The Circle Music announces the return of Greek-German dark electro act Schatten Muse with a new single, “Transzendenz”, which you can check out below exclusively. The track is taken from the new album “Schicksalsweg” to be released via The Circle Music in December 2024 and which can be ordered now.

The Greek-German duo mix Neue Deutsche Todeskunst (New German Death Art) with dark, electronic soundscapes, inspired by electronic underground music of the 80s and 90s.

Regarding the new album, the band said: “The fading splendour of transience is lost in the silence… in secrecy a transcendent soundscape becometh unveiled. The second Schatten Muse album is haunting, mysterious, melancholic, spiritual and powerful. Feel the vastness and freedom in the sound of ” Schicksalsweg “! The album is mainly influenced by the electronic underground sounds of the 1980s and 1990s, especially Neue Deutsche Todeskunst/New German Death Art.”

The band members of Schatten Muse are no strangers to the gothic and dark music scenes. Schatten (Shelmerdine) is also a founding member of Dark Awake with which he has released over 20 albums and EPs. Muse (Sylvia Fürst) has co-founded a german deathart project, Egotragik, and is credited for translating the song “Gott Ist Tot” (Antichrist War Mix) by Impaled Nazarene on the “Ugra – Karma” album released in 1993.

“Schicksalsweg” is the follow-up to the debut album “Vergänglichkeit” (2022, The Circle Music) and will be released on a digipak CD and in digital formats. Pre-orders are available now via The Circle Music.

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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For the occasion of the release of “Anti”, the 4th studio album already from the Italian dark industrial pop act Synapsyche, we talked with Marco and Stefano about this quite conceptual album announcing the arrival of a modern Messiah as anti-hero who will save our world… or exactly not!? 

The album is available via Bandcamp, and as a 2CD via the Alfa Matrix webstore plus of course on all other platforms.

SL: “Anti” is described as a conceptual album that explores the odyssey of a 21st-century-born Messiah. What inspired you to create this modern twist on the story of Jesus Christ, and what message do you hope to convey through this narrative?

Marco: Everything started from the title of a song that seemed cool to me, “God In Vitro”. I was thinking about socio-cultural implications if only we could artificially create an almighty entity. At this stage, I started to think about a concept that revolves around the existence of this new messiah, and as a good Italian I quickly felt a correlation with Christianity. The final passage was to retrace the main steps of the Gospels, reinterpreting them with a modern mentality and, so to speak, in opposition to the sacred texts. The coming of the feared antichrist will be wanted by us and then denied, the same way as 2000 years ago. What makes us human beings is not shaped by the divine, but instead by free will, religious or not religious. Our destiny (insignificant out of ourselves) is only in our hands anyway, let’s not give credits or blame elsewhere. Anyway, every song has a double meaning, so each one can stand on its own with a different intrinsic meaning besides the “anti-christian” one. 

SL: Each track on the album carries a double meaning, touching on themes like euthanasia, betrayal, and occultism. How did you approach writing lyrics that balance these complex and provocative themes?

Marco: The basic concept was already written in my head, track by track, but obviously I needed the songs! So, to every base that Stefano sent to me I associated a concept’s theme which I felt “related” to the song’s mood. At this point, from excerpts of phrases and abstract ideas I switched to the drafting of lyrics, rhymes and vocal melodies exactly the same way, suggested by the feeling of the music and rhythm. Once finished the song, I forwarded it to Stefano, we discussed democratically about it and in the end we carried on with the recording process.

SL: You once again blend various genres such as dark-electro, synthpop, industrial, and EBM in “Anti”. Can you discuss the process of integrating these different musical styles to create a cohesive sound for the album?

Stefano: I’ll be honest, it’s not a programmed process from the beginning but the result of many factors that sum up during the making of the track. For sure my personal tastes play a key role, since I like all those genres. Usually, when I write the songs, I also imagine fictional situations and I try to write their soundtrack (it’s difficult to explain), so to musically describe that, maybe even complex and dynamic, I have to range a bit between genres, from the most aggressive to the softest. Obviously, last but not least, vocal lines and lyrics of Marco drive my taste to a more accurate direction, it’s important that music has the sound of what lyrics want to communicate.

SL: The album features vocal guest appearances by Aesthetic Perfection and Lord Of The Lost. How did these collaborations come about, and what was it like working with these artists on “Silvertongue” and “The Last Dying Flame”?

Marco: I state that I’m a fan of both bands, so to me it’s an honour to have Daniel and Chris in this album, I’d say it’s a dream come true. I wanted Daniel for “Silvertongue” from the beginning of the writing process of the songs, ‘cause it sounded very “industrial pop” and the references to his style are evident. In the midst of Covid period I took advantage of the world block to write him and he accepted immediately, he loved the song and sent his vocals very fast, he also helped us “spamming” a bit in his social media pages when the single was released. With Chris was different: a couple of years ago he set up a contest: after having collected hundreds of songs he would have picked some of them to record featuring vocals… We were chosen with “The Last Dying Flame”! After the Eurovision he sent us very detailed vocals and reworked the song in such a brilliant way. Both were really available, helpful and professional, the best possible choice to play the Devil (Daniel) and the Lord (Chris) in our concept!

SL: The concept of the “Anti-hero” is central to this album. How does this character’s journey reflect or contrast with contemporary societal issues or personal experiences?

Marco: The artificial messiah is engineered to bring back in line a world in decay and with no principles and morale anymore. Despite good resolutions and an alternative way focused on respect, satisfaction and self-worship, the people, which first acclaimed him as enlightened, will then see him as a deceiving guru and sentence him to death, befooled by cheap entertainment over and over and forgetting soon the history. Moral teachings and scientific progress won’t help to make us better because the human dark side evolves, despite realizations we always find new ways to hurt ourselves, the others and what surrounds us.

SL: Your sound is known for its ability to blend distorted darkness with catchy melodies and ecstatic grooves. How do you strike a balance between these contrasting elements to maintain both intensity and accessibility in your music?

Stefano: Easy! As a song may be distorted, aggressive and fierce, I like when the listener has a melody or a riff to sing along throughout the day, something to remember. Even if we make music for dancefloor mainly, it would be a failure if we have not a good melodic line. And it’s not just for a purely aesthetic taste, pay attention; music is made of notes and rules that govern them. We love when inside all that noise there are parts that I could easily play on a piano, alone, without disfigure. Moreover, despite some of our songs could seem “nasty”, very often the lyrics hide complex feelings… What better way to highlight them than by an energetic but maybe melancholic riff with synths and pad?

SL: The statement “God is dead, long live Synapsyche!” is quite provocative. Can you elaborate on what this phrase means to you and how it encapsulates the essence of “Anti”?

Marco: That sentence was written by our label to sponsor the album, so you should ask them! (laugh) No seriously, I’d say it’s a beautiful sentence which summarize the mood of this work. The album starts precisely with that “God is dead!” yelled to the world, opening the doors to the lyrical concept of the band. We put our souls into this album, trying the best way to insert memorable melodies and vocals, which could draw from the most various range of styles and sounds. We wanted it to enclose our tastes and our art in their entirety. We believe we succeeded and we’re very proud of it, this album will be the one to beat in our discography for the next years, but the final verdict is up to you all. Anyway, it’s seems that people enjoyed “Anti” a lot and we can’t be anything but pleased of this! To those who have not listened to “Anti” yet, please do it without prejudices and with open mind. You won’t regret it!

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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Das Ich musician Bruno Kramm offers a tapestry of sound and narrative, as shown in his latest work, “Die Schöpfung und andere Kurzgeschichten”. The collection is a blend of dystopian melodies paired with short stories, each piece a window into Kramm’s expansive creative realm.

Within the anthology, “Eight Oscillations from the Latent Space” are stories crafted during Kramm’s tenure with the now-defunct Zillo music magazine. These narratives are a testament to his enduring connection to the music world. Meanwhile, “Seven Nightmares From A Random Forest” is a product of the isolation and global upheaval brought by the COVID-19 pandemic. Conceived amidst the grip of feverish illness, these stories delve into the eerie and uncanny, underscored by soundscapes that evoke the modern zeitgeist.

In “Die Schöpfung”, Kramm explores themes of creation and perception through the lens of a machine recognizing humanity as its creator. This story, unique in its German narration, resonates with the motifs of “Der Achte Tag” from the Das Ich album “Antichrist”, linking his literary work to his musical legacy.

Kramm’s literary influences are eclectic, drawing inspiration from the likes of Stanislaw Lem, Sabine Hossenfelder, and H.P. Lovecraft. His stories, according to Kramm, are the perfect companion to the restless and the insomniac, for times when the veil between reality and fiction thins, revealing a world charged with mystery.

The album is out now via the Danse Macabre label.

Das Ich: The Dark Wave Legacy of Bruno Kramm

Bruno Kramm’s involvement in Das Ich has been pivotal to the band’s influence on the German dark wave movement. Since its inception in 1989, Das Ich has been at the forefront of a genre that marries the gothic aesthetic with electronic music’s visceral punch. Kramm, along with vocalist Stefan Ackermann, has crafted a sound that is both avant-garde and accessible, marked by theatrical live performances and deeply philosophical lyrics.

Das Ich’s music often grapples with the complex relationship between humanity and technology, a theme that Kramm further explores in his literary work. The band’s influence has been profound, shaping the direction of dark wave music.

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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Trent Reznor, the mastermind behind Nine Inch Nails, played a crucial role in launching Marilyn Manson’s career, mentoring the musician during his early years. Despite their initial collaboration, the relationship between the two artists deteriorated, culminating in Reznor distancing himself from Manson, who faced multiple accusations of sexual assault.

Origins of their relationship and Manson’s rise to fame

The origins of Reznor and Manson’s relationship can be traced back to 1989, when Manson, then known as Brian Warner, interviewed Reznor for a Florida-based music publication. The two hit it off and remained in touch, with Manson’s band eventually supporting Nine Inch Nails during their Florida tour in the early 1990s.

Manson secured a record deal with Sony Music in 1991, but failed to release any music before being dropped from the label. Reznor then offered Manson a lifeline, signing him to his recently-founded label, Nothing Records, and producing Warner’s debut album, “Portrait Of An American Family”. The partnership continued with Reznor producing Manson’s sophomore album, “Antichrist Superstar”. However, tensions began to grow between the two artists during the recording process, with reports of a physical altercation in the studio. The release of “Antichrist Superstar” propelled Manson into superstardom, exacerbating the strained relationship between the two musicians.

Destructive memoirs

In 1998, Marilyn Manson unveiled his memoir, “The Long Hard Road Out of Hell,” co-written with Neil Strauss. This account of Manson’s life covers his early years up to the release of his third album, “Mechanical Animals”. Within the pages, numerous scandalous anecdotes about Trent Reznor are shared, including one featuring the duo and inebriated women.

The controversial passage supposedly stems from an unreleased interview with the now-defunct Empyrean Magazine, initially slated for publication in 1995. However, due to content objections from the magazine’s publisher, Centaur Enterprises, the interview was never printed. They cited unethical interviewing methods employed to gather information from Manson, as explained in Manson and Strauss’ book.

Reznor vehemently denied the allegations made in Manson’s book, stating: “I have been vocal over the years about my dislike of Manson as a person and cut ties with him nearly 25 years ago. As I said at the time, the passage from Manson’s memoir is a complete fabrication. I was infuriated and offended back when it came out and remain so today.” “If certain people do certain things which cross a line of what is decent, I don’t deal with them any more,” Reznor said. “With Manson, that line has been crossed. He said some very ignorant, mean, malicious things. You can believe me or you can believe someone else, but on that tour I was peripherally involved as an observer, and suddenly I’m pictured as the ringleader. It’s just stirring up shit. That friendship was a big fuck-up for me,” he adds.

Reconciliation for a short time

In subsequent interviews, Reznor expressed regret over his association with Manson, saying, “He said some very ignorant, mean, malicious things. You can believe me or you can believe someone else, but on that tour, I was peripherally involved as an observer, and suddenly I’m pictured as the ringleader. It’s just stirring up shit. That friendship was a big fuck-up for me. It fucked me up pretty good.”

The relationship between the two artists briefly seemed to improve in 2000 when Manson joined Nine Inch Nails on-stage in New York. However, the reconciliation was short-lived, and the animosity between them persisted. In a 2009 interview with Mojo, Reznor described Manson as “a malicious guy” who would “step on anybody’s face to succeed and cross any line of decency.”

Over the years, Manson has occasionally addressed his relationship with Reznor in interviews, at times expressing gratitude for Reznor’s early support and claiming to have “no bad feelings” toward him. Reznor, on the other hand, has remained more guarded, telling Rolling Stone in 2015, “We were good friends at one point in the past, and we became not such good friends.”

In a surprising turn of events, Manson told Apple Music’s Zane Lowe in 2017 that they had mended their broken relationship. He shared an email from Reznor that read, “It really pisses me off that music’s not dangerous anymore, and it reminds me of how great you were, and I was and the time, the era.”

The past catches up

However, when the controversial excerpt from Manson’s book resurfaced on social media in 2021, Reznor released a public statement reiterating his denunciation of his former friend, saying, “I have been vocal over the years about my dislike of Manson as a person and cut ties with him nearly 25 years ago. As I said at the time, the passage from Manson’s memoir is a complete fabrication. I was infuriated and offended back when it came out and remain so today.”

Given the serious allegations against Manson and Reznor’s strong statement in 2021, it seems unlikely that their relationship will ever fully recover.

About Nine Inch Nails

Nine Inch Nails formed in Cleveland, Ohio, in 1988 as the recording project of Trent Reznor. Working as an assistant engineer at Right Track Studios and inspired by Prince’s practice of playing every instrument himself, Reznor recorded demos alone, programming drums and playing the rest, and performed under a band name despite being its sole permanent member. Nine Inch Nails played its first live show on 27 October 1988 in Pittsburgh, and released its debut album, “Pretty Hate Machine,” through TVT Records in 1989.

After a contractual dispute with TVT, Reznor signed with Interscope Records and founded his own imprint, Nothing Records, releasing “The Downward Spiral” in 1994 and “The Fragile” in September 1999. The band left Interscope after “Year Zero” (2007) and self-released the instrumental “Ghosts I-IV” (2008) through the Null Corporation before returning to major-label releases with “Hesitation Marks” (2013), “Bad Witch” (2018) and the companion albums “Ghosts V: Together” and “Ghosts VI: Locusts” (both 2020).

English musician Atticus Ross became an official member in 2016 after years of production work with Reznor, including their Academy Award and Golden Globe-winning score for David Fincher’s “The Social Network” (2010). Guitarist Robin Finck first joined in 1994 and has rejoined the touring band multiple times since; drummer Josh Freese first joined in 2005. Nine Inch Nails was inducted into the Rock and Roll Hall of Fame on 7 November 2020, alongside Ross, Finck and other past members. Trent Reznor’s Nothing Records signed Marilyn Manson as its first act in 1993.

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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The Colombian dark electro act Alien:Nation is back with the “The Age Of Satan” EP which includes 5 new tracks. The EP will be released on May 1 in digital format on all popular digital platforms.

The tracklist is as follows:

1. The Age Of Satan
2. Mechanical Antichrist Evisceration
3. Crypto Goat
4. Desvaneciendo
5. Cryogenic X-Tasis

You can already order the download EP right below and stream the title track “The Age Of Satan”..

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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Genre/Influences: Dark-electro.

Background/Info: Bryan Erickson started writing music in the late 80s, but had to wait for the early 90s to release the first Velvet Acid Christ productions. Several noticeable and influential albums have been released like “Fun With Knives”, which has been re-released and remastered this year. “Ora Oblivionis” is the new work, which comes four years after “Dire Land”. The songs are inspired by self-destruction.

Content: Bryan Erickson has probably accomplished one of the most eclectic Velvet acid Christ albums to date. It remains a pure dark-electro driven opus featuring tormented atmospheres, aggressive sequences, sophisticated sound treatments and danceable kicks, but still an album with evasive passages, punkish guitar  and even a surprising song featuring a kind of Flamenco guitar. Bryan Erickson has been joined by Dianna Recalde to perform the female vocals.

+ + + : Velvet Acid Christ always has had something very unique when it comes to analyze the sound. I think we might speak about a proper sound DNA, which is based upon a sophisticated writing, but also a lot of efforts to create original sound treatments. There clearly is a good-old vintage/analogue touch running through the compositions and that’s what makes the main difference with young musicians. I prefer the more danceable cuts and especially refer to the opening songs (cf. “Conviction”, “Adventures In Babysitting The Antichrist” and “The Bullet Wins”). In a different style and I dare to affirm innovative style “Conjuro” is a surprising, but great cut. The flamenco guitar sound reminds me of Juno Reactor’s “Pistolero” so did Velvet Acid Christ created its own ‘pistolero’? Time will tell, but it’s a cool, danceable and even sensual piece. Another interesting and important item of the album is the female vocalist Dianna Recalde adding a sensual breeze to the song, which are dealing with real dark and tormented subjects.

– – – : “Ora Oblivionis” is the most unusual album from Velvet Acid Christ to date. The work is covering real diversified influences and that’s why all die-hard fans might not be convinced.

Conclusion: Velvet Acid Christ remains inspired by dark themes and obscure sound treatments, but also dares to explore other sonic paths. This artist remains a warrant for high-qualitative and dark electro music!

Best songs: “The Bullet Wins”, “Conjuro”, “Pill Box”, “Conviction”, “The Colors Of My Sadness”, “Adventures In Babysitting The Antichrist”.

Rate: (8½).

Artist: www.velvetacidchrist.com / www.facebook.com/VelvetAcidChristOfficial

Label: www.metropolis–records.com / www.facebook.com/MetropolisRecords Read the news on ‘Ora Oblivionis’.

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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Out via Cold Spring is the first ever physical release of the soundtrack to Lars Von Trier’s controversial film “Antichrist”. The release comes 10 years after the film’s initial release.

The soundtrack, with music from Kristian Eidnes Andersen and Handel, is pressed onto heavy weight 180 gram vinyl with an etched B-Side and is housed in a heavy 350g card full colour sleeve featuring the original theatrical release artwork. You can order it right here.

“Antichrist” is an English-language Danish experimental horror film from 2009 written and directed by Lars von Trier, and starring Willem Dafoe and Charlotte Gainsbourg. It tells the story of a couple who, after the death of their child, retreat to a cabin in the woods where the man experiences strange visions and the woman manifests increasingly violent sexual behaviour and sadomasochism.

You can view the trailer for the film 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. 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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Gothic metal/industrial-rock artists PORN have released the music video for their new song “Here For Love”. “Here For Love” is taken from their new album “The Darkest of Human Desires-Act II” and the video follows Mr Stranger and his minions as they do what they enjoy the most, torturing their prey.

In 2017, PORN released its third album “The Ogre inside.- Act I”, the first act of a trilogy based on the enigmatic character Mr Strangler. On February 22nd PORN will release their new album “The Darkest of Human Desires-Act II”, which continues the story of Mr Strangler.

The new album is the first collaboration between PORN and Tom Baker, who mastered many mythic albums: “Antichrist Superstar” by Marylin Manson, “Downward Spiral” by Nine Inch Nails, “Psalm 69” by Ministry, “Hellbilly Deluxe” by Rob Zombie and so on.

PORN released its debut album in 2004 and an EP a year later, which are currently available together on “A Decade In Glitter And Danger”. These were followed by a 2nd album in 2011 “From the Void to the Infinite”, plus the 2015 covers and remixes compilation “Deconstruct”, which followed the publication of the band’s founding member’s (Philippe Deschemin) first novel, “Contoyen”.

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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Genre/Influences: Goth-metal, metal.

Background/Info: Set up and driven since the late 90s by Alexander Kaschte (still involved with Weena Morloch), Samsas Traum became a recognized and praised German formation at the wider fields of metal music. “Scheiden Tut Weh” is not exactly a ‘new’ album although revealing songs that have been released for the very first time. The songs indeed were composed around 2007, which is the period of the “Heiliges Herz”-album.

Content: Alexander Kaschte remains the main instigator of this band, but he got the help of faithful musicians on drums, bass and guitar. “Scheiden Tut Weh” sounds hard and definitely metal-minded. Some songs have been accomplished by mystic atmospheres; others have been accentuated by a fusion of metal and gothic music while I also noticed one track with some punk-metal approach (cf. “Ich Bin Der Antichrist”).

+ + + : This is a hard, but diversified opus. I especially like the mystic touch hanging over “Die Taufe” and the title track. Other cuts I enjoyed             are the ones supported with a dark and more ‘classical’ gothic sphere. I also have to mention “Das Madenlied” for its refined arrangements. Last, but not least -and that’s a rather familiar item for nearly all Trisol releases, I want to say a word about the great artistic digipak.

– – – : This is the kind of album –and band, which I think will more appeal for metal heads instead of the usual gothic audience. I’m not that fond of the heaviest metal passages.

Conclusion: Samsas Traum is ‘great’ in Germany and that’s mainly because of their sound, but also of the German lyrics. It remains really mysterious why this band remains rather unknown outside their country.

Best songs: “Die Taufe”, “Scheiden Tut Weh”, “Ich Bin Der Antichrist”.

Rate: (7).

Artist: www.samsas–traum.info / www.facebook.com/samsastraum.offiziell

Label: www.trisol.de / www.facebook.com/pages/Trisol–Music–Group/104166526285471

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 2017, Porn released its third album “The Ogre inside.- Act I”, the first act of a trilogy based on the character Mr Strangler. The story that goes with it: Mr Strangler expresses his dark impulses without limitations and has no boundaries. With his crew, he commits murders and massacres. He also invites everyone to make a step forward and invites you to express your darkest desires and join his death cult.

In the second act, “The Darkest of Human Desires – Act II “, you can hear some of the most scariest serial killers and murderers : Richard Ramirez , Ed Kemper, Charles Manson, Richard Schaeffer or Jeffrey Dahmer.

The new album is the first collaboration between Porn and Tom Baker, who mastered many mythic albums including “Antichrist Superstar” by Marylin Manson, “Downward Spiral” by Nine Inch Nails, “Psalm 69” by Ministry, “Hellbilly Deluxe” by Rob Zombie and so on.

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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Sad news has reached us from the Jack Off Jill headquarters as the death of co-founder and original guitarist Scott Putesky has been announced.

Scott Putesky was better known under his stage name Daisy Berkowitz created by combining Daisy Duke from ‘Dukes of Hazzard’, with the serial killer David Berkowitz. 49-year old Putesky lost the 4-year long battle with colon cancer. A battle which started with chemotherapy in September 2013.

Just a few days ago Putesky posted an update on his Facebook for his fundraiser in order to keep paying his medical bills adding the very unpleasant message that “I am not doing well, I am running out of options and that means running out of time.”

Putesky played guitar on the albums “Portrait of An American Family” and “Smells Like Children” before leaving the group in 1996 over creative differences during the writing sessions for what became the “Antichrist Superstar” LP. Berkowitz went on to join Jack Of Jill, Godhead and also launched his very own band: Three Ton Gate.

His discography included the following albums:

• The Raw Boned Psalms (Marilyn Manson and the Spooky Kids, 1989)
• The Beaver Meat Cleaver Beat (Marilyn Manson and the Spooky Kids, 1990)
• Big Black Bus (Marilyn Manson and the Spooky Kids, 1990)
• Grist-o-Line (Marilyn Manson and the Spooky Kids, 1990)
• Lunchbox (Marilyn Manson and the Spooky Kids, 1991)
• After School Special (Marilyn Manson and the Spooky Kids, 1991)
• Live As Hell (Marilyn Manson and the Spooky Kids, 1992)
• The Family Jams (Marilyn Manson, 1992)
• Refrigerator (Marilyn Manson, 1993)
• Portrait of an American Family (Marilyn Manson, 1994)
• Smells Like Children (Marilyn Manson, 1995)
• Antichrist Superstar (Marilyn Manson, 1996)
• Vanishing Century (Three Ton Gate, 1997)
• Covetous Creature (Jack Off Jill, 1998)
• Guest appearance on 2000 Years of Human Error (Godhead, 2001)
• Suntanic (Stuck on Evil, 2001)
• Rumspringa (Three Ton Gate, 2002)
• Lose Your Mind (Three Ton Gate, 2003)
• Guest appearance on The Chrome Recordings (TCR, 2004)
• Lunch Boxes & Choklit Cows (The Spooky Kids, 2004)
• Judy Garland (Kill Miss Pretty, 2010)
• Deform School (The Spooky Kids, TBC)
• These Messages (Three Ton Gate, TBC)
• Millenium Effluvium (Daisy Berkowitz, 2014)
• Mr Conrad Samsung (The Daisy Kids, 2015)

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!

side-line.com

Read the review of ‘Decimation In H.D.’.

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!

side-line.com