our set and record them rather effortlessly. The remaining songs are on hold till we return from our upcoming tour. The Sentience EP to me is both pain and pleasure, negative and positive, which my lyrics mirror within the human condition.”

Discussing the Grey Skies Tour, Layla added:

“It was an obvious choice to tour with Replicas and 2Libras. We are all from the greater Seattle area, and promoters kept putting us on the same bill. So, I decided to invite them both along to tour. Not only do I enjoy their music, but we are all quite good friends as well. I feel that this will just solidify the friendship we all have. One of my favorite things to do is perform and tour. What better way than by doing so with friends?”

“Sentience” by Licorice Chamber is available for pre-order on Bandcamp now.

Licorice Chamber Grey Skies Tour 2024 with 2Libras and Replicas:

• Friday 05-July: The Church Cantina, Tacoma, WA
• Sunday 14-July: Minibar, Kansas City, MO
• Tuesday 16-July: The Mix, San Antonio, TX
• Wednesday 17-July: 101, El Paso, TX
• Saturday 20-July: Bricks Rock Bar, Maywood, CA
• Tuesday 23-July: Siren Song Tavern, Eureka, CA
• Wednesday 24-July: Johnny B’s, Medford, OR
• Thursday 25-July: Old Nicks Pub, Eugene, OR
• Friday 26-July: The Coffin Club, Portland, OR
• Friday 2-August: Southgate Roller Rink, Seattle, WA

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. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Last week Friday, May 20th, the Belga-Norwegian editorial Side-Line team was present at the a-ha concert at the Oslo Spectrum venue. During the concert we noticed that frontman Morten Harket struggled with his voice though most of the public probably didn’t notice.

But the day after the band issued a statement that a-ha’s second concert in Oslo was postponed – “(since) Morten has been diagnosed with Laryngitis and needs to rest his voice” – and later canceled since it soon became clear that there was no equipment and personnel available for a show this size on the available dates.

But now the band has also had to cancel their UK shows at London Wembley The SSE Arena on Friday 27th May and Birmingham Utilita Arena on 28th May along with the already postponed shows at Bournemouth International Centre and Liverpool M&S Bank Arena.

In statement the band says: “The band is absolutely gutted that we have had to cancel our shows in UK – our second home – this week due to continued illness. Our deepest apologies to friends and fans with whom we were hoping to celebrate. Thank you for your kind understanding and continued support!”

Scheduled in the next days and still a go are the concerts in Oslo (June 10th and 11th), Bergen (June 15th), Fredrikstad (June 17th) and Arendal (June 18th).

For more on a-ha, see Corona caused a-ha to cancel concerts on Side-Line.

About a-ha

a-ha formed in Oslo, Norway, on 14 September 1982, built from the earlier duo Bridges, by Paul Waaktaar-Savoy (guitars, vocals), Magne Furuholmen (keyboards, guitars, vocals) and Morten Harket (lead vocals). The trio relocated to London in 1982 and signed to Warner Bros. Their debut album, “Hunting High and Low” (1985), reached number two in the UK and number fifteen in the US, powered by the global number-one single “Take On Me.” There have been no lineup changes since the band’s formation, aside from a group hiatus between 2010 and 2015.

Subsequent albums include “Scoundrel Days” (1986), “Stay on These Roads” (1988, featuring the James Bond theme “The Living Daylights”), “East of the Sun, West of the Moon” (1990) and “Memorial Beach” (1993). The band reunited for “Minor Earth Major Sky” (2000), “Lifelines” (2002), “Analogue” (2005) and “Foot of the Mountain” (2009), announced a split in 2010, then reunited again in 2015 for “Cast in Steel.” Its most recent album, “True North,” was released in 2022. a-ha has sold more than 100 million records worldwide across eleven studio albums.

Morten Harket disclosed a Parkinson’s disease diagnosis on 4 June 2025, revealing he had undergone two deep-brain-stimulation surgeries in 2024. Magne Furuholmen said future band activity would be tuned to suit Harket’s condition. Morten Harket disclosed a Parkinson’s disease diagnosis in June 2025, after undergoing two deep-brain-stimulation surgeries the previous year.

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. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Bridges were a Norwegian rock band formed in Oslo, Norway in 1978. It is notable for being the predecessor to synth pop band a-ha. The band released their debut album “Fakkeltog” in 1980, but their second album “Våkenatt” which was recorded within the following year, will only get released in full later next month (November 20th) and this after almost 40 years. Good to know, the album holds the early version of the later well known a-ha tracks “Scoundrel Days” and “Soft Rains Of April” as you can hear below.

Bridges included future a-ha members, Magne Furuholmen and Paul Waaktaar-Savoy, alongside Viggo Bondi (Bass) and Erik Hagelien (Drums), who was later replaced by Oystein Jevanord on drums. The band was formed during their schooldays in Oslo, Norway and they played gigs across 1978 and 1979. One audience member was the future a-ha lead singer, Morten Harket.

The second Bridges album didn’t get released earlier because band members Waaktaar and Furuholmen planned to continue their musical careers in London after 1981, but Bondi and Jevanord declined, and so bridges split up and Magne Furuholmen and Paul Waaktaar-Savoy would go on to form the synth-pop act a-ha.

As you will notice, the Norwegian psych-rock sound of Bridges is very different to that of a-ha’s electro pop.

“It’s not only an essential part of Norwegian music history, as the missing link between Bridges and a-ha; as I listened to the record, I discovered that it’s a masterpiece which still feels fresh and relevant today,” said rock historian Terje Nilsen at Rockheim in 2018.

“Våkenatt” is available to pre-order now and the first single from the album “Asleep” can be downloaded and streamed below.

Note that “Våkenett” had been pressed up in a small run of vinyl copies in 2018, by Norway’s national museum for pop music, Rockheim Museum, in Trondheim, Norway. 900 copies of the album were produced on green vinyl 180gram vinyl presented in a box.

Side-Line also covered a-ha’s ‘White Xmas Lies’.

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. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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