Apoptygma Berzerk – SIDE-LINE

Apoptygma Berzerk founder Stephan Groth turns 55 as ‘Kathy’s Song XXV’ marks 25 years

Britta Pirkko — Mon, 10 Aug 2026 11:37:33 +0000

Stephan Groth, founder and vocalist of Apoptygma Berzerk, turns 55 on August 10, 2026. The Norwegian EBM and synthpop act, which Groth has led since 1989, marks the birthday alongside “Kathy’s Song XXV,” a 25th-anniversary reissue campaign built around one of the band’s best-known tracks, “Kathy’s Song (Come Lie Next to Me).”

Groth was born on August 10, 1971, in Odense, Denmark, and relocated with his family to Sarpsborg, Norway, in 1986. He founded Apoptygma Berzerk in 1989 together with Jon Erik Martinsen, taking the band’s name from a word picked at random out of a dictionary, derived from the Ancient Greek for “piece of a tunic.” Martinsen left the group early on, and Groth has remained its sole constant member and main songwriter since.

The band’s first two albums, “Soli Deo Gloria” (1993) and “7” (1996), established a darker EBM and electropop sound. “Welcome to Earth” (2000) moved toward a lighter, more experimental style and included “Kathy’s Song (Come Lie Next to Me),” built around a vocoded chorus voiced by Kathy Macintosh.

The single followed on December 11, 2000, with a remix from Ferry Corsten that became a trance-scene favorite and helped push the song beyond the EBM and futurepop audience. “Harmonizer” (2002) leaned further into synthpop, “You and Me Against the World” (2005) took the band toward an indie rock-oriented sound, “Rocket Science” followed in 2009, and “Exit Popularity Contest” (2016) returned to the band’s earlier electronic roots. Beyond Apoptygma Berzerk, Groth has recorded as H2O with Geir Bratland in the mid-1990s and is a member of Fairlight Children, a lighter, pop-oriented electronic project that issued a limited vinyl edition of its “808Bit” album in February 2025.

2026 has brought “Kathy’s Song (Come Lie Next to Me)” back into focus. The 25th-anniversary “Kathy’s Song XXV” edition arrived digitally in December 2025, first on Bandcamp and then across other platforms, with new remixes by Ferry Corsten – who reworked his original 2000 remix – alongside Per Martinsen (Mental Overdrive) and Alyxx Digre (Zone Tripper). Groth has said the track is “probably the most important song I have ever written,” and described the vocoded chorus, recorded with Fredrik Darum and Vegard Blomberg, as something that “had never been done before” at the time. A physical follow-up arrived via emmobiz with a limited vinyl reissue, released on July 10, 2026.

Stephan Groth marks 55th birthday as Apoptygma Berzerk celebrates ‘Kathy’s Song’ anniversary

The overlap of Groth’s 55th birthday with the ongoing “Kathy’s Song” anniversary campaign places two Apoptygma Berzerk milestones in the same year. Side-Line previously covered the band’s 25th anniversary of “Soli Deo Gloria” with the “SDGXXV” reissue project in 2018, a similar reworking of an early album that Groth has cited as a direct model for how the “Kathy’s Song XXV” campaign was organized.

About Apoptygma Berzerk

Apoptygma Berzerk was founded in Norway in 1989 by Stephan Groth and Jon Erik Martinsen. Martinsen departed soon after, leaving Groth as the band’s vocalist, programmer, guitarist and sole constant member. The band’s debut album, “Soli Deo Gloria,” was released in 1993 and established a dark EBM and electropop sound, followed by “7” in 1996. Geir Bratland joined on keyboards in 1995, having already worked with Groth on the ambient techno side project H2O in the mid-1990s.

“Welcome to Earth” arrived in 2000, softening the band’s earlier darker themes and including “Kathy’s Song (Come Lie Next to Me),” with vocals by Kathy Macintosh and a single release that December featuring a Ferry Corsten remix. “Harmonizer” followed in 2002 in a more synthpop-oriented direction, and “You and Me Against the World” (2005) marked a more mainstream, indie rock-influenced turn for the band, a departure the group revisited with expanded reissues in 2021. “Rocket Science” was released in 2009, and “Exit Popularity Contest” (2016) returned to the band’s earlier electronic and EBM-rooted sound.

Alongside Apoptygma Berzerk, Groth has recorded as H2O with Bratland and continues as a member of Fairlight Children, a lighter, pop-oriented electronic project. The band marked the 25th anniversary of “Soli Deo Gloria” with the “SDGXXV” reimagining released in 2018 and 2019, and has since applied the same approach to “Kathy’s Song,” releasing the “Kathy’s Song XXV” remix EP in December 2025 and a limited vinyl edition in July 2026. Stephan Groth turns 55 on August 10, 2026, with more than 35 years of Apoptygma Berzerk behind him and, by his own account, new material still in progress.

Britta Pirkko

For almost 15 years I’ve been writing about music, interviewing artists and reviewing releases for Peek-A-Boo Magazine. Recently, I also launched my own WordPress website, where I continue to share interviews, reviews and news from the underground scene. The darker side of music has been part of my life for more than 30 years, with a passion for everything from ’80s synthpop and New Wave to EBM, Futurepop and dark electronic music in general. Also Metal and Rock is part of my world. Away from the scene, I work in a public library, where books are part of my everyday life. I enjoy both fiction and non-fiction, especially books on politics, religion, health and travel. I’m also a fan of thrillers and horror films. When I’m not listening to music or reading, you’ll usually find me exploring nature, enjoying a good sauna, experimenting with vegan cooking, or travelling to my second home, Finland. I’ve always believed the underground has the best stories. My job is simply to help tell them

Apoptygma Berzerk to reissue ‘Kathy’s Song (Come Lie Next To Me)’ on limited vinyl via emmobiz

Bernard - Side-Line Staff — Wed, 15 Apr 2026 09:53:50 +0000

Norway’s Apoptygma Berzerk will reissue “Kathy’s Song (Come Lie Next To Me)” on 12-inch vinyl via emmobiz Records on July 10, 2026. emmobiz lists two numbered editions: a white vinyl version limited to 222 copies with a poster and signed card, and a black vinyl version limited to 777 copies worldwide.

The release – released as “Kathy’s Song XXV” – is a physical follow-up to the song’s digital 25th-anniversary single which arrived in December 2025.

Tracklist for ‘Kathy’s Song XXV‘

A1. “Kathy’s Song (Come Lie Next To Me)” Zone Tripper Remix (12″ Edit) – 4:36
A2. “Kathy’s Song (Come Lie Next To Me)” 2000 Original Version – 3:46
B1. “Kathy’s Song (Come Lie Next To Me)” Mental Overdrive Remix (12″ Version) – 3:53
B2. “Kathy’s Song (Come Lie Next To Me)” Frak Remix – 4:54

The vinyl differs from the December 2025 digital “Kathy’s Song XXV” release. That digital edition paired mixes by Ferry Corsten, Zone Tripper, and Mental Overdrive with the single version, while the July 2026 vinyl replaces the Ferry Corsten track with a Frak remix and uses the 2000 original plus 12-inch/edit versions.

About ‘Kathy’s Song (Come Lie Next To Me)’

“Kathy’s Song (Come Lie Next To Me)” is a track on Apoptygma Berzerk’s third studio album, “Welcome to Earth” (2000). On that album it appears as track 5. Stephan Groth worked on the song in the studio with Fredrik Darum and Vegard Blomberg. The decisive idea was to have a computer/robot voice sing the chorus with Stephan presenting it as “a duet with his computer.”

The song was issued as a separate single on December 11, 2000 via Tatra Records. The tracklist of the 6-track CD-Maxi was: “Kathy’s Song (Ferry Corsten RMX)”, “Kathy’s Song (Single Version)”, “Kathy’s Song (Victoria Mix by VNV Nation)”, “Kathy’s Song (Beborn Beton Remix)”, “Kathy’s Song (Ferry Corsten’s 12″ Remix)”, and “Kathy’s Song (C-64 Version)”.

At roughly the same time, the song also appeared on Aqualoop Records as a German 12-inch vinyl in 2000, with the Ferry Corsten Remix and Green Court Remix. A later German CD maxi-single on Zeitgeist followed on August 7, 2001.

About Apoptygma Berzerk

Apoptygma Berzerk is a Norwegian electronic act from Sarpsborg, founded in 1989 by Stephan Groth and Jon Erik Martinsen. Martinsen left early, while Groth remained the project’s central writer and public face. Over time, Apoptygma Berzerk moved across EBM, electropop, futurepop, synth-pop, and electronic rock, often working with a changing cast. Current members are Stephan Groth, Audun Stengel, Ted Skogmann, and Jonas Groth.

The project’s earliest release was the 1990 demo “Victims of Mutilation”, followed by the EP “The 2nd Manifesto” in 1992. The debut album “Soli Deo Gloria” followed on November 11, 1993 via Tatra. Apoptygma Berzerk then released “7” on May 1, 1996, the “Mourn EP” in 1997, the retrospective compilation “The Apopcalyptic Manifesto” in 1998, and the live album “APBL98” in 1999.

The real breakthrough was the commercially succesful “Welcome to Earth” album, released on February 22, 2000. The album brought a broader and less aggressive sound than the earlier material, and it produced “Kathy’s Song (Come Lie Next to Me)”, which became one of the most popular Apoptygma Berzerk tracks. The live release “APBL2000” followed in 2001, with “Harmonizer” dropping on February 19, 2002. “Harmonizer” offered a softer and more synth-pop oriented approach than the earlier albums.

The intense touring around that album was followed by the creation of the side project Fairlight Children with Marianne B. and Tiff, which led to the “808bit” album. Back under the Apoptygma Berzerk name, Groth then released “You and Me Against the World” on September 12, 2005, followed by the compilation “Sonic Diary” in 2006, “Rocket Science” on January 23, 2009, and the live release “Imagine There’s No Lennon” in 2010. “You and Me Against the World” again showed another stylistic shift, pushing the project further toward a rock-oriented format.

“Major Tom EP” was released in 2013, “Stop Feeding the Beast EP” in 2014, “Videodrome” in 2015, and the full-length “Exit Popularity Contest” on October 7, 2016. In 2018 and 2019, Apoptygma Berzerk revisited the debut period through “SDGXXV”, a reworked version of “Soli Deo Gloria”. In 2020, the project started a rarities series with “Faceless Fear” and “Disarm”, both B-sides and rarities collections, and in 2022 that series continued with “Black Pawn”.

A digital “Kathy’s Song XXV” release arrived in December 2025, followed now by a four-track 12-inch vinyl edition in 2026 with remixes by Mental Overdrive, Zone Tripper, and Frak, plus the original 2000 version.

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

I WANT MY MTV!

Jan Ronald Stange — Sat, 17 Jan 2026 14:35:20 +0000

By guest columnist Per Aksel Lundgreen (Apoptygma Berzerk / Angst Pop / Cronos Titan / Chinese Detectives / Shatoo / Sub Culture Records) MTV ended their transmissions at 6 AM on December 31st 2025, and it is hard not to appreciate or acknowledge the impact MTV had on me growing up.

The backstory of MTV

I lived on Kurland in Sarpsborg, the second place in Norway after Oslo to get MTV and Super Channel through Janco Kabel TV.

I was at the ripe age of 15 when MTV started airing; my sister was 12. We were the prime target audience. Young, and interested in (pop) music and the latest fashion. We lived in a grey and industrialized town where no real bands ever played and where cover bands came to die.

We had 3 record shops, and I had just started working at the biggest one, Borg Platebar. This was my dream job while going to school, and to stay up to date, I was reading up on New Musical Express (NME), Smash Hits, the Swedish Magazine OKEJ, and the more rock’n’roll oriented Norwegian Magazine, PULS, which I later worked for as a freelance journalist.

Per Aksel Lundgreen in the 80’s

My sister and I had a ton of friends and schoolmates over every day after school, and we’d hang out in the living room with the TV as our newfound altar on where to worship this new pop culture. And we were willing to sacrifice ANYTHING to get our daily fix, be it sleep, school grades, a perfect attendance or a family dinner. We HAD TO consume what was served to us, at any given hour or minute of the day.

They did teach us that “commercials were cool”! We’d never seen them before, so we chanted along that the new Opel Corsa had five doors or stuttered when buying stu-stu-studio line, fixing gel, spike it, the way you like it! They destroyed us and brainwashed us into consumers with us singing along, smiling sheepishly.

But enough about that, let’s talk about the music!

The music on MTV

Pop music was at a huge peak in the early- to mid-80s and in this period, ANY band who had a music video got air time, because they had a 24-hour non-stop transmission going and all spots and slots had to be filled. A heavy rotation slot could make you a superstar overnight, and bands like The Human League, Duran Duran and Ultravox often attribute a large part of their success to the fact that they had music videos ready when MTV came around, and the promo babes at all the record companies dug up their old C-Cam and Betacam masters and used them for what they were worth, sometimes resulting in bands getting «hits» years after the original single was released.

Special interest programming came along, and Alternative Nation, Away From The Pulsebeat and 120 Minutes were the shows that presented me with so many viewing hours of pure bliss, fronted by the likes of Paul King and Marcel Vanthilt.

We watched Ray Cokes, Ronnie The Runner, Max Headroom, International Hour, Friday Night Video Fights and New Video Hour, and for many of us, especially in Norway, the pop music equivalent to Albania, it was the first time seeing our musical heroes in moving pictures, while at the same time discovering a ton of new ones.

It was a literal musical smorgasbord for us, and we were NOT on a diet, I can tell you, we stuffed ourselves on a daily basis. MTV filled a gap we didn’t even know was there, a 24-hour channel for the young, the posers, the hair-metal boys, the wannabes, the new-wavers, the pop-chicks, the people coming of age. It hit so far and so wide and it was inclusive, but not in a 2025 way, it just «was».

We learned how to dress, how to fix our hair, how to dance when drinking Coca Cola (no diet crap back then!) or wearing our LEVIS 501’s, or even how to spray paint our Dr Martens.

We drove our parents crazy, like all generations I guess, but for the very first time in history, the whole world of music and fashion was delivered into our living room, and everything changed overnight. Bright pastel colours, pilot sunglasses, LEVIS and Dr Martens took centre stage and when you were not at home, you got your fix through your yellow Sony Sports walkman and the latest mixtape.

The 80s were DEFINED by MTV and there was nothing you could do about it, like it or not, but unfortunately, with the arrival of social media and YouTube, MTV has not been relevant for decades, and when they became more TV and less music with all their reality shows and quirky MTV Cribs and “Springbreak” reports, it was definitively all over in my book.

However, the first 15 years were immaculate and the entire music world should thank you for it. The world was never the same after the arrival of MTV, and the cultural shift it imposed has forever set its mark on GenX and those after!

Per Aksel Lundgreen (Photo: Espen Ixtlan)

PS! For us, a small band in Norway, some time in 1994/1995, the Apoptygma Berzerk video for ‘Deep Red’ was aired on MTV, and we were ecstatic! Yeah it was at 4 AM, but who cares, WE had our video shown on MTV! Quite the feat back then, and something to be forever proud of.

A lot of output followed after that and many other videos were aired, but this “beginning” in the mid-90s helped us a lot! And the way MTV used to put on alternative and indie bands as long as they had a video and a good song, that was massive! Careers were made by this alone! That was the 80s and 90s equivalent of “going viral” today.

End of year but also end of an era…

(This observational piece was originally a Facebook post, but was carefully edited and formed into the format you’ve just read.)

MTV Video time!

Here are 26 videos presented on MTV back in the day that really had a huge impact on me. Maybe not the most famous or most successful songs from these artists, but arty, funny, cool or intelligent and very, very good!

Feel free to check them out on YouTube:

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

www.facebook.com/jrstange

25th anniversary for Apoptygma Berzerk’s hit ‘Kathy’s Song’: ‘I drove to Holland to make sure Ferry Corsten did the remix!’

Jan Ronald Stange — Mon, 22 Dec 2025 19:34:28 +0000

(By our Norwegian correspondent Jan Ronald Stange. Coverart by Halvor Bodin) It’s been 25 years since Apoptygma Berzerk‘s hit single “Kathy’s Song” was released, so now it’s time to look back and celebrate the anniversary with new remixes, involving original and new remixers. It’s primarily a digital release, first on Bandcamp a week ago, and today out on other platforms.

We had some questions for all involved in this Apoptygma Berzerk release, having them go down memory lane and also looking at todays remixes, and also what’s lies ahead. Starting off with the man who kicked off the remixes, Ferry Corsten.

Ferry Corsten on Apoptygma Berzerk’s hit single “Kathy’s Song”

Ferry Corsten

S-L: What made you do the original remix 25 years ago?

Ferry Corsten: Back then, I was in Norway frequently for shows. The promoter I worked with became a close friend, and he was also very good friends with Stephan from Apoptygma Berzerk. Noticing a strong musical alignment between our sounds, he introduced us.

When Stephan played me the track, something he described as a duet with his computer, I was immediately intrigued by the concept alone. Once I heard it, I realized it contained so many elements that I could naturally translate into my own style without losing its original identity. That’s when I suggested doing a remix, which ultimately opened up a new audience for Apop in a different genre, as well as for me.

S-L: A part of the story behind this remix also involved a surprise visit from Apoptygma Berzerk’s Stephan…

FC: To be completely honest, it’s been such a long time that I can’t say I remember everything clearly anymore. What I described in my previous answer is what I recall now, and it’s possible that my first meeting with Stephan actually happened during that surprise visit. I’m not entirely sure.
(Editors notice: We’ll get the story from Stephan later!)

S-L: As it’s a song I still listen to when I’m in a 2000’s-vibe-mood, it’s hard to realize that 25 years has flown by. Looking back, how do you think it has stood the test of time?

FC: It’s funny how cyclical music can be. When I did the original remix in the early 2000s, that sound was booming in the trance scene, and club culture in general. As styles shifted, it eventually became something people associated with nostalgia.

Now, 25 years later, this “retro trance” sound is making a major comeback. With a fresh polish and a few modern tweaks to the original remix, it feels relevant again, standing shoulder to shoulder with today’s contemporary sounds. It really shows that the track had all the right ingredients to stand the test of time.

S-L: How did you approach the task of remixing a 25 year old Apoptygma Berzerk classic?

FC: Over the years, quite a few people have asked me to play the original remix in my sets. I always felt the track had great bones, but that its production and mix needed an update. So I essentially recreated the original remix to bring it up to today’s sonic standards, without changing too much about what made it special in the first place.

S-L: Do you have any other Apoptygma Berzerk favorites that you’d want to remix sometime?

FC: I definitely like ‘Until The End Of The World’ and ‘Starsign’. Both have great elements for a remix.

S-L: What’s up in the near future with releases and musical projects?

FC: I currently have a lot of new music lined up for the new year. I’m also working on a new album for my ambient project, FERR. So there’s plenty of exciting material in the pipeline.

Mental Overdrive (Per Martinsen) on Apoptygma Berzerk’s hit single “Kathy’s Song”

Next up is the man mostly known under the moniker Mental Overdrive, Per Martinsen, winner of Spelleman (Norwegian Grammys) in the electronica genre.

Mental Overdrive (Per Martinsen)

Side-Line: What’s your relation to the original track, and also the Ferry Corsten remix that took it to new heights?

Per Martinsen: I met Stephan back in the early nineties when we played the same event in Norway. We immediately bonded over the fact that the two main towns in Norway where synth-driven music had a stronghold up to that point was our two (fairly small) hometowns. I’ve been following his work since then and was aware of the Kathy’s Song. The remix had unfortunately slipped my attention until he got in touch with me for a Mental Overdrive mix.

S-L: How did you approach the task of remixing a 25 year old classic?

PM: I’ve been doing a few remixes lately of more melodic tracks, so the main thing was to keep the vocal sample and chord progression, but build the beats and bassline from scratch. It’s a very catchy hook, so the arrangement evolves around the core of the song, but will hopefully make a dancefloor bounce.

S-L: Do you have any other Apoptygma Berzerk favorites that you’d want to remix sometime?

PM: Oooh – I love classics like ‘Spiritual Reality’ and ‘Burnin’ Heretic’ from the early days! Would be fun to re-visit some of those.

S-L: What’s up in the near future – more Mental Overdrive, Naeon Teardrops or other projects?

PM: There’s a new Mental Overdrive album (2 actually) coming in January. Going through my archives I unveiled quite a few tunes that had slipped my attention. I’m also writing some new Naeon Teardrops material and will be composing music for a film next year under my WAVE∞FORM alias. The backstory of how I ended up with 3 artist aliases can be found here: https://books2read.com/u/3Jq2NK

Alyxx Digre on Apoptygma Berzerk’s hit single “Kathy’s Song”

Technomancer 2022. Photography by Tarjei Krogh (kroghx.com)

Final remixer is Alyxx Digre, a collaborator with Apoptygma Berzerk over many years through the Technomancer and Zone Tripper projects.

S-L: What’s your relation to the original track, and also the Ferry Corsten remix that took it to new heights?

Alyxx Digre: So, I grew up in Northern Norway, Mo I Rana to be specific. And something I liked doing while I was in junior high was borrowing music at the library. A lot of music that shaped my tastes and direction came from that library. One such CD was ‘Tranzania’ by Acid Queen, a project that combined Tanzanian music with techno. It was very infectious, very catchy and I definitely took notice of the name Stephan Groth from that album.

So later I found this weird CD in that library with a golden cropcircle on a white background. Above it was the name Apoptygma Berzerk and ‘Welcome to Earth’. I had absolutely no idea what it would be just from looking at it, thinking it perhaps was a metal album. I looked inside the booklet, and saw that Stephan had worked on it, so I thought… Okay, so it must be techno then. At that point I had absolutely no idea what EBM was, I just knew about techno like a lot of 90s kids who grew up with Sash! and Ayla.

I put it on, and immediately was hit with this… tense, highly energetic and just incredibly tightly programmed beat with the track ‘Starsign’. And lyrics that felt deep and resonating with something more than a lot of pop music did back then. It wasn’t just catchy, it was highly intelligent and making me think about things that I loved thinking about. It was basically a mix of techno and X-Files, and that was enough to really hook me.

But then I got to track 5, which started softer. And at one point I heard this Macintosh speech synth… and as the track was playing I knew I had found gold in that library. Kathy’s Song became and remains one of my absolute favourite Apoptygma Berzerk songs. It especially resonates with me as someone who grew up with a very strong connection to computers, something I still have today.

“Welcome To Earth” shaped my taste in music from that point on. I seeked out all the similar “futurepop” music I could find, including Icon of Coil, Code 64, Covenant and so forth. It was also a deeply formative album for me in terms of my own production. From that point on I knew I wanted to make synthpop and electronic music, and so the path forward was set for where I am today.

As for the Ferry Corsten Remix, I was exposed to that on the Singles Collection, a 2001 compilation that combined every Apoptygma Berzerk single up until that point, which of course included the Kathy’s Song single. It is the very first track that opens the collection, so I think on first listen I had no idea what to expect from it. It is an absolute trance assault with some epic synths, definitely very of that era, but still has a futuristic sheen to it. I came from a trance/techno background so you can only imagine how much I loved it. I think I snuck it into the junior high cafeteria where it got on heavy rotation on the HiFi we had there. Especially the girls loved it, I recall.

But yeah, definitely took it to new heights and still one of my favourite trance anthems from the early 2000s.

S-L: How did you approach the task of remixing a 25 year old classic?

AD: I took it as an opportunity to further refine my Zone Tripper sound a bit. As of late I’ve been listening to a lot of harder synthwave stuff, so I wanted to make a version with a very hard edged sound. At some point in the production I think I even just added a pure sub bass to it to make it just pump as hard as possible. I just knew I wanted to really push my own production abilities on it and find a new and harder sound.

I didn’t wanna mess with the structure too much, so I kept it more or less similar to the original track. I think it has a very nice buildup. Like there are two distinct parts in the original song, but something I’ve always loved about the live version is that there’s a third break that adds a lot to it. I knew I wanted to put that in there.

Of course, I am a huge fan of Commodore 64 chiptunes, and funny enough, the “Welcome to Earth” album was what got me into them in the first place. So I knew I had to put some SID sounds in there as an homage.

It all honestly came together really quickly and I think at one point I had to get up from my chair in the studio and just dance. I usually try to get that effect with all my tracks. I think my partner calls it a “red shoe” effect, like you’re suddenly cursed with having to dance until you drop. So I am really happy with the remix.

S-L: Do you have any other Apoptygma Berzerk favorites that you’d want to remix sometime?

AD: I’ve already done so much with Stephan honestly. I think my first remix was ‘Shadow’ from the ‘Rocket Science’ album, which ended up included on the 2011 ‘Major Tom’ EP. I also did a C64 chiptune version of ‘Atom & Eve’ on the ‘Nein Danke’ EP, did the ‘Sarpsborg Synth’ version of ‘Backdraft’ on the ‘Soli Deo Gloria’ remix album ‘SDGXXV’, so I feel like at this point I might need to step back a bit so I don’t oversaturate the discography too much!

I’ve even done a remix of ‘808bit’ by his side project ‘Fairlight Children’, so all in all, I am very happy with how much I’ve been allowed to put my own spin on Stephan’s works.

That being said, if the stars were to align again and I could have another song to remix, I definitely would want to do a take on ‘Spindizzy’ from the ‘Harmonizer’, which in my opinion ALWAYS deserved its own single. Hugely underrated track. I think even other remixes of that track would be amazing as well.

S-L: What’s up in the near future – more Zone Tripper, Technomancer or other projects?

AD: I had to take a break from a lot of my music projects to work on personal stuff. As I’ve been publicly open about, I am a trans female, and my focus has been getting very internal lately. Re-evaluating my own beliefs, values, and identity. I realized I had to change, and I had to change a lot. I spent a lot of time in 2024 and this year just entirely deconstructing myself and who I am. I was essentially left with a big puzzle, having to put the pieces back together in a new way.

There’s a lot of personal stuff I don’t wanna get into detail about, but I’ve managed to lose a LOT of weight, with some good help and diet advice from my friends. And I’ve gone through some therapy to work on myself. So my focus has been on just finding myself and defining who I wanna be as a woman.

As such I’ve had a lot of ideas laying around for the next Technomancer album. As always, I really enjoy making music that comes from my heart and is very honest. I think I managed that to a great extent with my previous album, ‘Hyperfuel’, coincidentally an album where I got to work with Stephan on a cover of ‘Puppets’, so definitely check that out. But yeah I wanna keep at it, making songs that can resonate with people, and that are very honest and based in my own experiences. And of course, focusing on just getting my emotions in there.

I think for a while I teased making some harder EBM stuff, but I’ve kinda decided to do that less, because I never truly know where I’ll end up musically. And I don’t wanna limit myself too hard on a certain style or idea. And a lot of that anger I harbored for a while just isn’t there anymore. And I don’t think I wanna add more anger or hate to the world either. I don’t think that’s what we need right now in the climate we live in. I just wanna make something that is real and human. In this day and age I’ve become extremely opposed to generative AI, and it is something I want no part in. I like art being made by humans and don’t ever wanna make any excuses to rely on it. So whatever I do forward is just gonna be that, 100% my own art, and I truly want to release something I can be proud of.

I am working on a Zone Tripper album, and I definitely think people are gonna like it. I am always trying to push myself to do better, so I hope people will enjoy it. And I also really hope I can get more Laboratory 5 stuff out, because I still very much love doing that project and we have a lot of demos laying around that sound awesome.

Stephan Groth on the Apoptygma Berzerk’s hit single “Kathy’s Song”

Apoptygma Berzerk (Photo: Halvor Bodin)

We also wanted to hear what the man behind the original track, Stephan Groth, had to say about the songs history, both past, present and future!

Side-Line: What’s your current relation to the original track, and also the Ferry Corsten remix that took it to new heights?

STP: Apoptygma Berzerk’s ‘Kathy’s Song’ is probably the most important song I have ever written. I remember working in the studio with Fredrik Darum and Vegard Blomberg 25 years ago. When I came up with the idea of having a computer/robot singing the chorus of the song, we all instantly knew that this was going to be something very special. In todays world when AI is singing half the songs that are being released on digital platforms, it might not be a big deal, but back then, in 2000, having a machine singing the chorus of a song had never been done before.

I was a big fan of Moonman! The single ‘Don’t Be Afraid‘ from 1996 is stil one of my all-time favourite club tracks. So when Inge Nilsen (aka DJ Lemon) introduced me to Ferry (aka Moonman) before his show in Oslo in the late 90’s, I was very excited. We got along very well and the talks about doing a remix soon came up.

Ferry Corsten was back then not yet the superstar DJ/producer that he is today, and as far as I know both Ferry and Tiesto both became famous in Norway first(!) before the rest of the world followed. So when Ferry blew up, so did the Kathy’s remix 🙂

Many a time have people written in the comment fields that they were introduced to Apoptygma Berzerk via Ferry’s Kathy’s remix, and this is also the case the other way around. Ferry’s remix became a hit in the trance scene all over the world 25 years ago, but we also had many other remixes of the song that became very successful, for example the Beborn Beton remix, but especially the amazing club classic Victoria Mix by VNV Nation.

S-L: As it’s a song I still listen to when I’m in a 2000’s-vibe-mood, it’s hard to realize that 25 years has flown by. Looking back, how do you think this Apoptygma Berzerk track has stood the test of time?

STP: Well, first of all it’s a great and catchy pop song, and as the Levi’s slogan goes: “Quality Never Goes Out of Style”. Kathy has definitely aged well, and in my opinion this song absolutely deserves an anniversary celebration.

S-L: A little bird whispered that a part of the remix-story 25 years ago was a car drive to Holland for a surprise visit to a certain producer – that we really want to hear more about!

STP: I was totally determined on making this remix happen! So determined that my manager at the time, Jon Sverre Høiden, and I drove all the way to Rotterdam to “talk him (Ferry) into doing the remix”! LOL, thank God it worked out 🙂

I saw a huge potential in this collaboration with Apoptygma Berzerk, a crossover between trance/club/EBM and synthpop. And as we all know, this sound became quite popular, especially after Ronan Harris coined the term Future Pop and hundreds of bands all over the world started to follow this “formula”.

S-L: How has it been organizing this project and listen to new remixes of your 25 year old Apoptygma Berzerk classic?

STP: Per Aksel Lundgreen and I did a lot of work on the SOLID DEO GLORIA 25 anniversary (SDGXXV) release together with our designer Halvor Bodin. We are now doing kinda the same thing, both sonically and with visuals. This is a celebration where a lot of time, effort and resources has gone into making this interesting and long lasting and hopefully something that the listeners will appreciate.

Where did those 25 years go? It’s insane how quick time flies by. All of us who experienced these magic 25 years have been extremely privileged! “Kathy’s Song” (in all her different remixes and versions) was a part of the soundtrack to the last 2 decades, this is what we are celebrating.

S-L: What’s up in the near future for Apoptygma Berzerk – more Kathy’s Song remixes and/or new music?

STP: The anniversary celebration will continue in 2026. There are more Apoptygma Berzerk EPs with new remixes to be released digitally, and there will also be CD and vinyl releases of these.

I am also working on a new Apoptygma Berzerk EP with new material… we can talk more about this when the anniversary is over 🙂

Stay Tuned! Happy Anniversary, and Happy New Year!
Lots of love!

Jan Ronald Stange

www.facebook.com/jrstange

M4C releases Apoptygma Berzerk produced EP ‘Music For Cars’ – new Apop music also in the works!

Jan Ronald Stange — Tue, 20 May 2025 18:57:52 +0000

(By our Norwegian correspondent Jan Ronald Stange) A few weeks ago, several friends in the Apoptygma Berzerk circuit posted about an exciting new collaboration between Apop and M4C — an EP dubbed ‘Music For Cars’.
M4C, the project of hairdresser Owe Jenack from Ski, describes themselves as a Norwegian synthwave/electronica act, inspired by 80/90’s action and horror movie soundtracks. After giving the tracks a spin, I wanted to find out more, and in between all the Norwegian holidays in April and May, a coherent interview via email began to take shape — ending with some exciting Apop news!

Side-Line: How and when did this music project start up – from hairdressing to synthwave?

Owe Jenack: I’ve been working on this project for about 3–4 years, but I always felt something was missing. So I asked Stephan if he could listen and give me some feedback. He clearly liked what he heard, because I was lucky enough to be signed to his label, Pitch Black Drive. He’s reworked the songs in the studio — and I love what he’s done.

Stephan Groth: I’ve known Owe for many years. I knew he liked electronic music, but I never knew he was composing it himself.

When I heard his demo a while back, I instantly knew I wanted to produce the EP. I liked the songs and the vibe, but like Owe said, it was missing something. Since ‘Exit Popularity Contest’, I’ve been working a lot with instrumental music, so producing ‘Music For Cars’ was right up my alley.

S-L: How has the reaction been so far? (I, for one, loved the EP!)

OJ: Considering how little we’ve actually promoted the EP so far (but that’s coming), I think it’s gone really well. Lots of great feedback.

S-L: ‘Music For Cars’ – what’s the idea behind the name? Literally for driving, a homage to other similarly titled releases, or something else?

OJ: The tracks are sort of made as soundtracks for fictional action/horror films or series. But I also intended them to work as a soundtrack for driving. Every time I start on a new track, I test it while driving. If it works, I keep it and continue developing it.

S-L: More homage – did I detect a tiny Depeche Mode reference not very well hidden in Part II? 😉

OJ: Yes, there’s a small but clear reference to DM in there. Other heroes like Jean-Michel Jarre and John Carpenter are also deeply embedded in the soundscape.

STP: I can definitely hear many Depeche Mode inspired elements on the EP. There’s also inspiration drawn from other synth legends like Tangerine Dream and Kraftwerk.

(Photo: Halvor Bodin)

S-L: Is it a one-off project, or something you’ll develop further?

OJ: No, I’ve got more tracks and concepts in the works!

STP: I’ve heard a few of those tracks… really good stuff, and I hope to produce and release them in the future as well.

S-L: Have you been involved in other music projects or bands before, Owe? I noticed that photo on Facebook of five guys in white coveralls… what was that?

OJ: I’ve been in quite a few bands and projects before, but none of them really went anywhere. So this is my first serious attempt. The photo with the white coveralls is from a concert with M4C — the others are professional dancers.

S-L: Any other new music or events/gigs coming up for either of you?

OJ: No planned concerts for me at the moment, but if any synth festivals out there are interested — I’m ready!

STP: I’m working on a new APOP EP, and this month I’ll also be releasing two digital compilations on streaming platforms: a new ‘B-sides and Rarities’ collection, and a label compilation called ‘An Introduction to Pitch Black Drive’ featuring all our artists.

Jan Ronald Stange

www.facebook.com/jrstange

Fairlight Children (Apoptygma Berzerk) releases limited edition vinyls of “808Bit” album

Bernard - Side-Line Staff — Tue, 25 Feb 2025 19:08:14 +0000

In support of 2002’s hugely successful “Harmonizer” album, Apoptygma Berzerk toured extensively for two years across Europe and the USA. Following this, Stephan Groth took a break from the intensive live work to recharge and figure out Apoptygma’s next move. Fairlight Children was born.

Together with Marianne B. and Tiff, Stephan created the – really excellent – synthpop electropop project Fairlight Children. The song recorded became the “808bit” album.

The album will now be re-released on vinyl via Emmobiz Records in two versions on May 17th.

Interesting to know, he already knew then that Apoptygma’s next album “You And Me Against The World” would have a more guitar-driven rock essence, so Fairlight Children became a perfect counter balance. The album also featured a cover of Soft Cell’s “Bedsitter”, Iben Groth on the title track and of course the singalong track “Before you came along”. On “Falling Out” you can also hear Jon Erik Martinsen on a Korg MS-20.

The project name ‘Fairlight Children’ obviously pays homage to the Fairlight CMI, a vintage digital synthesizer emblematic of 1980s music production. Additionally, it references the Fairlight computer scene group known for creating demos on the Commodore 64.

After a period of inactivity, the project resurfaced in 2020 with the release of the “CMI EP”, an EP that held remixes of earlier tracks.

Bernard - Side-Line Staff

side-line.com

New kinGeorg EP ‘Helter P.T.2’ out now with cover David Bowie’s ‘Heroes’ remixed by Apoptygma Berzerk & Beranek

Jan Ronald Stange — Sat, 25 Jan 2025 12:16:46 +0000

(By our Norwegian correspondent Jan Ronald Stange) After releasing his cover version of David Bowie’s ‘Heroes’ in 2024, dubbed ‘Helter’ in Norwegian, kinGeorg adds more versions to this release today. More electronic remixes from Norwegian legends Apoptygma Berzerk and Beranek caught our attention, so we had to dig more into these tracks.

kinGeorg, alias Kim Lunde, is one of the most unique voices on the Norwegian music scene. With a raw mix of dark pop, rock and electric undertones, he creates music that not only hits, but also lingers for a long time. kinGeorg has received attention both nationally and internationally, with regular radio listings in both Norway and Sweden. On stage he delivers a captivating live experience, and with new songs on the way, including collaboratios with Apoptygma Berzerk and poet Trygve Skaug, kinGeorg is ready to take 2025 by storm.

(Photo: Eiliv Sagstuen)

Kim Lunde and Stephan Groth elaborate on their collaboration:

S-L: What was your approach to doing a cover and remix of this Bowie classic, translated to Norwegian?

Kim: I think “Heroes” is one of the best songs ever written. I have fond memories of my grandmother playing this song for me over and over again when I was very young. I therefore have a special connection with this song and always wanted to make my own version of it… but since I prefer singing in my native language I had to get the lyrics translated.

3 years ago I recorded a Norwegian version of ‘Heroes’, but it would take 2 years for all the legal stuff to be sorted out with Brian Eno and David Bowies’s publishers… a quite long and tiresome process.

STP: I remember listening to Kim’s demo of ‘Helter’ at a party at a friends place. I was highly sceptical before listening since ‘Heroes’ is such a huge classic and because it has been covered so many times before, but I was pleasantly surprised! It had a very different twist and feel because of the Norwegian lyrics and because of Kim’s outstanding vocals.

I thought the version was great and asked Kim if he would let me do a remix.

Kim: I of course said YES, and I am very excited about the final result. I am also very happy that we got a remix from Beranek for the single.

(Photo: Halvor Bodin)

S-L: What’s your relation to David Bowie’s music in general?

STP: I was first introduced to Bowie when watching the Christiane F. “Wir Kinder Vom Bahnhof Zoo” movie at a young age, but it would take many years before I could appreciate the genius of David Bowie.
He was an amazing artist in so many ways.

Great singer, performer and songwriter, but most important to me, He was extremely original and fearless when it came to changing styles, experimenting and reinventing himself. He was also an actor and even had a role in the David Lynch movie “Fire Walk With Me” (a prequel to Twin Peaks) … how cool is that?

Musically I must admit that there is a lot of Bowie’s back catalogue that I do not really connect with, but The Berlin Trilogy on the other hand I find outstanding! As a fan of electronic music I owe a lot to Bowie for promoting bands like Neu!, DEVO and Kraftwerk to the masses.

S-L: Any plans for doing any/more Bowie covers?

Kim: We could do “Dancing In The Street”!

STP: Not so sure about that… a cover version of “Dancing in the Street // Silent Music Video” would be awesome though. (Editor’s note: Didn’t get the joke? Check this!)

Espen Beranek Holm also contributed with a remix on this release, and as a seasoned interpreter of David Bowie his thoughts about this release was also interesting.

Very nice musician on the left 🙂

S-L: What was your approach to doing a remix of this Bowie classic, translated to Norwegian?

Beranek: I would try to build a backing track that contained some kind of «catchiness» in it’s own right, but still making the vocals stand out. I also intended to pay tribute to the repeating nature of the original as well as a nod to the guitar works of Robert Fripp from the original.

S-L: In addition to releasing some covers on your own on the EP ‘Oscillator Orkester’, what’s your relation to David Bowie’s music?

Beranek: In the early years of my career I was constantly compared to both Bowie’s voice and his music. I had not been listening that much to Bowie at the time, but of course I knew about him and his works, ‘Hunky Dory’ and ‘Scary Monsters’ being two (very different) favourites. So I listened up on the man, and I found more favourites. I think Bowie in the 80s was quite a bumpy ride, but he really got through it and I think he did some of his best works later on.

S-L: Any plans for doing more Bowie covers yourself?

Beranek: I don’t have any immediate plans, no. I play guitar and do vocals in the Bowie cover-band The Goon Squad, so I feel that the live performances I get to do in that project is satisfying enough when it comes to do Bowie covers.

The EP is available on Tidal, Spotify, Apple Music, Amazon Music and YouTube Music.

Jan Ronald Stange

www.facebook.com/jrstange

Piston Damp is back with a second album: ‘Mastermind Vol 1 – No Points For Trying’ – Pre-order now

Bernard - Side-Line Staff — Sun, 06 Oct 2024 15:39:53 +0000

Piston Damp is a Norwegian-Danish synthpop duo formed by Jonas Groth and Truls Sønsterud. Jonas Groth is the brother of Stephan Groth, the frontman of Apoptygma Berzerk, and has been heavily involved in the music scene for over two decades. Piston Damp started as a side project while Apoptygma Berzerk was on tour, but it remained largely dormant until 2020, when the duo decided to relaunch the project.

Their music blends elements of classic synthpop with strong melodies and emotionally charged lyrics. Their debut album, Making the World Great Again (2021), includes standout singles like “Runaway” and “Something In Me”. The duo is praised for its catchy hooks, reminiscent of bands like Mesh, and their modern take on electronic music.

Piston Damp has released several singles, including remixes by electronic artists such as Pegboard Nerds and Technomancer. Their music often incorporates media samples, giving it a unique tone that resonates with synthpop fans.

And now they are ready to present their second album “Mastermind Vol 1 – No Points For Trying” in 4 different versions via emmobiz Records.

The bonus CD holds the following tracks:

Something In Me – Single Version
Loose Ends – Single Version
Don’t – Single Version
Runaway – Single Version
Something In Me – Technomancer Remix
Testimony – Sebastian Komor Remix
Noget I Mig

Bernard - Side-Line Staff

side-line.com

Beborn Beton release first single ‘American Girls’ from new EP ‘To the Stars’

Bernard - Side-Line Staff — Fri, 20 Sep 2024 12:10:32 +0000

(Photo by Chris Ruiz) In advance of their upcoming North America Tour 2024, synth pop trio Beborn Beton drop the first single “American Girls”, taken from their forthcoming new EP “To the Stars”, which is scheduled for release on November 22, 2024.

To The Stars by Beborn Beton

Beborn Beton’s Stefan Netschio comment: “The track ‘American Girls’ honours the strength and perseverance of women and acknowledges the ongoing struggle for true equality all around the globe. Despite the progress made, humankind still has a long way to go before women are valued and treated as equals in every aspect of life. We can hardly wait to perform this song live for the first time on our upcoming 10-date tour in North America this October.”

The EP “To the Stars” follows directly in the wake of their ninth album “Darkness Falls Again”. The EP holds three new tracks and four remixes. Here is the tracklist from the upcoming “To the Stars” EP.

Ticket to the Moon
American Girls
Progeny
I Watch My Life on TV (Club Mix)
My Monstrosity (EMMON Remix)
I Watch My Life on TV (Black Light Odyssey Remix)
My Monstrosity (Control Mix by Blac Kolor)

Beborn Beton North America 2024 Tour

03 OCT 2024 Chicago, IL (US) LiveWire Lounge
04 OCT 2024 Detroit, MI (US) UFO Bar
05 OCT 2024 Toronto, ON (CA) Ground Control
06 OCT 2024 Montreal, QC (CA) Cabaret Foufs
08 OCT 2024 Boston, MA (US) ManRay
09 OCT 2024 Arlington, VA (US) The Renegade
10 OCT 2024 Amityville, NY (US) Stimulate, Amityville Music Hall
11 OCT 2024 Wilmington, DE (US) Bar XIII
12 OCT 2024 Tampa, FL (US) Absolution Fest
13 OCT 2024 Los Angeles , CA (US) Cold Waves

About Beborn Beton

Beborn Beton was founded by vocalist Stefan Netschio, keyboard player and drummer Stefan Tillmann, and keyboard player Michael Wagner in 1989. Their first signs of life were three self-released tapes, “Pyre” (1989), “Scythe” (1991), and “Die Stahlbetontour” (1992).

Following their first two regular albums “Tybalt” (1993) and “Concrete Ground” (1994),the band joined renowned acts such as Wolfsheim and De/Vision on the Strange Ways Records label. In 1996 the full-length “Nightfall” was released, followed by “Truth” in 1997, and “Fake” in 1999.

“Rückkehr zum Eisplaneten” was released in 2000, Beborn Beton followed by the exclusive US release of a best-of double-album entitled “Tales from Another World” in 2002, which was followed by extensive touring in North America with Apoptygma Berzerk in the same year.

After the release of “Tales from Another World” (2002) and the associated touring, the band went on an extended hiatus.

It took 13 years, until the trio returned with a new album on Dependent Recordings: “A Worthy Compensation” (2015).

Bernard - Side-Line Staff

side-line.com

Electro Night in Oslo: Piston Damp, Ray Noir, and an Analogue Set by Apoptygma Berzerk at Revolver

Jan Ronald Stange — Fri, 13 Sep 2024 15:30:00 +0000

Piston Damp and Ray Noir, two acts that hadn’t played in Oslo before, booked the final day of August for an evening of electro-metal/goth and synthpop tunes at the club Revolver. Then a surprise dropped the day before the show, announcing that Apop (Stephan Groth’s solo version of Apoptygma Berzerk) would kick off the evening with a set of analogue-modular music!

(By our Norwegian correspondent Jan Ronald Stange. Photos by Halvor Bodin, Tarjei Krogh and Jan Ronald Stange)

We had to get more info and reactions from all involved, so the week after was spent interviewing by Messenger and e-mail, starting with Apop.

Side-Line: Tell us how this gig came about, seemed a bit surprising for most since your participation was announced just the day before?

Stephan Groth: Ray Noir and Piston Damp were going to be playing a show in Oslo on August 30, so I asked if I could play support since I have not played live in Oslo for a long time. It was already a sold out show, so I just tagged along. We all had great fun, and it felt good to show the Oslo crowd a side of APOPTYGMA BERZERK that they have not experienced before.

This is the 3rd time I have played live under the name “APOP”. It’s been just me alone on stage, improvising and tweaking modular synths and FX in the style of “Exit Popularity Contest”.

S-L: Is there any improvisation live, or all planned beforehand?

STP: Oh yes, lots of improvisation. I have planned beforehand what songs to play, and for how long.

Then I have preprogrammed 3 sequencers who are controlling the modular rig, so I arrange and mix the first half of the show live.

The other half of the performance I play a few APOPTYGMA BERZERK songs with vocals. This last part is less improvised.

S-L: As mentioned you’ve done some of these sets before, will there be more in the future?

STP: I’m having a lot of fun doing this, and it seems people are enjoying it as well. It is also a great way to test out new material and new ideas. It is quite different from what I have done earlier in my career, and therefore also very refreshing and exciting for both the audience and myself. The first time I played this kind of concert was in Jönköping, supporting Swedish synth pop legends PAGE.
Will there be more of this in the future? I hope so 🙂

Apoptygma Berzerk (Photo: Halvor Bodin)

The prize for being most energetic went to the second act of the night, Ray Noir, who filled the club with beats as he used every inch of the stage – and some of the floor interacting with the audience too!

S-L: First time with a live show in Norway – what’s your impression?

Ray Noir: Heyy! Thank u so much for coming 🙏🏽 It was an awesome night. Playing a hometown show for the first time was nothing but amazing! Really cool to see so many beautiful faces there, and being supported by one of my all time favourite bands Apoptygma Berzerk was nothing but surreal. And doing this co-headline show with Piston Damp was a dream.

S-L: Anything else brewing with more releases or gigs?

RN: I’ve finished some new tracks, hopefully there will be one more release before the end of the year, there’s also some London shows planned before the year is over.

Piston Damp, the duo Jonas Groth and Truls Sønsterud, were the final act, making people dance and really enjoy their set. Top notch vocals and synth, and their surprising cover of The Cure’s “The Walk” was the show’s icing on the cake. Release that track ASAP!

S-L: First time in Oslo, how was the gig for you?

Piston Damp: Our first gig in Oslo was really cool. Super small – and sold out – venue, but awesome nonetheless. When we announced it from the stage, someone yelled out: “About time!!!”, which was hilarious although quite flattering.

Jonas has known Ray Noir since he was a very young guy behind the counter at Body Map in Arcaden, Oslo. Great guy, and so much fun to be with.

And for the third time, we’ve been able to bring along Stephan with his plip-plop-instrumentals, which we adore. Having him there adds a dimension to the evening.

S-L: More releases or gigs planned?

PD: We most definitely have releases coming in the near future. We’re working on the follow up album to Making The World Great Again, which is exciting since we are no longer inventing Piston Damp. We are now developing Piston Damp. It’s really amazing to discover how alike we are. We really don’t seem like we would be able to get along style-wise, but we really do. Every single time.

We have about twenty songs in the can now. Now we’re trying to figure out how to sort them. Which goes where?

We are old-timers who love a good album with strong songs, singles with unforgettable b-sides and extended remixes, and live versions of songs, which give the songs more feet to stand on.

Watch out for our upcoming album. It’s going to be a great volume. Hint hint…

Jan Ronald Stange

www.facebook.com/jrstange

Sjöblom releases new single ‘Dead For Years’ ahead of upcoming album

Bernard - Side-Line Staff — Fri, 30 Aug 2024 08:41:04 +0000

Out on September 6, is the newest single from the Swedish electro-pop duo Sjöblom, “Dead For Years”. “Dead For Years” is the lead single from their forthcoming album “Dead Of Night”. The single is available for pre-order now, and the upcoming album is set to be released later in the year on COP International.

The single also features two remixes: the “Apparition mix” by Fracture Foyer and the “Rapid Eye Movement mix” by Operation Blue Eyes.

Sjöblom, comprised of Johan Sjöblom Eliot and Robert Eklind, drew inspiration from iconic bands like Depeche Mode and Apoptygma Berzerk for the sound on this new single. “It’s funny how perception works,” says Robert. “I always intended for this track to have a darkwave or even gothic sound, but a friend mentioned it reminded him of Depeche Mode, which is a huge compliment.”

The lyrics are based on a text by Johnny Nattsjö (DJ Batcat). The production was handled by Jon Bordon and Sjöblom at Joniverse Studios.

Dead For Years by SJÖBLOM

Bernard - Side-Line Staff

side-line.com

Piston Damp gears up for next album with ‘Hard To Love You’ single – Out now

Jan Ronald Stange — Thu, 01 Aug 2024 13:08:53 +0000

(By our Norwegian correspondent Jan Ronald Stange / Sub Culture press release) “Hard To Love You”, the fourth single from the upcoming Piston Damp album, is out today on streaming platforms. The sophomore album is due later this autumn.

“Hard To Love You” takes us back to the early 80’s with analogue synths, modular f/x and beautiful vocal harmonies, and Piston Damp’s love for Vince Clarke’s early songwriting really comes to fruition here.

With their own unmistakable touch and sound mixed in, this makes for a nostalgic summer outing fit for a day on the beach or late night radio listening.

Piston Damp have played an impressive amount of gigs in Germany, Sweden and Norway in the past 3 years, and their live escapade will continue in August with their first ever gig in Oslo on the 31^st at Revolver, sharing the stage with Ray Noir. More info and tickets here .

“Hard To Love You” is written by Jonas Groth who’s also providing the vocals, and the synthesizers and modulars are by Truls Sønsterud. On this single, Stephan Groth, the brother of Jonas and known from Apoptygma Berzerk, has stepped in as co-producer. The single was mixed by Magne Johansen, and mastered by Ole-Espen Kristiansen. In addition to the instrumental and extended versions of “Hard To Love You”, you’ll get a live version of “Something In Me” included on the single.

Check out their bio and photos at www.pistondamp.com while listening to the tracks here:

Jan Ronald Stange

www.facebook.com/jrstange

Echo Image return with ‘Madsong’ on Pitch Black Drive Records – Out now

Bernard - Side-Line Staff — Thu, 29 Feb 2024 09:25:24 +0000

(Photo by Martin Fageras) Echo Image (Pål-Magnus Rybom and Linda Eikemo) have released their 4th. single since their comeback, entitled “Madsong”. The song comes accompanied by a video.

The “Madsong” single is co-produced by Stephan Groth of Apoptygma Berzerk and mixed by Einar K. Five. It is released on Pitch Black Drive, the label of Stephan Groth.

Their 3 latest singles steered Echo Image away from synthpop towards synthwave but it’s still Echo Image songs as we know them.

A new Echo Image album is in the works, but a release-date is still to be announced, and might even flow into 2025.

Bernard - Side-Line Staff

side-line.com

New single from Piston Damp: ‘I’m Losing You (A New Tale)’ out now!

Jan Ronald Stange — Fri, 17 Nov 2023 12:00:00 +0000

(By our Norwegian correspondent Jan Ronald Stange / Piston Damp press release) Out today is the brand new single from Piston Damp, a synthpop duo from Norway consisting of Jonas Groth (known as keyboarder in Apoptygma Berzerk and as being Stephan Groth’s little brother) and his friend since childhood, Truls Sønsterud.

Since their debut album, ‘Making The World Great Again’ in 2021, they have released a string of singles, with ‘Sacrifice’ and ‘All The Edges I Can Fall’, leading up to ‘I’m Losing You (A New Tale)’ released November 17th 2023.

The single contains three tracks; a single version and an Extended Remix of the song, and ‘The Day Of Departure (Black Sky Version)’ as a bonus track.

It is still catchy synthpop, this time more up-beat and chorus driven, and with a sound and a beat that is sure to be a winner in their booked and upcoming live gigs in Sweden and Germany, of which there are many!

Live dates Piston Damp

November 17, 2023: Helsingborg, Sweden
March 16, 2024: E-Only Festival, Germany
April 27, 2024: Jönköping, Sweden
May 4, 2024: Sarpsborg, Norway
July 19, 2024: Chemnitz, Germany

Listen to the tracks right here!

Jan Ronald Stange

www.facebook.com/jrstange

Massive Norwegian 80’s electro wave single compilation being crowdfunded

Jan Ronald Stange — Sat, 21 Oct 2023 12:47:38 +0000

(By our Norwegian correspondent Jan Ronald Stange) The Norwegian Album Classics on CD project started out hoping to release album classics unavailable elsewhere, whether they were albums only released on LP og MC, or CDs out of print. Little did they know about the demand when starting up, and as we reported in April 2021, within 100 days they had 90 albums already crowdfunded and in the pipeline for release.

Now, two and a half years later, they’re about to pass the 500 releases mark! And why stop there, when there’s LPs, EPs, books, album boxes, Bluray movies and more to dig into? This project grows in all directions, and especially this electro wave single compilation would be of interest to many Side-Line readers, with Bel Canto maybe having the largest international appeal.

In the 1980’s a bunch of 7″ singles were released by Norwegian synth pioneers. Some bands came and went, while others endured for a long time. Dark, melodic, melancholic synthpop and dance music went hand in hand. The common thread was 4-track recorders and analog synthesizers. And the hairstyles.

Now the Norwegian Album Classics on CD crowdfunding project are going to compile the most essential singles, with the A-sides on CD1 and the B-sides on CD2. The cover art for the first three records in the series are already designed, but the realization of the releases are completely dependent on the help to start the second act.

The main initiatiors willingly elaborated when questioned about ELECTRO WAVE – THE 7” SINGLES – VOL. 1:

Side-Line: How did this 7” compilation side-project come about?

Christer Falck: Since we started Norske Albumklassikere på CD, the urge of releasing non-album tracks increased. After the HUGE success with the AOR/Melodic Rock-compilations, where we collected all the 7’’ hard rock singles from the 80’s, Per Aksel had the idea of making a compilation with obscure hard-to-find 7’’ with synth, synthpop and new wave as well. We gathered a small group of experts, and started the licencing part – which is the most time-consuming part. Fortunately, everyone we asked said yes, and then we just put it out on bidra.no/cd to check the response. Two days later, the album has been more than 50% financed, so we’re quite sure it won’t end with this collection.

Per Aksel Lundgreen: Yeah, well, I have been collecting rare synth/new-wave/alternative music since the mid 80’s, and when Norske Albumklassikere på CD started releasing really rare/weird and obscure stuff from the tape scene, like Dynamo Forte, Famlende Forsøk and The Headcleaners, I kinda saw that they were open for more alternative stuff too. What they did with the AOR compilations and included both the A-Sides and B-Sides of self-released and rare 7″ singles as a double CD, I really wanted this to happen to “my music” too. Christer asked me to get some people together, and Øystein Moe, Nils Inge Graven and Tore Dolg Stemland are the 3 people I know who knows the most about the alternative Norwegian music scene, and they all wanted to participate!

S-L: Are there more compilations like this in the pipeline?

CF: I’m always looking for experts in all genres to cooperate with. For the moment, we have 2 similar (BUT DIFFERENT) concepts. Hopefully we will crowdfund at least one of them before Christmas.

PA: Yes! There’s a lot of great stuff from tapes, EP’s, 12″ Maxi Singles and compilation albums that needs to be made available too in my opinion, so if this first concept goes well, I am sure Christer can be convinced to do other types of compilations within the electronic/wave genre too!

Christer Falck, Norske Albumklassikere på CD

Per Aksel Lundgreen

S-L: The main project was CDs, it grew to LPs, books about albums, and recently Norwegian movies on Blurays – and books about movies! Where does it end? Cassettes and MiniDiscs?! 😉

CF: I would like to re-release old classic hard-to-find books as well. And books about books. But so far I have more than enough to do, so one thing at the time. I also like the idea of a festival, with old bands reuniting, movie festival and literature festivals. Cassettes… hmmm… don’t get me started…

PA: HA HA HA!!! This is a never ending story, for sure! And I love it! There’s never ever been done more in Norway to preserve our cultural heritage in music and film, and I am proud to be a small part of it! 50 years from now, I do hope that people will realize how important this work was, before it all was gone and forgotten!

S-L: Is this crowdfunding-classics-idea something to franchise in other countries?

CF: I have never seen anything like this other places, but I guess it won’t take long before someone in other countries ”steal” our idea. Because it’s a great idea, and a perfect thing to do if you’re a music enthusiast with huge plans and no money 🙂

PA: I have never seen it done anywhere else either, but it would be a perfect concept for Sweden for example, who also have, maybe even more so than Norway, a lousy track record of taking care of their Swedish album classics. Sooo many releases there have never been on CD, like for example the catalogue of Secret Service, Style and Freestyle, which are three Swedish classic acts. Not even all their albums are out on CD’s and end up being bootlegged in Russia instead!

Get your own copy of ELECTRO WAVE – THE 7” SINGLES – VOL. 1 right here.

Jan Ronald Stange

www.facebook.com/jrstange

Unto Ashes to return with first album in 4 years, ‘Orchids grew here’ – Out in August via Projekt Records

Bernard - Side-Line Staff — Tue, 20 Jun 2023 10:14:04 +0000

Out via Projekt on August 18th is the all new 12-track album by the New York-based apocalyptic folk act Unto Ashes, “Orchids grew here”. The release comes in a limited Edition of strictly 300 copies, in 4-panel digipak.

This is Unto Ashes’ first album in four years and the band’s eleventh Projekt Records album. The core line-up for this album consisted of Michael Laird, Bret Helm and Ericah Hagle.

Unto Ashes was founded in 1997 by multi-instrumentalist Laird. Through his work as an antiquarian bibliographer, he discovered many obscure texts that continue to inspire his music. This album offers passages from Aeschylus, the founder of tragedy (Greece, 525AC to 465AC), Christina Rossetti (England, 1830-1894), Edwin Arnold (England, 1832-1904), Ethel Clifford (England, 1876-1959) and Anna Akhmatova (Russia, 1889-1966).

A less obscure text is found on the cover of Madonna’s “Frozen”. Unto Ashes traditionally always include a cover-version on almost all albums – previously they delivered neo-classical interpretations of songs by Covenant, The Cure, Depeche Mode, Coil, Sonne Hagal, Apoptygma Berzerk, Gary Numan and more.

Check out the video for “Last Toast”.

Bernard - Side-Line Staff

side-line.com

Click Interview with Beborn Beton: ‘As Beborn Beton, Right Now We Are Having The Time Of Our Lives’

Inferno Sound Diaries — Sat, 03 Jun 2023 17:00:00 +0000

Thirty years after their official debut album “Tybalt” German Electro-Pop formation Beborn Beton strikes back with their ninth album to date. “Darkness Falls Again” (Dependent Records) deals with the dark, contemporary, times we’re living in. Music wise the album holds on the familiar and very personal Electro-Pop style of the band; danceable and melodic songs featuring a professional production. I talked about this masterpiece with singer and front man Stefan Netschio.

(Courtesy by Inferno Sound Diaries)

Q: I realized that your first official album “Tybalt” has been released thirty years ago now. How do you remember the first steps of Beborn Beton and how do you see the evolution of the band throughout the years?

Stefan: After such a long time one questions the validity of one’s own memories. For sure there are certain milestones that will always stay with you, but everything else in between is a blur. There are lots of things lying dormant. It would probably require a night or two with all three of us reminiscing. I remember the nights we spent in the studio recording the first albums. And even before that, the studio time we had when recording our first songs with Carlos Peron in Switzerland and Cologne (Germany). Lots of people we met. The many different bands from that time, some are still active musicians and some have quit the business. The early tape recordings. Back then there was a tape scene with labels that put out compilations. I remember it being exciting being chosen for said compilations. And most importantly the many shows we played that had a significance for our evolution as stage performers.

I think the first era ended when we got signed to Strange Ways Records. The recordings with the late José Alvarez-Brill were a big step up, plus the wider exposure as a member of the Strange Ways roster. Super fun times. Touring with De/Vision, Mesh and Icon Of Coil.

Then getting signed to an US label and touring the states supporting Apoptygma Berzerk. An experience of a lifetime. Playing shows in Canada, Russia and all over Europe. We played many shows and festivals in the meantime, but it was only a few years later that we started writing and recording “A Worthy Compensation” with Olaf Wollschläger. That is definitely one of the highlights in our career. The work with Olaf was eye-opening. And we took more time than anticipated because it was so much fun and Olaf was more than just a producer. He profoundly understands our DNA. The new signing to Dependent Records and the return from that long hiatus with flying colours. All that time we have been independent artists. At some point, we were really young, there was the question whether or not to pursue a full-time music career. In hindsight I am so happy that we didn’t, that we are able to do what we want to do and not having to answer to anyone but ourselves.

Q: How much of the young musicians you were at that time do you still recognize in your work and global approach today? And what makes the chemistry throughout the years?

Stefan: Thirty years is a long time to evolve as an artist and of course as a human being per se. We have seen a lot, we have traveled a lot. Played shows on different continents, many still to explore. We tried a lot of things and we wrote lots of songs, spent a huge amount of time in the studio playing with technology. So, we still have the urge to write meaningful songs and use the highest possible technical standards to bring them to life. On the other hand we are not so easily impressed by music anymore. We know the tricks and we know how it’s done. But we still appreciate a good composition or a greatly executed production.

We have always been friends that make music together rather than fellow musicians. And that has not changed ever since. We party together and have spent a fair share of our free time travelling together not on tour as Beborn Beton. I believe, next year Till and I have known each other for forty years. We attended the same school when we found out that we liked the same kind of music. I met Michael in 1989 when we founded the band. That’s thirtyfour years now. I am his daughter’s Godfather and we all attended each other’s weddings. We are like family. Not by blood, but by choice.

Q: There’s already a serious gap (eight years) between your previous album “A Worthy Compensation” (2015) and “Darkness Falls Again”. It gives me the feeling there’s much more than music and Beborn Beton in your lives but how important remains this creative / artistic exposure and what does it mean to you? And what motivated you to start writing “Darkness Falls Again”?

Stefan: Beborn Beton is an integral part of our lives. That is our main outlet and means of creative expression. Sure, we all have very time and energy consuming day jobs. Some of us have another job on the side as Dad. So we do not always have time to meet all three to write music. But we still try to make time to spend some quality time together when we can. In the last few years I spent a lot of time crafting remixes and collaborating with other artists, enhancing my skills. But Beborn Beton is what we are even when we are not playing shows or writing albums. It’s not a coat that you take off at the end of the day. We believe in what we do and we mean every word we sing.

After “A Worthy Compensation” we were arguing whether or not this was the best and maybe our final album. We worked for so long on this and everything about this release was meticulously thought out and heartfelt. We wondered if we still had something to share with the world. And most of all, if we had the energy to make an album that is even better or at least similarly good as this one. Then came the era Trump and his magic box of atrocities. Racism, sexism, climate change and exploitation of earth’s resources, homophobia, sexual freedom, conspiracy theories. You name it. To us it seemed that this man spewed his venom at everything to fuel the anger of a divided nation and the world. We were on fire which resulted in us writing songs. It also made us sensitive to other topics that we weren’t aware of before. For example postnatal gender designation, even at a later stage. Then there was the pandemic that opened the floodgates to right wing extremists and conspiracy idiocracy.

And to top it off, Putin declared war on Ukraine. Dark times for humanity, great times for songwriting.

Q: The album indeed reveals a strong lyrical and engaged content which has been transposed into catchy tunes and danceable songs. I like the contrast of dancing on very serious lyrical topics but how do you see this aspect? And what’s the deeper significance of the lyrical content?

Stefan: That has always been our focus right from the beginning. Writing meaningful and serious lyrics, interesting stories and placing them in a beautiful, yet danceable and uplifting context. That is the core of Beborn Beton’s musical formula. And on “Darkness Falls Again” we address the issues mentioned before. From self-determination of gender, free love and sexual orientation to the fate of our planet and generations to come, but also existential topics, life altering medical conditions and challenges, war in the name of religion, racism and the enforcement of women’s rights. Some of the themes have been covered by songs that have not been released yet, so watch out for more to come.

Q: Can you give us an insight about the writing of “Darkness Falls Again”. What have been the different stages you’d have to go through to achieve this work and what have been the major difficulties and challenges?

Stefan:The songwriting process hasn’t changed over the years. Once the stories and topics are set, we sit together and the music is mainly conceived by playing around with the piano while the vocal melody takes form. And with the storyline in mind I vocalize parts of the vocal melody to get a natural groove and measure and once the chord progressions and vocal melodies are done, I write the verses and choruses while the beat and basslines are being articulated. And as long as I need to fix the lyrics, Till usually adds layers of sounds, percussion and additional sequences. When the music and lyrics are in a raw demo stage, we usually stop and let it rest for a couple of days. When we revisit the song to see if we still like it, we always find things that we feel could be executed better. This way we write the album tracks and in between all the songs get countless revisions. So, if – after months of songwriting -we still love the tracks we have written, chances are good that we are onto something big.

After that stage we get together with Olaf Wollschläger to refine the songs in his studio, work on the arrangements and the sound of the songs and get a cohesive album sound. This is when we record the vocals, get the mix done and give the songs that extra shine.

To be honest, fortunately there weren’t any major difficulties or challenges. In times of lockdown, when we couldn’t be in the studio together, Olaf worked on the songs on his own and gave us regular updates. But that was when all the pieces were finished in their substance and the adjustments were made on a very deep level, where mixing decisions were reconsidered and the overall sound was polished even more. Sometimes a few subtle changes go a long way.

Q: You already mentioned Olaf Wollschläger who produced the album. Less bands today are working with an external and renowned producer so what do you think about this evolution? And what’s the impact of Olaf’s work and production skills on the final result?

Stefan: A lot of bands do not have the budget to work with a renowned producer or they don’t deem it necessary to get a person on board with another professional view on things. For us it really is liberating to have a second opinion. Olaf’s creative input is very important to us and his ideas mostly give the songs that little extra. It isn’t as simple as it sounds, because to get the perfect sound another couple of weeks pass. We knew Olaf from previous album recordings and as a team we worked even better than on “A Worthy Compensation”.

There was a time when we didn’t have the knowledge to produce an album of such quality on our own. Having worked with Olaf on two albums now for a considerable amount of time has broadened our skill set immensely. We have gained so much expertise from this collaboration. But of course, our relationship has become more than just a job acquaintance. We have become friends and just being around him is so much fun. We are on the same wavelength.

Q: A new album is often connected to live shows and tours, playing at big festivals, clips, remixes etc… What are the concrete plans right now and what brings the future for Beborn Beton?

Stefan: After the production of the album, we filmed two videos and commissioned numerous remixes from artists that we really like and admire. Some of those have been issued on the limited 2CD-Artbook edition of the album and on the “Burning Gasoline”-EP. And we are still not done with the “Darkness Falls Again” cycle. There are still songs that we recorded that did not make it on the album. Not because they are not good enough. They are just different and deserve a release on their own. And there are still a lot of great remixes that have not yet been released for different reasons. So you do the math;)

And of course we will play shows. We have played two shows now in Germany and there is more to come. A definite highlight is the co-headlining slot at this year’s Terminus Festival in Calgary, Canada. Imagine my jaw dropping when I had a look at the bill and right after the main act Nitzer Ebb there stood our name. So, as Beborn Beton, right now we are having the time of our lives.

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

Memoria – From The Bones (Album – Novoton)

Inferno Sound Diaries — Mon, 15 May 2023 07:00:00 +0000

Genre/Influences: Electro-Wave, Electro-Pop, Dark-Wave.

Format: Digital, Vinyl.

Background/Info: More or less four years after the excellent debut-album “Cravings” Swedish Memoria strikes back with new work. The album got preceded by multiple singles. Tess de la Cour (wife of Henric de la Cour) again collaborated with Rikard Lindh (Yvonne).

Content: Just as for “Cravings” there still is an explicit 80s touch running feature although this work sounds maybe more ‘personal’. It takes off with a Cinematic-like opener and next moves into uplifting rhythms and heavenly, female, voices. We next discover Electro-Pop/Wave passages -even reminding early Apoptygma Berzerk, going over into Ethereal/Pop-Wave to finish with a more guitar driven Post-Punk part where vocals are becoming more enraged.

+ + + : Somewhere in between Mother destruction, Siouxsie & The Banshees and Apoptygma Berzerk, Memoria first of all is an artist with an eclectic but very own sound and approach. The songs are moving from dreamy passages into furious parts, from cool Electro-Pop structures into enraged Post-Punk. Different influences are constantly crossing each other. I highly recommend the uplifting “Along The Sea” and the very Electro-like “Girl” but the true and single earworm is the short, and powerful, “Anymore”. It’s the shortest cut from the album featuring only a few repetitive vocal lines but it’s a masterpiece. I would be not surprised the song was originally conceived as a B-side or album-filler (because of the pretty short format of 2 minutes 37) but it’s hit I’ve been listening to in a loop.

– – – : Songs are sometimes a bit short and especially the best cut from the work. But on the other side I prefer a short but brilliant cut to an endless tracklist without substance.

Conclusion: After a great debut-album Memoria only confirms to be a new, great, artist with a very eclectic approach in sound.

Best songs: “Anymore”, “Girl”, “Along The Sea”, “Spiders”, “From The Bones Of The Dead”, “Canary”.

Rate: 8½.

Artist: www.facebook.com/memoriasthlm

Label: www.novoton.se / www.facebook.com/Novoton Read the news on ‘From The Bones’.

About Memoria

Memoria is a Swedish dark-wave and electro-pop project fronted by Tess de la Cour, wife of Henric de la Cour. The project released its debut album, “Cravings”, roughly four years before the follow-up. For the new album, Tess de la Cour again worked with Rikard Lindh of Yvonne. Side-Line announced the album on February 20, 2023 under the title “From The Bones”, following the single “From The Bones Of The Dead” announced on January 16, 2023. Memoria later collaborated with Majestoluxe on the single “Closer”, released May 9, 2025.

Inferno Sound Diaries

www.side-line.com

German electropop act Beborn Beton have a new album out: ‘Darkness Falls Again’

Bernard - Side-Line Staff — Tue, 21 Mar 2023 12:01:16 +0000

(Photo by Chris Ruiz) Out now via Dependent Records is the all new album by the German electropop act Beborn Beton. “Darkness Falls Again” offers a mix of 80s synthpop with a touch of 90s electronic influences.

Through the song lyrics the band addresses contemporary political struggles and cultural conflicts through their lyrics. They voice opposition to efforts that undermine women’s rights and challenge those who seek to limit expressions of love, gender, and sexuality. The group also criticizes racism, demagoguery, hate speech, and environmental destruction for personal gain.

The German electropop act Beborn Beton was founded by vocalist Stefan Netschio, keyboard player and drummer Stefan Tillmann, and keyboard player Michael Wagner in 1989. Their first signs of life were three self-released works, “Pyre” (1989), “Scythe” (1991), and “Die Stahlbetontour” (1992) that came out on tape. Following their first two regular albums “Tybalt” (1993) and “Concrete Ground” (1994), Beborn Beton found a label-home at Strange Ways Records where they joined renowned acts such as Wolfsheim and De/Vision. In 1996 they released the full-length “Nightfall”, followed by “Truth” in 1997, “Fake” (1999) and “Rückkehr zum Eisplaneten” (2000). Add to this the exclusive US release of a best-of double-album entitled “Tales from Another World” in 2002, which was followed by extensive touring in North America with Apoptygma Berzerk the same year. But after the release of “Tales from Another World” (2002) and the associated touring, the band went on an extended hiatus.

It took 13 long years, until the trio returned with a new album on Dependent Recordings: “A Worthy Compensation” (2015). 8 years later we now have “Darkness Falls Again”.

Check the full release below. Read the review of ‘Darkness Falls Again’.

Bernard - Side-Line Staff

side-line.com

Techomancer releases 2nd album ‘Hyperfuel’ with the Groth brothers contributing in various roles

Jan Ronald Stange — Sat, 05 Nov 2022 13:45:34 +0000

(By our Norwegian correspondent Jan Ronald Stange / Techomancer press release. Photos: Tarjei Krogh) Out now is the new album from the Norwegian synthwave act Technomancer a.k.a. Alexandria “Alyxx” Digre (she/her). She debuted with the album ‘System Failure’ in 2013, and now, almost 10 years later, the second album ‘Hyperfuel’ is finally being released!

Originally from the Northern town of Mo I Rana, Norway, Alyxx moved to Sarpsborg in 2014 and had already started working on the album at that point. Realizing that the next album had to be of much higher quality than the debut album, Alyxx started working on honing her production skills, getting plenty of practice on her side projects Zone Tripper and Laboratory 5, as well as doing numerous remixes for bands/artists such as Die Krupps, Nitzer Ebb, Anne Clark, Naked Lunch, Attrition, Robert Marlow (RIP), Apoptygma Berzerk and several others.

After ‘System Failure’, a departure from the former sound was set almost immediately. The sleek futurepop style was cast aside in favour of a heavier influence from the 80’s, with The Sisters Of Mercy providing a strong influence on the new sound. Together with Zone Tripper, Technomancer adopted very much an early synthwave sound which since then has become a signature sound for Alyxx’ productions as a whole. The new album relies heavily on sampled guitars and drum machines to give a much heavier retrowave feeling, which should please fans of synthwave acts such as Dance With The Dead and Scandroid.

The album has been co-produced by Stephan L. Groth (Apoptygma Berzerk) and his brother Jonas Groth (Piston Damp, Apoptygma Berzerk) who both have also provided guest vocals on the album. Frequent collaborator Per Aksel Lundgreen (Angst Pop, Cronos Titan, Chinese Detectives, Shatoo) has also been involved.

Ole-Espen Kristiansen (OK Minus, Elec This!) has mastered the album and also mixed a couple tracks. Ole-Espen has also done mastering and live mixing for Apoptygma Berzerk and Piston Damp.

Wanting to know more about this release, we contacted Alyxx to have some questions answered.

S-L: You’ve gone from furutepop to synthwave – what’s the next step in your evolution?

Alexandria Digre: Well, I really don’t know. I’ve been listening to harder stuff lately. I especially loved REIN’s album, ‘Reincarnated’ and really loved that kind of old school EBM sound making a comeback. I also finally got around to listening to some Nitzer Ebb stuff, especially their legendary ‘That Total Age’ album. Some of my recent demos have been more in the vein of that, combined with some influences from Empirion.

I also saw Sierra in Gothenburg this summer and really loved the harder synthwave sound she had going. I’m definitely still in the synthwave scene and been listening to a lot of stuff there lately, so that might still be an influence going forward. I don’t think the next album will take a decade to make so I also doubt it will be as much of a new direction. But we will see, it all depends on where my writing takes me.

Right now I have some ideas for a new album but nothing solid, as I rarely do in the early stages. I actually wrote a few futurepop/techno tracks at the start of making ‘Hyperfuel’ that ended up not really fitting in, but I might use some of that for the next album if I can find a new sound they would fit in. But so far I’ve been wanting to draw more on early 90s EBM influences like Front Line Assembly and that early EBM sound.

S-L: How has the feedbacks on the album been so far?

AD: Well, even as the singles came out, it was usually positive. But as for the album, it really seems people are loving it. Everyone I’ve sent it to has enjoyed it and hasn’t really had much bad to say about it. Which is both flattering and a bit concerning. I really hope someone really goes into depth on the album at some point. I love praise and knowing people are connecting with the music, but I also love to know where I can improve going forward. After all, ‘Hyperfuel’ wouldn’t be the album it is without the criticism I got from ‘System Failure’.

S-L: You got some covers here – tell us more about how they came to life!

AD: ‘Puppets’ came to life as I was invited to contribute to a Depeche Mode tribute project. I made the original version on my own in my studio and on a journey with Stephan (Apoptygma Berzerk) I played it for him and Per Aksel (Angst Pop) and Stephan really loved what he heard. He not only advised me to release the cover myself, but also allow him to do it together with me. I was floored by the fact Stephan straight up asked to work with me on something, so naturally I agreed.

He spent a few days in his studio recording some additional synth riffs on his Korg MS-20 and recording the vocals, which we then added to the mix. We then spent a while in my studio producing the track with Per Aksel.

So yeah, very glad I didn’t just release it as a tribute album track. It ended up becoming a lot more than that, and I have so many good memories with ‘Puppets’. Only downside is I doubt I could perform it live without Stephan. It wouldn’t feel right, haha!

‘Ecstasy’ was a song I’ve wanted to cover for a long time. I’ve been a fan of Black Lab since I heard their cover of the Transformers Theme from their ‘Technologie’ EP, where ‘Ecstasy’ was also featured. I immediately connected with the song and it has always been my favourite Black Lab track.

‘Ecstasy’ was actually always intended to be on the album. I think it was on the first demo I brought Per Aksel right after I had moved to Sarpsborg. On the demo version, I did all the vocals myself, but I always wanted someone with me on it. Per Aksel suggested Stian Joneid as a candidate, and we also considered Dag Brandth (Shatoo) to do it with me. Honestly, Dag might have been perfect for it, but due to circumstances that never worked out, so I ended up choosing Jonas Groth (Piston Damp) since I was recording my final vocals in his studio for the song and he’s the best singer I know.

Jonas’ vocals really helped bring the song to another level and I am so happy we got to work together on it. Him and Truls Sønsterud did an amazing Piston Damp remix of it by the way that you can find on the single.

‘The Outsider’ was a song I originally did for a Psyche tribute album, ‘Unforgotten Rhymes’. It was also the second music video I did after moving to Sarpsborg, with Per Aksel directing and shooting it. It sort of became the first single from the album actually, featuring the signature sound I would be going for. It’s always been a song I connected with on a personal level, so having it on the album felt natural to me.

S-L: What’s next up for you?

AD: Working on a new Zone Tripper album and some other side projects. Lab5 has been dormant for a while and I am itching to get some of our material out there. Also working on a synthwave project called Neo Hyperdrive together with Hexebyte and Max Static from Lab5. There will also be a 2CD Deluxe Edition of Hyperfuel that will also be available on my Bandcamp. I’ll announce a release date for that later on.

The album was released digitally worldwide on November 4^th 2022, with a Deluxe Edition also available on 2xCD via Sector Industrial (www.sector-industrial.com) and digitally exclusive via the Technomancer Bandcamp, which includes 5 additional tracks and remixes by Machinista, Echo Image, Piston Damp, Substaat and Christian Espeland of Code 64. Release date for the Deluxe Edition will be revealed later.

Get it at Bandcamp along with more of the discography, or have a listen at Spotify!

Technomancer discography

ALBUMS:

2013 – SYSTEM FAILURE
2022 – HYPERFUEL

EPs / Singles

2013 – DRIFT
2013 – PATH OF DESTRUCTION
2014 – D-MN
2015 – ELECTRONIC WARFARE
2018 – THE OUTSIDER EP
2019 – EMPIRE
2020 – I WANT YOU
2022 – ECSTASY (feat. JONAS GROTH)

For more information, please visit www.technomancer.no.

Jan Ronald Stange

www.facebook.com/jrstange

Apoptygma Berzerk continues with rarities series, releases ‘Black Pawn’ compilation

Jan Ronald Stange — Fri, 16 Sep 2022 05:57:30 +0000

(By our Norwegian correspondent Jan Ronald Stange. Cover art by Halvor Bodin) With the release of ‘Black Pawn’ Apoptygma Berzerk adds the third album in a series of 4 releases with B-Sides & Rarities, following the ‘Faceless Fear‘ and ‘Disarm‘ releases which both came in 2020.

On ‘Black Pawn’ you get, among other things, served up the title track in its original version, as well as for the very first time, a studio version of ‘Enjoy The Silence’, something APOP fans have been clamoring for and wanting since 1998.

In addition to this, there will be, for the first time digitally, ‘Kathy’s Song (Mat Silver vs. Tony Burt Remix)’, a version only found on 12″ vinyl before. ‘Photoshop Sucks (Lo-Fi Version)’ is brand new and has never been released before.

With all these remixes, that have only been available on compilations or CD-Singles previously in combination with for example ‘Untitled 6’, we get an exciting and varied B-Sides & Rarities that most APOP fans will be able to appreciate and enjoy all digital platforms and streaming services.

This is in anticipation of new material and new releases from APOP, and gives the fans something to sink their teeth into while waiting!

Check it out on Bandcamp, Tidal or Spotify!

Jan Ronald Stange

www.facebook.com/jrstange

Futurepop duo Last Activity announces new album with brand new single, ‘To All Lonely Stars’

Bernard - Side-Line Staff — Wed, 31 Aug 2022 17:37:20 +0000

“To All Lonely Stars” is the brand new single by the futurepop duo Last Activity, out via SkyQode. The single is the follow up to “Shadows” released a year ago. Both tracks are taken from Last Activity’s upcoming second album which is currently being completed. On this new track you can expect melodiс synth lines, hard dance elements, and deep trance pads.

In addition to the title track and its instrumental version, the single features remixes by fellow projects, Antilav and Metzger. For fans of Apoptygma Berzerk, Neuroticfish, Colony 5 and the like.

Below is the video for the single.

Below is the Bandcamp download.

To All Lonely Stars by Last Activity

Bernard - Side-Line Staff

side-line.com

‘Click Interview’ with Metal Disco: ‘Sitting In Front Of A Screen Making Music Is Not My Cup Of Tea’

Inferno Sound Diaries — Sat, 26 Mar 2022 18:00:00 +0000

In a rather short lapse of time Greek solo-project Metal Disco has released an impressive number of productions. Driven by Werkstatt Recordings label owner -and involved with other music projects like Paradox Obscur, Beatbox Machinery, Resistance Of Independent Music, Hardware Pulse… Kostas Stavropoulos aka ‘Toxic Razor’, the sound of Metal Disco is composed by only hardware equipment. The sound features different influences mixing EBM, Minimal-Electro, Electro-Wave, Electroclash ao. 2021 has been an extremely prolific year for Metal Disco while a new EP has been already released this year. Time for an interview and introduction in the world of this great project. (Courtesy by Inferno Sound Diaries)

Q: You’re involved with multiple projects so what makes the specificity of Metal Disco in comparison with all others? What kind of sound and production did you have in mind when setting up Metal Disco?

TR: Metal Disco delivers a more darkened electro sound especially in the first releases. What I had in mind when starting this project was having punchy drum rhythms with dirty driven basslines in a kinda more minimal approach with not many instruments/sounds involved.

Q: The way of composing your music is very important and especially the use of hardware equipment! Tell us a bit more about your way of working? And does it mean you have something against software equipment and tools?

TR: Indeed hardware instruments is more fun to work with and play, feels like becoming one with a synth or a drum machine when recording or rehearsing and that is something that I can’t find in the virtual software world. The sound is much more richer and breathes like a living entity unlike the sterile virtual instruments which no matter how good they sound it’s like something’s missing.. sitting in front of a screen making music is not my cup of tea, I have tried it in the past and had absolutely no fun but I don’t have something against software as for other people might work better.

Q: Metal Disco has been very prolific during the past few years. Where does this inspiration come from and what’s the usual way of composing when working on Metal Disco?

TR: Inspiration comes mostly after jamming in the studio, synthesizers can offer a wide palette of sounds and mood, sometimes feels like these waveforms devour me, luring me into their deep endless spiral of synthesis.

When starting a new track I mostly give emphasis and work on the bassline parts along with some basic drum rhythm, from there I try to find a fitting lead/melody and later come back to the drums again in order to build the main groove, fills, changes etc. But once the main idea is set the song drives me by itself until it takes the final shape.

Q: You clearly like to release EP’s while each EP sounds like having a different focus and own influences. Tell us a bit more about the most recent productions and how did you see the project evolving throughout the years?

TR: 2021 was a very busy year with one compilation and 3 EPs released, while also working in the collaboration EP with Incirrina and trying to put together ideas for the next full-length album.

In the “Καμία Εξουσία”-EP I also tried for the first time Greek lyrics in the Metal Disco project since I had the self-titled track sitting for around a decade in my studio, so I thought why not record a few more tracks in Greek.. this how “Καμία Εξουσία”-EP was born.

The recent “Misbehave”-EP delivers a more Electronic sound with groovy basslines and I feel it turned out more melodic than what I expected and had in mind when started composing it.

As for evolving this is something I could say for my other band Paradox Obscur since we always try to explore new paths, but for Metal Disco things are simpler, music is more raw, stripped and direct.

Q: You already mentioned the new EP entitled “In Motion” featuring Incirrina. How did this collaborative work happened and what has been the input of Incirrina?

TR: I have collaborated with many other artists for the Metal Disco project in the past and Irini from Incirrina was also part of the latest full-length album “Sex, Drugs & Hardware”.

Since I was looking for someone to take over the vocals in the new EP I thought Irini would fit great in these new songs and all evolved very naturally.

She has taken over the vocal parts in all songs of the “In Motion”-EP and I think this must be the more melodic work for Metal Disco so far..

Q: I can’t get away from the idea you’re devoted to 80s Electronics. What made the magic of this decade and what are your personal ‘masters’ when it comes to musicians? And do you have contemporary ‘masters’ or simply musicians/producers you respect for their way of working?

TR: The 80s was a rather obscure weird era in many aspects but had a great renaissance in the music scenery in various genres It’s impossible to mention all the artists I listen but names like Mylene Farmer, Sandra, Jean-Michel Jarre, Pet Shop Boys, Yello etc are on my top preferences together with some Metal acts like Venom, Bathory, Celtic Frost, Slayer, W.A.S.P. which are not Electronic but evolved and experimented over the years and always has been a great inspiration to my musical ventures.

Concerning the contemporary scene I listen a lot to Electro, Tech-House, Progressive Techno, Trance, EBM, Future-Pop, Synth-Wave, Italo and artists like Motor, Arnaud Rebotini, Black Asteroid, John Dahlbäck, Mind.In.A.Box, Soman, Juno Reactor, Apoptygma Berzerk is always a pleasure to listen their work.

Inferno Sound Diaries

www.side-line.com

30 Years Of Journalism – Celebration Interview with Bernard Van Isacker (Side-Line & Alfa Matrix): ‘Consider Us As An Incubator For Talents’

Inferno Sound Diaries — Thu, 30 Dec 2021 18:00:00 +0000

Back in 1991 I started writing my first reviews for Side-Line magazine. I would have never thought to go on writing reviews and making interviews non-stop for 30 years. So 2021 is a special year to me, a kind of ‘celebration year’. I got the idea to celebrate this special event by interviewing people from the scene who all have a special meaning to me. The last interview in this series is one with Bernard Van Isacker. I definitely had to close the circle with this interview. Being active as Side-Line’s chief redactor and as one of the Alfa Matrix label owners, Bernard and I became close friends. We didn’t always agree on some topics, which finally brought me to leave Side-Line as staff member in 2016. We remained in touch and decided to move on working together, but in a different format. A lot of things have been said and written about Bernard -not always kind things – but I got the privilege and opportunity to see how he’s working and all what he’s doing. I can only, but deeply respect his involvement. Time to ask him some questions.

(Courtesy by Inferno Sound Diaries)

Q: Lots of people from this scene know who you are, but how would you introduce yourself and how did you get in touch with the Electro/Industrial/Gothic scene?

Bernard: My name is Bernard Van Isacker, 47 years old, and I have 2 kids. Magnus, 4 years old, and Sebastian, 16 years old, from my first marriage. I work currently as a social media manager, web developer and CRM admin for a multinational. I also run 2 holiday houses, but for the past 2 years they have been empty due to the corona pandemic. That was a big blow to our budget, so I had to take extra work to keep on paying our bills. But we survive.

I sleep basically 5 hours per night, take a small breakfast and lots of coffee at 6 in the local Panos –both the owners Mario and Hannelore are sweethearts -before I start work at 7:30 until, 10, 11 at night. I’ll probably die working (laughs).

I first got introduced to the Dark-Wave scene when I was 14 years old and was sitting next to a guy in class who said he had heard a really sick tape. That was Nitzer Ebb’s “That Total Age”. But you have to know that I was already heavily into Depeche Mode and New-Beat (yes!) so the ‘move’ to more industrial sounds was not really a surprise. Anyhow, Nitzer Ebb had more or less the same BPM as new beat so that was easy (laughs). By the time I was fifteen I was listening to Cat Rapes Dog. Their “Maximum Overdrive” remains legendary as far as I am concerned. And after that I got hooked to Inside Treatment, Pouppée Fabrikk, and other bands from Scandinavia. I only started to listen to German acts when I went to university, and that included bands such as Fortification 55, Project Pitchfork, Psychic Force, Trial, etc..

As we speak I’m in the middle of compiling our newest volume in the “Face The Beat”-series for Side-Line. The 7^th so far. But shoot with the questions Stephane!

Q: I guess less people know you graduated in journalism so what did you try to add/change when joining Side-Line? And how did you happen to join Side-Line magazine?

Bernard: That’s correct, I graduated in journalism and worked at a couple of newspapers before diving into the startup world of ecommerce. That was pre-Google so SEO was still something very rudimentary and traffic was basically created via price comparison sites and massive mailings, you can call it pure spam (laughs).

But I worked for 4 years as a journalist, was able to write a lot of solid articles, but I got fed up with the easy way things were covered (while we all knew it were lies) and the easy way things were NOT covered (because some bishop threatened to sue the newspaper –and me, for defamation). I left that world disgusted. Add to that it is one of the worst paid jobs ever.

I got fed up with the easy way things were covered in the press

Anyhow, whilst studying one of my friends, Yves Van De Veken, told me there was this magazine that was going to be published with an attached CD compilation full of Dark-Wave music and that they would have the first issue with the sampler later that week in the Metrophone cellar, in Antwerp that is, where I studied. I got the magazine, which was in a very stylish layout, liked the CD sampler and was hooked on the review section to read about new bands. I was at that time already working part-time as journalist whilst studying, and I got access to bigger bands which I thought could fit Side-Line pretty well, so I sent a mail to Seba (who I thought was a girl) and told ‘her’ that I could arrange bigger interviews for them. Seba wanted to test the waters I guess, and I told that I could do Hooverphonic, but could also check with Dirk Da Davo in the next week to show what I was capable of. Apparently ‘she’ really liked what I wrote and asked for more. Paradise Lost, Marc Almond, Bel Canto, … the list of interviews I did for Side-Line grew by the day.

But I had never met any of the team. The first time I met someone from the Side-Line team back then was actually you, but I can’t recall where that was, I think it was in Brussels, but for what exactly?

A few weeks later I met Seba –who you told was NOT a girl, at a Die Form concert in Ghent I think. If I’m not wrong Cédric and Benoit were also there. Since then we were like a band of brothers who went to concerts, either together or with one or two others. Sweet times I must say, we were all very young, had not yet lived ‘real’ life with all its hurdles and accidents.

Q: Early 2008 was a turning point in the magazine’s history. Former chief-redactor Séba Dolimont decided to stop his involvement so you became the new chief-redactor. The printed magazine definitely stopped and Side-Line remained only active as online magazine. How do you look back at the loss of the printed magazine and how did the transition happen?

Bernard: I basically had always pushed to keep the magazine alive as a print magazine, but at the same time I had launched www.side-line.com in 1999 because the initial Side-Line website –on a different url, was basically just a page, looked bloody awful and served no purpose –no offense Ronan Harris. So when Seba told me that he had decided to stop with the printed magazine, my mental switch was fast and I decided to focus on the online magazine which by then was attracting a tenfold of the printed magazine anyhow. It was a no-brainer.

Going online only? It was a no-brainer.

With Seba stopping, we also lost most of the external contributors, which is logical since a print magazine has a more loose team whereas a news website has to work with a very productive small team, as Side-Line.com was by then already producing daily news updates. A small team is always easier to work with, and I had seen that with the print version of Side-Line I was already doing most of the interviews, delivering 99% of the news, while you already did most of the reviews. So, we had a winning team anyhow, why change that?

In short, yes, it had an emotional impact, but not a practical one. We had a good run, but the times were changing. And I for sure was not planning to miss the online train as you know.

Q: I think there’re significant differences between a printed magazine and an online page. Can you give us the pros and cons especially from your perspective?

Bernard: Yes, the differences are there for sure and I think you will agree with me, but tell me if you don’t! I will give you the pros and cons as far as online is concerned, the cons will largely cover the pros for print.

Pros:

Write, enter it in the CMS, add a picture and post. Simple. In short: it’s fast.
The news goes out instantly via a wide array of tools. One post on Side-Line reaches around 5000 people in the next few minutes via our different channels, above and under the hood. By the end of the day –when syndication and newsletters have kicked in, we have a 10.000 reach per item. This doesn’t mean people have read it, it means that they have at least seen the picture and title.
The articles can be as long or as short as you want.
We can add multimedia, which is a good way to add metadata to your articles. This was limited back in 1999 when we went online though.
A small team can move mountains.

Cons:

There is a strict daily deadline to maintain each day.
The rapidness also gives room to errors you might not have noticed or simply wrong info (although we only had a few incidents with that).
Getting decent daily news is sometimes difficult, other times you get inundated by news,
Some labels and bands have no clue how to write press texts and fill it with promo blabla. If there are no 4 lines of good solid facts, I usually do not publish it.
In our case I have to be technically savy, have seo skills and have IT skills. And I know how to write. That’s a lot if something goes wrong, and we have had times when it really went wrong.
Online income generation as a news website is not easy. Most of the labels still have no clue what online means and still think in an old school way.
A small team means problems when one leaves or falls sick.
A magazine accept slow reading, a website not.

Q: Do you’ve an idea who’s reading Side-Line and is there a kind of reader’s profile?

Bernard: Actually I do, thanks to a combination of datasets, which are limited as I hate being followed myself. The last dataset of November shows that 31% is female, 67% is male and 2% identifies not as male or female. Most readers come from the USA, followed by the UK, Canada, Germany, France, Australia, Mexico, Sweden, Norway, Belgium, Italy, Spain, Brazil, Poland, Holland, Greece and Denmark. We got data from 45 countries in total once we filtered out the accidental and spam traffic.

When it comes to the profiles, we have data of a survey that happened a few months ago on our website. 8200+ respondents later we see that half (51%) has an office job, 36% has an outside or factory job and 11% is unemployed and 2% is enjoying their pension.

The same survey also showed us info regarding age and it goes synchronically with the data from our Facebook page: 4% is between 18-24, 34% is between 25-34, 25% is between 35-44, 27% is between 45-54, 5% is between 56-64 and 3% is older than 64. That info again corresponds more or less with the survey we did.

It shows we have mostly a very active public between 25 and 54 years old.

Q: Back in time the Side-Line forum was quite ‘popular’, but unfortunately also a place for bullshit and conflicts. Did you expect this evolution and was it the main reason to stop the forum?

Bernard: The Side-Line forum was indeed very popular and at times had 20 to 50.000 visits a day. It was so popular that it had become a full time task to keep the spammers out, to keep things civilized, etc.. The discussion there were legendary. Some were in it for the fun, others to learn something new, and others just to anonymously troll. It was the graveyard of subtleness though (laughs).

The Side-Line forum was the graveyard of subtleness…

It ran its course, but I was so glad I could kill that baby. Just with one click: bye bye! By the end it had become uncontrollable and we had to delete 90% of all posts because the trolling really went overboard. No loss, it’s part of history, but I still have to laugh when I think of the silliness of it all.

Do you know that we once launched a T-shirt line where you could have your nickname printed on it? We sold a few hundred of those… really fun times!

Q: In the meantime, you also became one of the owners of Alfa Matrix, which became one of the leading labels of underground Electro music. What’s your input and impact in the label activities?

Bernard: I take care of the IT, web dev, communication and digital distribution. I leave the A&R to Seba, as we each have our own department. But we do have to agree all 3 for signing a band or not. I also often am abroad and try to hook up with the bands in real life.

Q: Let’s go on with a rather tricky question. I think it’s very confusing for a lot of people to understand you’re chief-editor of Side-Line and still one of the Alfa Matrix owners. That sounds pretty incestuous, don’t you think? How do you manage both activities without too much conflict of interest?

Bernard: Nothing tricky at all. I have never hidden the fact that I’m also behind Alfa Matrix and I am proud of it. Actually, I am not the only label guy behind a magazine, check Blabbermouth for instance, it is also successfully run by label people, possible because we have intel on both sides of the medal.

As far as conflict of interest is concerned: there is none. I don’t intervene in the reviews at all, and that’s where there could be a conflict of interest because reviews are subjective an sich. When it comes to news articles, Alfa Matrix gets as much attention as for instance Metropolis, and I bring it as dry as I do with all the other articles: facts, facts, facts and no promo speech.. Actually, sometimes Alfa Matrix bands complain because they have not gotten a good score on Side-Line. I then have to explain that reviews are completely out of my control to keep a healthy balance in the magazine.

I have a very clean conscience.

That other people claim otherwise on Facebook or so is their problem. I have a very clean conscience regarding this.

Q: It’s also interesting to see next to Alfa Matrix, Side-Line is actually releasing digital compilations; the magazine also became a kind of label! The “Face The Beat”-series became a real success story. What’s the main goal of this compilation series and how do you select the artists?

Bernard: Well, the move is not so strange I must say. In the early days there was Side-Line Records, some kind of precursor to Alfa Matrix. Then Side-Line produced compilations to go with the magazines. I just brought it to the 21^st century when I took over and compiled and launched the first “Face The Beat” as a Facebook compilation, hence the name, 10 years ago.

The main goal is reflected by what Side-Line has all been about even when Seba first launched it: get people to know music from established and new bands. It’s a vision I embraced since the start. I added an extra touch and that is that all revenue goes to charity.

The compilations are compiled like this: I do a call for submissions on all channels we have, there is one reminder and then I lock myself up for weeks with the material that I have received, usually thousands of demos and completed tracks. Once a first selection is made, I go through the material again that is selected and do an extra selection to make sure the best tracks are included. After that I send out the necessary paperwork and then usually almost everyone responds quickly. There are usually only 2 or 4 bands that are too late or never respond. It’s always a race to meet the deadline I have in my mind, but I usually make it on time. In the meantime, I usually have worked on the artwork and worked through the material with Erlend Eilertsen from Essence Of Mind and Lights A.M to make sure the tracks get the best possible sound on the compilation.

After that I launch it on Bandcamp basically and the platform does its work, with some help of me (laughs). It’s all a very intuitive process where clear communication is king.

A lot of labels and bands still haven’t learned from ecommerce.

Q: You definitely were one of the first from this scene to have understood the impact streaming platforms would have. I remember you got a lot of hard reactions about it, but today you can tell to all of your critics you were right! How do you look back at this period and how do you expect things evolving during the next few years?

Bernard: Yes, I must say that the short sight of a lot of people in the record business was reflected in the harsh attacks I got in interviews, on radio programs and on social media. Some even went so far to send me mails accusing me of killing the industry, that I was a traitor. One of my biggest critics in the end contacted me back years later saying that he was wrong and that I was right. I still appreciate him till the day of today. Only great people can apologize and say they were wrong.

The thing is, it’s not that I like this or that evolution, it is that I just can see what is going to happen and where our music industry is heading towards. Some new techniques will never take off, but it is my job at Alfa Matrix to keep an eye on what is happening in the industry and what is going to happen and see if we should invest time and money in it.

My hunch that propriety was going to be over and done with except for a solid and loyal base has proven to be correct. The success of both Spotify and Bandcamp show that my theory on mixed digital music consumption was spot on and that my critics didn’t have a clue what was going to happen.

It’s actually not the first time that I have had a conflict with my colleagues in the music sector. Back when I worked at an ecommerce startup, some shop owners said that we were killing their business. But when I once worked together with such a critical shop owner annex distributor he was unable to deliver the goods… because we sold tenfold of what he was able to get (laughs). One of the biggest channels of sales for that ecommerce shop was actually Side-Line. To give you an idea, when Depeche Mode released their single boxes, Side-Line single handedly sold all, but literally all of the stock available in Belgium in just a few days. They had to restock with copies from all over Europe because they were in limited supply. The same for the Erasure single boxes. And as far as the Covenant boxset “Synergy: Live In Europe” is concerned. That is the release we sold 10 times what the Belgian distributor had promised he was able to get… (laughs). And still we were the bad guys (laughs even louder).

I have to thank Warren Harrison from Hungry Lucy for that way of forward thinking. He opened my eyes as far as digital music is concerned and taught me to dissociate my own wishes from that of a public’s wish, and to open my eyes for new technologies. I doubt he realizes the impact he had on me. Now he knows (smiles). A good guy he is, a pity we lost contact a bit.

And the future will continue, but more in the propriety field where things are moving rapidly, think of NFT’s. Len Lemeire planted that seed in my head actually. Add to that that we will sooner or later be faced with cryptocurrency payments on a larger scale. I have a few other new technologies in mind that might be big in the near future.

One thing though that will remain key, is data. A lot of labels and bands still haven’t learned from ecommerce –namely that it is an opportunity to know who your fans are, and they are now again missing the boat as they have put all their money on Facebook and other platforms that lock their fans into their platform without offering you any way to communicate except via their own platform. Deadly on the long run.

There is a story to this actually. I was approached by at least 2 major Indie labels in the past few years asking if I would be willing to –listen well, sell all of Side-Line’s data in order to set up an own label of Electro-Pop music. And these are indies who have had BIG artists on their roster. But they have never ever gathered data, never had a decent newsletter, in short they were flying blind once things went sour.

Having said that, I also see bad evolutions, the platforms work more and more via AI to push releases to people in order to keep them as much as possible on their platforms. It unfortunately also leads to tracks, which are made to trigger these AI powered algorithms. The first automatically generated tracks are very ‘promising’ and they have been released for quite some time now. I personally am not happy with this evolution, as it removes the human genius from it, but like I said, we risk to see this more and more.

Q: It all looks like ‘younger’ people show less interest to write for a magazine. Why is it and how do you expect things evolving?

Bernard: If we look across the board, most print magazines from our scene are gone, and when we look to the online press, most online magazines from our scene are gone or are unable to keep up with the daily news pace like we do for instance. I often get requests from people if they can start writing for us, but their mail always ends with this question: ‘How much do you pay?’ Knowing that we have never received any money, it’s rather cynic that people who have never proven a thing think they can ask money… So I will repeat it again, THERE IS NO MONEY TO MAKE with an online magazine about Dark-Wave.

As far as contributors is concerned, I am happy with the team I work with now. I can count on you and Jan-Ronald, basically the main contributors next to me. You both have a very professional attitude and we are friends most and first of all.

The evolution will depend on the fact if there will be more people willing to invest money and time in these kind of projects like running a magazine. We all know that nowadays you will not earn a living from it, on the contrary, you need some financial backup to keep a website up and running, pay the licences for plugings, data storage, and so on. And that’s without the hours of unpaid work on top each day.

Q: I already had discussions with people –including label owners, who no longer belief in the real impact of magazines today because of streaming platforms and other channels like YouTube. What’s your point of view and do you think magazines are enough taking care to adapt and renew themselves?

Bernard: Well, this is not a problem for us honestly. Side-Line online is still about kickstarting new and young bands. And that’s mainly why people check Side-Line as we have the finger on the pulse to know what might become hot and what not. Remember Suicide Commando, Apoptygma Berzerk, etc..? They got pushed by Side-Line back in the days when they were largely unknown. Once we give these small bands an initial push they have to continue and work from their side as well and that’s when they get in the flow of things with the streaming platforms for instance nowadays.

Side-Line online is still about kickstarting new and young bands.

Take a magazine like Side-Line away and many small bands will never ever get a platform to develop. The same goes for our compilations, they serve to push smaller bands to a wider public. Consider us as an incubator for talents.

Know that I also regularly get contacted by the biggest bands in the scene directly with news, because they know we will publish it and they know we have a very good reach on a daily basis.

The AI used by streaming companies is a very big part in the music consumption and trying to trigger it is not something that is easily done especially with smaller bands on indie labels like I said earlier. The streaming Ais therefore still leave a lot of pearls untouched. Roughly 5 to 7 million songs on Spotify have never been played you know… That is HUGE.

That’s where magazines enter. Take me for instance, I basically have no time to start looking for new music, and I always look into our own review section for new material. So as a gatekeeper a magazine still has its purpose, at least from my point of view. I once did a test and played a few tracks and checked what the services would deliver as suggestions. They didn’t offer anything extra that interested me compared to what I got from your reviews, but instead offered a lot of junk extra so that I would have to weed out anyhow. It kinda proves that these Ais are still not capable of matching the human ear and feeling. Maybe that will happen in the future, I think so, or I would be really disappointed in our human genius (laughs).

That is of course as far as my own consumption goes.

Now, I talked about the gate keeping function which has been the purpose of a good magazine. It’s my belief that a niche magazine which has a steady output of well selected news and articles will keep that gatekeepers function intact. Let me explain, most music magazines have over the years changed their focus on more popular bands, new music styles, added games, clothes, TV and showbiz in their mix just to get traffic. Look at NME for instance that is now ruled by clickbait articles and rubbish content. It has nothing left that reminds of the good old NME. All of its roots have been removed for the sake of clicks.

Another example is Techcrunch. This online tech magazine was the best back in time, but then it got taken over, and suddenly they started to pour out tons of clickbait articles, which had nothing to do with what the magazine was about in its early days and that was: talking about startups. I used to be a daily reader, I stopped simply because I couldn’t keep up with all the extra news being posted that was way out of the scope they had in the past.

Less is often more, also for magazines.

It comes to this, stick to your roots and make sure you have a continuous and regular number of articles posted.

From a label’s point of view, I have always worked on both. Now, since I usually work with new bands, it’s not always easy to have them launched rapidly like we could in the past. It now takes time. And I also understand the labels when they no longer see clear. There are roughly 1500 journalists out there that claim to have a magazine that handles Dark-Wave. 80% of which basically has a blog that has 10 visitors a day. Good for them, but I don’t believe in them. Basically, and we have to be very honest, there are close to no magazines left in this scene with a wacky team like ours that is day in day out constantly working to get a certain number of articles online.

Those left still reach around 50.000 people daily on their websites and socials combined per day. And that’s a rough estimate but I’m very close, I think. Not exactly peanuts in a scene this small like ours. And quite a good crowd to for instance push smaller, unknown bands to.

In short, yes, I do believe in our future, as long as we stay loyal to our vision and mission. The numbers show it, we are reaching more people than ever, and not thanks to Facebook, but thanks to our daily newsletter, push notifications and all the other channels combined.

Q: Next to Side-Line and Alfa Matrix you’ve been also involved as organizer -and later as organizer ad hoc, of the now defunct famous Belgian underground festival ‘Eurorock’. A lot of things have been said about that festival. How do you look back at this event(s) with hindsight?

Bernard: A bit like SABENA, such a bad experience never again (laughs).

I’m still unable to talk about the first 2 editions I invested money in, due to some legal matters, but suffice to say you always have to look out who to trust. I lost a lot of money there, and evicted myself right on time from that very toxic situation. The 3^rd time, I was contracted – as I never wanted to be an investor again- but never got paid. In the end I had to solve most of the shit together with the stage managers who just like me were contracted and never paid. The shit thrown at us afterwards by people who have no clue is exemplary yet not exceptional in this or any other scene.

I made sure that every single band I had placed there was paid correctly. Most were grateful I made this happen, others cashed in and badmouthed me in public. So far for the thanks (grins). But I never forget… nor forgive (laughs).

Q: I know you prefer avoiding the question, but next to music you’re also politically engaged. What can you tell us about the subject?

Bernard: I’m not really trying to avoid it, I just think it’s not part of my work for Side-Line or Alfa Matrix, period. I always have tried to never mix it with both although some people are trying to frame me one way or another, usually because they don’t get my sarcasm. But now that you ask about it, yes I’m politically active in one of the biggest elected and ruling parties here in Flanders. That has been an excuse from extremists and activists to attack me in public, call my employer and frame me as ultra conservative, ultra catholic or even a pur-sang fascist. Well, sorry for those lunatics, but I’m as much a nationalist as any Norwegian hanging the Norwegian flag in their garden (that’s roughly every Norwegian with a garden) and as catholic as Macron. And as far as the other words used by ‘my’ critics, I don’t like the woke culture that is being pushed in our faces. Period.

For the rest I’m happily married with a Mexicana, one of my best friend is a Turkish Muslim, one of my closest friends is transgender, and in my scarce free time I help people with learning disabilities to learn social skills. That should say enough. For the rest, I keep politics out of Side-Line and far away from Alfa Matrix because it’s basically not music. I don’t ask our readers about their political ideas either and I frankly don’t care.

However, I must say that over the years we never had remarks from readers when we post reviews or news from hardcore communist bands, but that we always get harassed by a very tiny group when a more conservative band is being covered. That’s a pure fact. I never discriminate, but I see some others discriminating people because they don’t agree with the ideas of this or that band. Rather disturbing…

I have a very good story actually regarding this. I once got an email from a guy, who started a rant because we had posted a review of a certain band on Side-Line. He called them fascists, racists, etc, etc.. But when I went checking his Facebook profile, I immediately understood why he was specifically attacking that band. His Facebook was filled with anti-semitic and anti-Israel rants… and the band he talked shit about had a Jewish singer. Shocking, but reality.

The same for some BLM activists who have been attacking Side-Line in the past because we talk about –and I quote: ‘White men bands’. It is the same as attacking Motown Records because they have a black repertoire. Most of the criticism can be explained by checking who is saying what about whom.

I know 2 famous bands in this scene who have made anti-semitic rants behind closed doors, I was shocked and told them this was really not right. One band member –member himself of a communist party, has since then been talking shit about me whenever and wherever he can, I guess in order to cover himself in case I make his name and emails with rants public. I also know bands who are very homophobic, but for the sake of things pretend they are pro LGTB-rights. In short, if I would write a book about the dirty wash I have witnessed over the years I think I would have a bestseller (grins).

I personally don’t believe in left or right. I believe in doing good or doing bad.

Anyhow, I personally don’t believe in left or right. I believe in doing good or doing bad. I prefer doing good, under what political umbrella that may be. I also believe in taking responsibility for your own actions, and hard work. Locally I’m quite appreciated because I talk and listen to everyone, what their skin color, political belief or sexual orientation may be. And if they have a legitimate claim or need, I will try to help.

Q: Quite recently the Side-Line server crashed and you started a crowd funding to pay the costs. Your action was quite successful and Side-Line has been reactivated, which seems to prove Side-Line still means a lot to labels/artists and readers. How do you look back at this stressed period?

Bernard: I was like ‘NOT AGAIN!’ when I realized it was not just an issue of rebooting the server when the server didn’t fire up as planned. We already had lost our previous site years ago due to a server issue and lost years and years of data… so you can imagine I was kinda stressed (laughs). But luckily enough, I had been working with this software engineer (editor’s note: Martin Rosselle) in another IT project. He is working for some of the biggest companies I know and he literally has made a name as being somebody who solves problems, a Winston Wolf in the software sector as you wish. I contacted him and told him we really needed the site back operational pretty fast and if he could help out. He canceled all his freelance work he had planned and asked me to come over so I could follow closely and help with the work. The error we had, was even for the engineers at our hosting company quite a real conundrum. Hell, they even asked us to please keep them informed as to how we would solve it because they had run out of options.

I took a 5 days unpaid leave, jumped in my car at 5 in the morning and drove 3,5 hours to set up shop at Martin’s place. In the car I was thinking of how to finance this endeavor… I’m already pumping thousands of Euros into Side-Line each year, but corona made that a lot of my income had completely vaporized so an extra financial blow like this was just very, very difficult.

Then while I was having a coffee at a motorway restaurant, somebody sent me a WhatsApp message saying: ‘Hey Bernard, I saw your message that the site is down and that you guys are working on it. If you set up a crowdfund, I’ll gladly help!’ I was like, ‘really would people help out?’ So whilst doing the last hundred kilometers I was thinking ‘why not, if it gathers enough to pay half of the bill then that would already help a lot ‘.

But it turned out to be really overwhelming… I’m still emotional when I think of it really… I saw the donations pouring in, from readers, bands, small labels, small PR companies, artists. I was actually very positively surprised that it were the smaller labels and bands next to lots of readers that came forward to support this crowdfund. I haven’t heard a word from the big labels… One of the biggest label bosses in this scene did send me an email… asking when their news would be up… no help, no question, nothing. It strengthens me in my vision that we have to stay an incubator for new talents and new and smaller labels, as they are definitely more connected with us…

I did learn another lesson from this though, and that is that I need to delegate more. Jan-Ronald Stange has been helping with design, and I contracted Martin for our server maintenance and security so that we can intervene directly with the right people when needed.

Q: What have been the best and worst memories from all the years you’ve been involved with Side-Line?

Bernard: The worst: seeing others suffer. You know what I mean.

The best: it is wonderful to stay friends for all these years with people with such different characters inside the team. And Side-Line also opened the gate towards other people I respect, I got in contact with Jan-Ronald Stange thanks to a lunatic groupie, so that ended well (laughs). And I shouldn’t forget Anne-Laure, Erlend, Marianne, Leydi, Simon and so many other people who have become close and reliable friends thanks to Side-Line.

Basically, working at and with Side-Line is the proof for me that one doesn’t need to stay in his/her own echo chamber to respect and be respected. You know that as well, I have told you that in a recent text message remember?

Q: Are you sometimes thinking about the end of Side-Line and also the end of Alfa Matrix? What should be the best way to say goodbye?

Bernard: I have a pretty compulsive character, however, Side-Line has been a constant element in my life for the past 30 years. I always dedicate 2-3 hours per day to the magazine, writing articles, working on the site’s cms and machinery behind it, answering a ton of emails… It survived 2 marriages so far as well (laughs)! So no, it’s a part of me, and I haven’t really thought about stopping although there have been moments that I think, who the hell am I doing this for… But then you get a big thank you mail from a band or reader or label and that’s enough to kill off those negative feelings.

But if we would close shop, I guess it will be with a big bang (smiles). But so far so good.

If we would close shop, I guess it will be with a big bang.

The same goes for Alfa Matrix, as long as we can find good bands to push, we’ll continue.

Q: You and I have had some personal issues, but I think that thanks to Side-Line, we became and still are good friends. Any specific souvenir or anecdote you want to share?

Bernard: Ah yes, we have gone through some turmoil you and me. I guess that is just part of good friendships, it’s like a marriage I guess, either you make up or you go to a lawyer (laughs). I guess we both learned from our private wars and have learned to respect each other. And that is what counts, we learned to see what unites us, not what divides us. And we never had to hire a lawyer (laughs)!

But speaking about the special moments… Well, racing on a German motorway at 200 km/h in a BMW to get home in time to drop of some equipment and then realize we could have delivered it 2 days later as well…. That was quite a memorable and especially dangerous moment we shared (laughs). Honestly, it was completely irresponsible, and I would never do it again, whatever the reason. Had we crashed, a magazine would have disappeared, a label and a few bands would never have seen the light of day and my sons would for sure never have existed and most importantly this: some others could have been injured or killed. I never drive fast nowadays, if I’m too late for a meeting so be it, but usually I start on time, it also avoids unnecessary stress and gives me the option to also have a coffee underway.

I also remember some sectarian veggie restaurant somewhere in Brussels where we ended up via John Sellekaers I think? That was quite weird for me… the food was ok though, but I’m not really into sects (laughs). But aside from that, I kinda miss sitting in a restaurant with all of us, you, Seba, Benoit, Cedric, and a few others which are still part of my inner circle, but who I don’t see enough. Luckily at least you and me did a good restaurant now !

Inferno Sound Diaries

www.side-line.com

Llumen – Polygon Heart (Album – Alfa Matrix)

Inferno Sound Diaries — Fri, 24 Sep 2021 18:30:00 +0000

Genre/Influences: Minimal-Electro, Future-Pop, IDM, Cinematographic-EBM.

Format: Digital, CD.

Background/Info: Four years after the successful debut album “The Memory Institute”, Pieter Coussement strikes back with a new opus. The Belgian solo-artist released this work after some serious health problems and introduced the new work by the EP “The Dark In Her Eyes”.

Content: “Polygon Heart” features 10 songs, which are mixing different influences. It’s hard to define the sound of the new Llumen-album as it rapidly appears to be a dense osmosis between different influences. I experienced the album as an offspring between Haujobb (for the great sphere hanging over the work), Apoptygma Berzerk (for the mix of Electro-Pop and EBM elements) and Diorama (for the mood and the structure of some choruses). In the end Llumen brings something you can’t really compare to.

+ + + : The songs have been meticulously built up, and reveal a more accessible approach. The songs are more danceable and in a way more ‘Pop’-driven. The work has been achieved with subtle arrangements and you clearly can hear Coussement has a nose for details and unique sound treatments. It might reveal some perfectionism, which comes through in nearly every single song. The second part of the work features several sonic climaxes, but the first part also reveals a few cool surprises. There’s the already familiar “The Dark In Her Eyes”, but also the opening song and the more EBM-like “Lifeline”. A last and essential element I want to mention is that Pieter Coussement sounds more comfortable with the vocals.

– – – : I can’t say that this work has any minus points although I’m not that fond of the somewhat cheaper Trance-Techno lead running through “The Path That Leads Me Home” (also known from the previous EP).

Conclusion: “Polygon Heart” confirms the strong potential of this Belgian artist, who definitely belongs to a restricted number of visionary and intelligent Electro composers.

Best songs: “The Dark In Her Eyes”, “Like My Pain”, “My Heart Inside Your Hands”, “The Scars I Made”, “Lifeline”, “All things Broken”, “That Path Leads Me Home”.

Rate: 9.

Artist: www.facebook.com/Llumen-official-192854384064057

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Polygon Heart’.

Inferno Sound Diaries

www.side-line.com

Futurepop act Last Activity back with all new single ‘Shadows’

Bernard - Side-Line Staff — Wed, 18 Aug 2021 08:59:37 +0000

Out now is “Shadows”, a brand new single by the Russian futurepop duo Last Activity. This is the band’s first release after the reissue of their self-titled debut album on SkyQode in December 2020.

“Shadows” is the first single taken from Last Activity’s future album which is currently in production. This track perfectly demonstrates the band’s trademark futurepop sound with melodiс synth lines, hard dance elements, and deep trance pads. In addition to the title track and its instrumental version, the single features remixes by synthwave project Sync_Lost and futurepop / EBM band Stars Crusaders.

Last Activity was started by Gleb Rogozinsky (music, vocals) and Konstantin Banzin (vocals) in 2009. Fans of Apoptygma Berzerk, Neuroticfish, Colony 5 and the like will surely dig this.

You can get the single here or stream it below on Spotify.

Bernard - Side-Line Staff

side-line.com

Gunmaker – The Third (Album – Advoxya Records)

Inferno Sound Diaries — Fri, 30 Jul 2021 18:30:00 +0000

Genre/Influences: Metal-Pop.

Format: Digital, CD.

Background/Info: The Hungarian band Gunmaker has been active for a few years and released their third opus at the end of 2020. This new work features eight songs plus nine remixes. The album has been again produced by Rob Dust.

Content: The least I can say is that Gunmaker never repeats itself. From a rather Metal-driven debut album towards a more Electro/Indie-Pop next album they now strike back with a kind of Metal-Pop offspring. The songs have something Electro-Pop/Wave driven while being empowered by guitar riffs. Some of the most refined cuts remind me a bit of Apoptygma Berzerk.

Remixes have been made by Numb Haze, Rob Dust, Monolith, Human Vault, Dark Control Operation, Implant, Southern Pines, Cyberbob, Jihad, Angst Pop & Technomancer and Linda Daemon. The last song is an alternative mix of an album song by the band themselves.

+ + + : I can’t say that Gunmaker is constantly reinventing their sound, but at least they don’t get stuck in one specific sound formula. The mix of Metal driven riffs and Electro-Pop works pretty well, but I have a preference for one of the most Pop-driven cuts (cf. “Dreams And Desires”). Among the remixes I noticed a brilliant remix of “Wherever You Go” by French formation Dark Control Operation. I especially like the Gary Numan spirit emerging from the strings. Another cool remix is the one by Monolith.

– – – : I still think the production of the vocals could be better. It remains the main point of the band to improve.

Conclusion: Gunmaker moves on composing a very personal interpretation of different, but related music genres.

Best songs: “Dreams And Desires”, “Wherever You Go”, “Wherever You Go – Dark Control Operation Remix”, “Wherever You Go – Monolith Remix”.

Rate: (7).

Artist: www.facebook.com/Gunmaker-474227946012195

Label: www.advoxya-records.com / www.facebook.com/pages/Advoxya-Records/265765706059

Inferno Sound Diaries

www.side-line.com

Oslo Synth Band ‘Stress’ EP out now – screaming beats to battle the summer heat

Jan Ronald Stange — Fri, 23 Jul 2021 15:39:13 +0000

(By our Norwegian correspondent Jan Ronald Stange) Oslo Synth Band from Norway have been quiet for a time now, but today they released their EP ‘Stress’ on digital platforms, including three remixes and an instrumental version of the song.

We got hold of Tarjei Krogh to elaborate on this release and the process leading up to these tracks!

S-L: Long time since last OSB release – what have you been up too?

Tarjei Krogh: OSB has always been more focused on live gigs, than producing music. We love that type of energy that we get from the crowds and see that most of the fans tending our gigs are punkers and rockers. Our goal is to express a kind of kick-ass party vibe which our fans deliver the minute we start playing! That said, we have currently been occupied with other projects in the electronic genre, mostly due to the pandemic which inhibits gathering of crowds, but this track felt so good we had to get back into the game and release it even though we can’t play it live at any venue for the time being. People will with this release be able to play our music at home and still always have the same kind of kick-ass party available.

OSB was established in 1993, were we started with picking up dull moralistic Norwegian songs and tried to make them harder sounding, industrial and more electronic. We have been making these cover songs and our own material side by side without any bigger vision. The track ´Stress´ is one our own creations, a kind of art by accident if you will.

S-L: Tell us more about ‘Stress’ – and the remixes!

Tarjei Krogh shaving Jomar Rønning-Volle

TK: ´Stress´ is a crazy story. This is originally one of the most kick-ass basslines I have ever come up with and was recorded on a cassette / tape back in 1996. It was supposed to be used in either one or two other bands I´m involved in: Anstalt and Solar Temple / Order of the Solar Temple. But nothing really happened at that time. I found the tape a few years ago, sampled the whole track and tried to make something new out of it. On a road trip to Norway’s highest mountain, vocalist Jomar and I stopped his car and totally improvised the whole lyrics screaming them out loudly.

I must admit that a car is a brilliant place to record hard and punky vocals if you don´t mind the staring of all the people around your parked car. In our case we were two grown-ass men screaming our heads off, all the while surrounded by Norway’s, or even Scandinavia’s highest beautiful mountains where people surrounding our car usually come to find their bliss with the breathtaking silence and views of our remarkable nature, at that moment we couldn´t care less, we had art to make. We hope that that feeling of freedom that comes from letting all aggression out in an unorthodox matter like this can inspire others in our genre to try it, and just se what happens.

All remixes on this track are made by our own collective / family. For people who are into the electronic genre, Anstalt first appeared on the ´Sex, Drugs & Ebm´ compilation under three different projects: Hexagon, Agenda & Aggressiva, together with bands like Apoptygma Berzerk back in 1992. Also participating on lots of compilations and releasing their own album in 1995, ´Brilliance without fase´.

Stanley Cupid is a project focused on taking ebm and mixing it with house/techno music and bringing it to the clubs as Empirion did with their remix of Prodigys ´Firestarter´ back in the days. Or like Primal Scream did with their fantastic ´Miss Lucifer´. Stanley Cupid is most known for remixing of Apoptygma Berzerk and Substaat (also released on all digital platforms). Cupid will in the near future release a 4th album, this time focusing purely on electronic body music.

´Norwegian chill´ is a project trying to take ambient/chillout in the direction of more experimental/industrial soundscapes and has already released 4 albums on our label: Norwegian Giants.

S-L: Other releases or plans now that restrictions are being lifted?

TK: OSB will in the near future focus on making a digital collection of the best tracks from 1994 to present time… and we will definitely play live again, now for a bigger audience than ever before screaming our lungs out and loving every minute of it!

Do also check out another project Tarjei has been involved in – Norwegian Beats by Norwegian Giants, 20 volumes released so far! Also read our story about the project from a year ago: Norwegian Giants beats up the summer with weekly album releases.

Jan Ronald Stange

www.facebook.com/jrstange

Stephan Groth on Apoptygma Berzerk’s ‘You and Me against the World’ re-issue – and other upcoming releases

Jan Ronald Stange — Fri, 09 Jul 2021 14:47:02 +0000

(By our Norwegian correspondent Jan Ronald Stange) Lot’s of Apoptygma Berzerk fans are rejoicing today – it’s the release day of the ‘You and Me against the World’ re-issue. The 2005 album had the band introducing a more indie-rock style of music and broke the band to new audiences, especially in Germany with four hit singles and the album climbing to #18 on the official charts.

Now it’s re-issued in two vinyl versions and on CD, and of course we had to know what Stephan Groth had to say about this and what else he’s up to these days!

S-L: How has the sale been so far of the various versions?

STP: I am not that much into the details regarding sales, but from what I hear things are going great. I`m told that the red limited edition vinyl is almost sold out… not that surprising since so many people are collecting rare vinyl these days.

Personally, I prefer classic black and clear/transparent vinyls, but from a collectors point of view the red limited edition is a better investment, and of course, it also looks extremely nice. Sound quality wise transparent and black is supposed to be the best.

S-L: What’s the response from the fans on this re-issue?

STP: Well, I only just got the vinyls myself two days ago, and most people have not seen or listened to the record yet, so it is a bit early for any feedback. But I heard from a few record stores that people are excited and that many have pre-ordered the album and are looking forward to release day.

So it seems many people including myself are excited to finally get ‘You And Me Against The World’ on vinyl, it is long overdue. The CD has been out of print for a while, so I am happy to have it back in stock. We remastered all the tracks, and they sound really good. We also added as many bonus tracks as the CD can hold.

Both the new CD and the vinyl versions of Y.A.M.A.T.W. got a nice upgrade sonically, but also visually. Halvor Bodin re-designed the cover, and gave it a new updated look that fit today`s APOP-vibe and it is a perfect match. In the booklet we used photos by Sebastian Ludvigsen that were not in the original cover, but from the same photo sessions that we did back in 2005. So the cover looks and feels very much the same as the original, but with a modern and updated touch to it.

S-L: More re-issues planned? Or new music first?

STP: We are almost done with a 3rd ‘B-Sides & Rarities’ compilation. This will be released on digital platforms only, just like the previous two, ‘Faceless Fear’ and ‘Disarm’.

I am also working on stuff in the studio, and as it looks right now there will be a new EP, a follow-up to ‘Nein Danke!’ but that could change, it might turn into a whole album, not sure yet…

Also, if you’re interested in APOP-related re-issues, the debut-album from Cronos Titan, ‘Brides Of Christ’, is also being released on vinyl for the very first time now with a beautifully redesigned sleeve, also by Halvor Bodin. My brother Jonas, who plays synth in APOP, just released the debut album with his project, Piston Damp, which is a superb synthpop album.

We’re also planning to get ‘Harmonizer’, ‘Welcome To Earth’ and ‘7’ out on vinyl again as they’ve been out of print for a long time now. But the pressing plants are jammed up at the moment, and with a six month waiting period to have an album out on vinyl things will take time. Still, we’re continually working on both reissues and new material simultaneously.

S-L: Other things on the calendar now that the corona restrictions are being lifted?

STP: Hopefully things will get back to normal soon, so we can go play live again. We have three shows planned for next year, shows that have been postponed several times already due to the corona situation.
Those are: Subkultfestivalen, Sweden. Månefestivalen, Fredrikstad, Norway and VNV NATION 30, Gelsenkirchen, Germany.
The 2022 dates for Subkultfestivalen and VNV 30 are already posted, but we’re still waiting for Månefestivalen to confirm their date(s) for 2022. Other than that, we won’t be booking any new gigs until we know 100% for sure that the gigs are doable, so we’re basically just “waiting things out” until things are more stable.

The album can be ordered in various markets

Europe > Lo-Fi Merchandise or POPoNAUT
USA/Canada/South-America > The Electric Fox
Norway > Retro Vinyl

Jan Ronald Stange

www.facebook.com/jrstange

‘Click Interview’ with Dimitri Berzerk: ‘The Strange Journey Of Consciousness That Seeks The Transmutation Of Darkness Into Light’

Inferno Sound Diaries — Tue, 22 Jun 2021 17:00:00 +0000

Dimitri Loyo better known as Dimitri Berzerk is a Mexican DJ, producer, remixer and label owner. His artist name ‘Berzerk’ is inspired by various sources. Some of you maybe remember that Atari video game with the same name, which was particularly important to the artist as it was his first experience with vocoders in a video game. So Dimitri seeks to express the influence of the Retro-Pop culture within his music. But his artist name is also a wink to Apoptygma Berzerk, which is a band Dimitri particularly like. After numerous remixes for other artists, Dimitri Berzerk started releasing his own music. Three EP’s have been released thus far on his own label Sector Industrial Producciones. The songs clearly reflect the above mentioned influences and are worthy of examination.

(Courtesy by Inferno Sound Diaries)

Q: You are active as a DJ, producer and remixer, artist, record label owner… but how did you get in touch with Electronic music? Can you tell us something more briefly about all your activities?

Dimitri: I’ve always been in love with music and in one way or another throughout my life I have sought to get involved with it. Everything started to flow better since I started as a DJ 16 years ago. From then on it has only been to continue advancing on this path. Electronic music, particularly everything related to Industrial and Synth-Pop, was one way that I was able to define myself better as a teenager. They are styles that caught me immediately and sounds that I later decided to work with. On the other hand, for approximately seven years I have been teaching DJ classes with very good results for both myself and my students.

Q: How did you finally come to compose your own music? What are the main sources of inspiration and what kind of sound did you have in mind?

Dimitri: With such a love for music it was only a matter of time before I started to compose my own music. I first tried to set up some bands and after several unsuccessful attempts I decided that it would be better working alone. In 2009 I started working on remix productions. This was a first step to later be able to compose my own songs.

Inspiration comes from everywhere, cinema, literature, video games, music, travel, philosophy, people and even in my dreams I have been able to come up with important ideas. The great challenge has been to find a way to abstract those ideas and translate them into something that can work without leaving the sound I am trying to present.

My main influences could be found between EBM, Synth-Pop, Industrial and New-Wave however I am always looking for and listening to music from other styles and scenes.

Q: You’ve already released some EPs where you collaborated with guest singers -like Claus Larsen. Tell us a little more about the writing of the EPs and the choice of the guest singers.

Dimitri: To be honest with you it has been a somewhat complicated task to be able releasing these EP’s especially because I have released them under my own label Sector Industrial. In one hand I have better control of what happens, but on the other hand the work intensifies since I have to take charge of the whole process behind a release. I think the real difficult thing is to dare taking the first step. After that, things start to flow and settle down step by step.

Collaborating with guest vocalists is a somewhat arduous task since many times everything has to be done remotely, however the result is always wonderful. I see it as a way to complement my work since I have always seen myself behind the machines programming music as a DJ or playing it live and having a guest on the vocals is always an extra element that helps to expand and fill the final sound of a song or in a presentation.

As you mentioned, Claus Larsen has been one of the people with whom I have had the opportunity to collaborate and I can only say that it has been an honour. Working with a person that I admire and respect for his musical work as well as his human quality is a dream come true.

Q: Your last EP “A.I.C.Q.T.I.L. has something conceptual and is an ode to the French film director Jean Luc Godard and his film “Alphaville”. What fascinates you about Godard’s work, who was a true innovator in film history?

Dimitri:

‘-Quel est le privilège du mort?

-Ne plus mourir

-Savez-vous ce qui transforme la nuit en lumière?

-La poesie’

Dialogues like this have made me love “Alphaville”. Godard’s work on this film is fascinating. Despite having received a lot of criticism for his ‘attempt of science fiction’ lacking special effects and images in space as was common at the time, I believe that he managed to capture his idea very well. Few would dare to produce a sci-fi film in a Film Noire style. Add to this poetry by Paul Éluard and “The New Refutation Of Time” by Jorge Luis Borges and you have a masterpiece, at least from my perspective.

When I saw the film translated into Spanish, I realized that the dialogues underwent slight changes in order to adapt them to the language. The same thing that apparently happened when Godard adapted “Borges”’s original text (written in Spanish) to the French language for the inclusion of the “Alpha 60” dialogues. My curiosity increased and I took on the task of looking for the film in as many languages as I could and the result was fascinating. Each version had slight changes, omissions and variations that adapt it to the cultural context of each country. Hence it is that I decide to title the song under an acrostic in Latin, in order to work from a slightly more ‘neutral’ point. The title could be understood as “The Strange Journey Of Consciousness That Seeks The Transmutation Of Darkness Into Light”.

Musically I sought to work with somewhat darker and colder sounds that were in turn warmed by being processed through an open reel tape. In short, this is a conceptual launch that seeks to narrow different worlds, the digital with the analog, the literary with the cinematographic and also the musical, the one that each language creates, etc.

Q: You have remixed an impressive list of international artists and you also like to see your own songs remixed by others. Tell us a little more about this fascination and how do you see yourself as a remixer? What are your favorite remixes? How do you work / proceed when remixing other artists?

Dimitri: As of today I have in my catalog just over 100 remixes produced under my signature DMT BERZERK. From the DJ’s perspective, remixing is a fundamental tool since in it you can find the style that best suits you in a given song. As a producer I love hearing the way others perceive and work on my compositions adjusting them to their own style. In addition, I think it is a very interesting way to interact between musicians and to finish exploiting the potential that a song may have hidden.

One of my favorite remixes is “Into Darkness” by the Mexican Post-Punk band Dramatic. I connected very quickly with the song and things just flowed. Regarding my production process, I usually listen to the song to be remixed a couple of times to find the way to work it. Once the way is found, I don’t listen to the song again to try to get away from its original sound as necessary. First of all, I want the remix to be useful in structure to be able to play it as a DJ and therefore to work musically on the dance floor. everything else is adapting under the infinity of existing possibilities 🙂

Q: How do you see yourself as a DJ and what influence do your DJ activities have on the songs you compose? What are the additional plans? Maybe an album?

Dimitri: My career as a DJ has helped me definitely a lot to work on issues related to music production since the experience on the dance floor has allowed me to delve into and understand a little more the reactions and sensations that each melody can provoke. On the other hand, being a DJ becomes a permanent responsibility so that the flow of music continues in motion since if we do not make an effort to promote new music we can be participants in a generational fracture within independent scenes.

Right now I have in preorder my new release entitled “The Liquid Path”, which I hope will see the light before the end of Summer. This is the third and last release that will be released from my debut album that will be presented in 2022.

But before that happens comes my eighth album of remixes for the second half of this year so there is still a lot of work and a lot music to share with all of you 🙂

Inferno Sound Diaries

www.side-line.com

Piston Damp prepare debut album, ‘Making The World Great Again’, for release on June 10th

Bernard - Side-Line Staff — Thu, 03 Jun 2021 11:40:48 +0000

Piston Damp, the project of Jonas Groth (Apoptygma Berzerk) and Truls Sønsterud (Tröll) is ready to release a debut album after their 3 singles “Something In Me”, “Loose Ends” and “Runaway” which were released the last 8 months. Their debut album “Making The World Great Again” will be out via Sub Culture Records on June 10th.

The album has been produced by the Danish/Norwegian duo themselves and mixed with their good friend Magne Johansen. It was mastered for digital platforms by Ole-Espen Kristiansen, and for CD and vinyl by Morten Lund. Stephan Groth (Apoptygma Berzerk) contributes on vocoder on one of the songs.

Piston Damp was formed in 2000, but remained a hobby project for 20 years until Jonas wrote the song “Something In Me” in 2020. This became their first single and was remixed by acts like The Anix, Pegboards and Technomancer.

Bernard - Side-Line Staff

side-line.com

Apoptygma Berzerk sees most successful album ‘You and Me against the World’ re-released in 3 augmented versions with bonus tracks

Bernard - Side-Line Staff — Fri, 21 May 2021 14:16:32 +0000

Out on July 9th via Tatra Records is the re-release of Apoptygma Berzerk’s 2006 album “You and Me against the World” in no less than 3 versions with extra tracks.

“You and Me Against the World” is the fifth studio album from the Norwegian electronic rock music act Apoptygma Berzerk and gave way to a very different sound in the band. Whereas previous records had a more traditional electric synthpop/EBM sound, “You and Me Against the World” features a more mainstream, rock-oriented sound. It’s the band’s most successful album to date.

Released on 3 continents, “You and Me against the World” had a tracklisting which varied on all original CD releases, from territory to territory and contained from 11 (Germany) to 15 (Australia) tracks. On the new 2021 CD edition, for the first time all the hits from this era have been included on one album, including the singles “Cambodia”, “Love to blame”, “Shine on” and “In this Together”. This new remastered CD version comes in all new artwork and contains a number of bonus-tracks, including rare and nowadays impossible to find remixes from long deleted singles.

Next to the CD version there will also be a limited edition of 700 copies on classic black vinyl (2xLP) containing the 15 ‘main’ tracks of the album, divided onto 4 sides. A limited red vinyl will also be available and is strictly limited to 400 copies.

CD Tracks:

Tuning in Again (Intro)
In this Together
Love to blame
Black Pawn
You keep Me from breaking apart
Cambodia
Back on Track
Tuning in to the Frequency of your Soul
Mercy Kill
Lost in Translation
Into the Unknown
Maze
Faceless Fear
Shine on
Is Electronic Love to blame?
Lost in Translation (Sweep Remix)
You keep Me from Breaking apart (…According to Phillip Remix)
Black Pawn (Elec This! Remix)
In this Together (Voltage Controlled Music Remix)

Check out “In this Together”.

Bernard - Side-Line Staff

side-line.com

Labels Interviews: File 2: Dave Heckman / Metropolis Records: ‘The Bottom Line Is To Adapt Fast To A Changing Industry’

Inferno Sound Diaries — Tue, 18 May 2021 08:02:13 +0000

Metropolis Records was set up in 1994 by Dave Heckman. In no time the American label became a truly reference when it comes to Electronic and Industrial music. The label licensed –and still does, European productions, but also signed new artists. Among the Metropolis roster you’ll find bands as VNV Nation, Front 242, Front Line Assembly, Wumpsuct, Project Pitchfork, Juno Reactor, Assemblage 23, The Birthday Massacre, KMFDM, Numb, Haujobb, Leather Strip, Apoptygma Berzerk, Velvet Acid Christ, God Module, Covenant, Informatik and many, many more

(Stéphane Froidcoeur / Courtesy by Inferno Sound Diaries)

Q: Was there a kind of ‘philosophy’ when you set up your label and did it evolve over the years? How would you define your label activities today?

Dave: No philosophy per se. It was just something I wanted to do for a living, so I needed to go about things in a very professional manner and always stay focused on that goal.

I am going to presume you mean label activities as compared to my activities at the label, although I will go into both.

The first step is to find the talent and that has always been my job. I am the owner and the A&R guy. Then, of course, a deal needs to be worked out and again that has always been my job too.

After a deal is done, we have to assemble the assets for the release such as artwork, photos, masters, videos, and publishing information. This is all needed to setup the releases with our worldwide distributors and to manufacture the albums themselves.

Then comes promotion. Retail, club, radio, video, press, touring, social media, etc. A lot of this is done internally, but sometimes we hire outside companies, particularly for video, radio, press, and booking tours.

Finally, the royalty statements need to be processed and payments made. A tedious and important part of the business.

So, believe it or not, as much as the industry has changed, the setup and promotion is really quite similar to what it was years ago. The revenue just comes from different sources.

Q: I can imagine you must have specific and explicit criteria to sign an artist/band. Can you give us more details about this aspect and how important is it for you to know the person(s) hiding behind the ‘artist(s)’?

Dave: Not really. In general, I sign bands I like and there is no particular sound I am looking for. I cannot really tell you why I liked Numb or Project Pitchfork, I just did. When it comes to art, whether music, film, or paintings I cannot tell you why I like what I do. In some way it has to move me.

That said, I do have a tendency to like or lean towards things dark, edgy, and innovative. Some of the bands that I was interested in were never signed, because we could not come to an agreement. Sometimes the bands had higher expectations than I did and the advance they wanted was too large or we had different ideas on promotional aspects of a campaign.

Metropolis has released over 1200 albums with over 200 different artists, so I did not get to meet and know everyone. In the beginning I just licensed from a few European labels like Zoth Ommog, KK Records and Hyperium. So, my relationships were with my licensing partners. However, as things progressed and we brought the bands over to tour and I went overseas to festivals and conferences and finally met these artists, my relationships with them developed. Always liked to travel and visit the artists where they lived and liked hanging out with them during and after shows. As we got to know each other better it just made everything smoother.

Q: You are already active for numerous years now so you must have seen a lot of things changing and evolving; think about social media, streaming platforms, Youtube channels… but also economic crisis etc. What are the pros and cons of these changes/evolutions and in, which way did you had to adapt/change your strategy and activities?

Dave: The biggest change was the death of retail record stores. That was how I started consuming music as a 10 year old kid. I mean I just did not go there to buy music, but to discover it. The cool stores played cool music and I also would just go through the record bins to find something new that caught my eye. Retail was still a force in music in the 90’s, but went really downhill after 2002 or so. As I mentioned above, retail promotion was important, but now it is almost gone.

So, of course digital comes along and I knew tons of artists and labels that were vehemently opposed to the format. Don’t get me wrong I thought 128 bit rate MP3 played on a computer sucked compared to a Compact Disc on a good stereo system. However, that is the way people wanted to consume, so we sold digital downloads.

At present, hardly anyone buys downloads and streaming revenue is going through the roof. Of course, I have artists complaining about this. More arguments / discussions with artists about streaming than any other industry issue, but it has saved the industry not destroyed it. Illegal downloads and CD burning where the real culprits.

Spotify, Apple Music, Amazon Prime, Deezer, Pandora are great platforms. However, YouTube sucks. They pay a fraction of what everyone else does, but people are complaining about Spotify instead of them. That I do not understand.

The bottom line is to adapt fast to a changing industry.

The benefit of the digital world is the massive savings on manufacturing, storage, and shipping, which of course is also good for the environment.

As far as the economic downturn, we go through these all the time and readjust.

Q: The ongoing pandemic has affected all artistic life and activities so what’s the true impact on your label activities and do you think it will also affect your long term objectives?

Dave: The pandemic has hurt the industry considerably. We had a dozen tours lined up for last spring including Lords Of Acid, Clan Of Xymox, KMFDM, Front Line Assembly, The Birthday Massacre, and many more. All cancelled and the bands lost money to varying degrees. However, the recorded music industry saw their revenue grow since almost everything is digital or online even including physical sales. In the long run and this intermediate period, nothing will change much, people will go back to their old habits for the most part.

Q: Do you think media (magazines, online platforms etc…) still have an impact and a role to play today? What’s your relationship with ‘journalists’ and how important is their work?

Dave: Yes, that medium is still important. All promotional activity counts. You have to spread the word around wherever you can. However, I really cannot comment on my relationship with the journalists as I never really had one. I am talking about me, not the label. Publicity and press is one of the few things I have always delegated to someone else.

Q: What do you consider as your biggest accomplishment(s)? Do you have specific goals/dreams you want to achieve and how do you prepare and see the future of the label(s)? And what are your biggest regret(s)?

Dave: Even though I eventually worked with some big names in the industry what I liked most was taking bands that were once small and introduce them to the scene, promoting them and then selling reasonable amounts of records for them. Covenant, Haujobb, Velvet Acid Christ, Wumpscut, Combichrist, Apoptygma Berzerk, And One, Assemblage 23 were all selling just a couple thousand copies and eventually sold 20,000 to 50,000 albums in North America alone. These are good numbers for alternative music. VNV Nation sold even much more than that. Just to put it in perspective only one in a hundred artists sold over 10,000 copies back then no matter what the genre.

I have met my goals. As I mentioned I wanted to do this for a living and I did. Also, Metropolis has a good brand name and I got to meet a lot of great artists who are now my friends. I wish I could have pushed the boundaries more and could have done more outside the Goth / Industrial genre. However, that did not work out that well except with the a few bands like Mindless Self Indulgence and Electric Six.

I am content with the label’s accomplishments. The label is 27 years old and I was well into my thirties when I started in the music business. So, we will continue to do what we do and improve where we can, remembering that adopting to change is important.

Inferno Sound Diaries

www.side-line.com

Norwegian Album Classics on CD – and soon also LP – a corona initiated crowd funding success

Jan Ronald Stange — Fri, 23 Apr 2021 14:29:00 +0000

(By our Norwegian correspondent Jan Ronald Stange) The crowd funding project ‘Norske albumklassikere på CD’ (‘Norwegian Album Classics on CD’) is a series of CDs whose purpose is reissuing music that either never has been released on CD or is hardly available on CD anymore. The project is enjoying a success beyond all expectations these days. The concept is this: always having 20 albums in the crowd funding pool, and when an album goal is reached it can be purchased at the main website norskealbumklassikere.no. The public Facebook group for the project, which recently passed 11.000 members, have a constant flow of suggestions and discussions among the members.

There’s also a similar project for LPs in the works, and 20 albums are at the present being decided and published daily until the launch May 9^th.

We got more background info from one of the main two founders, Christer Falck, who early on in last year’s mid-March corona lock-down quickly became restless and started the concert streams series ‘Koronerulling‘ the very next week. 83 artists/bands was able to stream their concerts the following year, ended up getting 4.5 mill NOK in well-deserved and much needed donations.

Side-Line: How and when did the idea for ‘Norwegian Album Classics’ surface?

Christer Falck

Christer Falck: I was doing some promotional phone calls to the local press when I was releasing the 20 CD-box set by Jahn Teigen, and one of the most enthusiastic journalists in Norway, Erik Munsterhjelm at Tønsberg Blad, asked me if I could release a box set by one of his childhood heroes, The Kids, as well. Since they had only released two albums, I thought the idea of a box set was a bit too ambitious, but then the idea came to me. Releasing all the good records that had only been available on LP and MC – on CD. Not just one record, but a lot of them. I called my 5-6 most nerdy friends, and asked them to make a list of the 50 albums they miss in their CD-collections. My partner John Richard loved the idea, and the funny thing is that the lists that I received were almost identical. I thought “when 6 people, so different from each other manages to make almost equal lists, it has to be a market out there”.
This, combined with my fetish for crowdfunding, made me do a website with my crowdfunding-partners bidra.no, where 20 records should be on display. Each record should get 30 days to be financed, if 150 people pre-order it, I will produce the record. If we don’t reach goal, they will all get their money back.

One month after the idea came, we started. Now we have made 90 albums in 100 days.

S-L: How successful do you consider this to have been so far?

CF: It depends how you measure success. As a cultural experiment, I’d say it’s a huge success. A lot of records that aren’t available on streaming services are now available, remastered and with much better sound quality than ever. A lot of CD-enthusiasts can join our little group on Facebook and suggest their favourite records, and I think we have managed to create a cool platform, where everyone respects each other’s musical taste. If they don’t, we throw them out, so they don’t have a choice ?
Financially, I think I could have found a lot of different jobs that would pay much better off, but at least I have something to do, these Covid-19-times. The alternative was to not arrange festivals, that’s my real job.

S-L: What has surprised you the most so far? Any weird album suggestions, the involvement of members, the process itself, other things?

CF: I know some much more about Norwegian music now than three months ago. I have a short list with 1700 titles on Norwegian albums. From easy listening to hardcore and punk records I’d never heard of before. And everything in the middle. But what I like with the concept, is that since we just need to find 150 buyers, nothing is too weird and strange. A Christian choir-album from the South of Norway or a heavy metal album from Finnmark – 150 people will probably find their way. The job is to expand the target group, so that the next album in the same will have the same opportunity to be financed. And the good part with our group, some of the members are doing the job for us. Sometimes I wake up in the morning and I’ve had a lot questions in our forum, and then some of the members have explained and solved all the problems for us. It would be impossible to do all the things that we do now AND do a great customers service too. So far we haven’t got any too weird suggestions, but a guy started a homophobic thread where he “Loved our series, but hated the “pride”-logo on our CD’s”. This was the most read and commented post so far, and 100% of our members made this person probably never post something like that again. I love the self-justice that the group is creating. Usually, when 11-12.000 people are gathered together, at least 1-2 % is fucking up for many of the others. But here, fucking up is very uncool. That’s probably what I’m most happy with.

S-L: As I write this there’s just weeks or days until the 100^th album is financed. How do you see the future of this project – is there an end, or does it have the potential to continue indefinitely?

CF: Well, I have 1700 records on my list. And there are still a lot of records being added every day. I’m not going to stop, but this concept will die by itself. It’s impossible to keep up the speed that we’ve have had so far. Both for us, but also for the buyers. Just too expensive. So hopefully, we will end up producing 2.3 records a week. Then my wife and kids will be happy too, ‘cause this takes all of my time. But it’s all a huge labour of love, so I hope it will last many more months.

SL: How is the interest outside of Norway for this project – are there many foreigners among the customers?

CF: We see that some of the genres are more popular outside Norway than others. Jazz, prog and Norwegian west coast music, has a huge standing abroad. One of the most selling records so far is Moose Loose – a jazz/fusion/prog band who hardly sold records at their peak. My goal is to sell more of their records in 2021 than they did in the 70’s.

Another major contributor on this project is Arvid Skancke-Knutsen; music journalist, author, musician and quiz master, who have contributed with lot’s of input and suggestions, but also liner notes on the CD releases. I thought it would be interesting to get an historical view on projects like these, and who better than to get from than a Historical Consultant at Rockheim, Norway’s National Museum of Popular Music?

S-L: In all your years in the music industry and press, have you ever seen a project accomplishing so much in such a short time?

Arvid Skancke-Knutsen

Arvid Skancke-Knutsen: No, this is pretty amazing, and I am very proud to be a part of it. We have now realized 90 albums in just 100 days – with very few signs of the project slowing down. What we have achieved is certainly a Norwegian and Scandinavian record. There might have been other projects similar to this, somewhere in the world, but I cannot think of any offhand. A commercial music series like Absolute Music ended up with a total of 64 record releases, but that took them 23 years. We have done this in mere three months – at a point in history where CD sales are plummeting.

The success of our series is basically down to just a few factors, I think. Firstly, the genuine enthusiasm of Christer Falck and John Richard Stenberg, the two founders of the project. Their enthusiasm spilled over to Norwegian record companies and artists. And especially to our 11, 000 members on Facebook, who have been very supportive all the way. The rest is about hard work, and making sure that the quality is as good as it gets.

S-L: How will this and similar projects “born” in the year(s) of corona influence music industry in the future?

ASK: Good question! I think that online concerts might have a future, even beyond the pandemic. It’s all about good logistics and excellent production values. If those elements are present, fans of bands and music genres will be willing to pay for it.

The corona situation has been a terrible worldwide event, but we still might be able to take away some creative solutions from it. I wrote a book, dealing with the pandemic in Norway, and its impact on the Norwegian music scene. And what struck me more than anything else was the amount of creativity going on.

S-L: What your best moments/highlight of this project?

ASK: The sheer amount of records that we have brought into existence in a very short time, while maintaining high production values. And the fact that the series is not just limited to one musical style, or merely the most popular artists. It’s really a history ride through Norwegian music, covering all sort of styles, fashions and creativity over a span of sixty years. Another personal highlight is the fact that I pick a cult classic every month or so, showcasing some of the strangest music ever recorded in Scandinavia.

Check out Arvid’s book ‘Da musikken stilnet’ – loads of pictures from corona restricted concerts (by Per Ole Hagen), and essays from musicians and others in the music business influenced by the lock-downs.

We also reached out to one of the projects most eager members and an oracle of Norwegian synth/electronic music/post punk ++: Per Aksel Lundgreen (Apoptygma Berzerk, Cronos Titan, Angst Pop, Chinese Detectives, Technomancer, Rossetti’s Compass and Shatoo) for tips about what foreigners should look for in this crowd funding project.

S-L: As one of the most active members of the Facebook group for this project, you have both suggested a lot of candidates for the crowd funding, and also shared and posted about your favorites in various groups all over. Which albums do you think Side-Line readers should consider getting their hands on?

Per Aksel Lundgreen (photo by Jesper Lundgreen)

Per Aksel Lundgreen: Yes, I’m a CD-man myself, having collected CD’s since I got my first CD-player from my aunt at my birthday in 1986, so when Christer Falck mentioned starting this project, I immediately contacted him and said that I would do my best to help out with promotion and pushing this project. Since this project also was started in the middle of the corona pandemic, it meant that I, and everybody else, had a lot of extra time on their hands, and so the ‘Norske Albumklassikere På CD’ has become a very welcome “distraction” and something that’s brought a lot of joy in a time that has been difficult for a lot of people, especially in the music business.

Anyhow, here’s some suggestions from my side, all depending on what your musical preferences are, but there’s some really great post-punk/new-wave/experimental/electronic/alternative stuff that has made it through here and that is already financed. (links in the titles)

Munch – ‘Excessive Mobility’: An amazing Norwegian classic that really deserved a CD release. They’re kinda the “Norwegian Einstürzende Neubauten” if you will, and if you like stuff like Shock Therapy, Polyphonic Size and Ledernacken, this album is definitively something for you. Most albums in this series are printed in 500 copies, but Munch insisted on only doing 300 copies, so this will be a collectors item very quickly too! 🙂

Garden Of Delight – ‘Big Wheels In Emotion’: Norway’s first real goth album, self-released in 1987 on vinyl only. They also did two great 7″ singles back in 1984 that never made it to the album, but the album itself is well worth checking out. Goth with female vocals and a touch of tuba, you’ve never heard that before, but you’ll love it!

Babij Jar – ‘Stalingrad’ and ‘The Night Before’: Two of Norway’s best hidden gems in the new-wave/post-punk genre. Went completely under the radar for people outside Norway, but had they had decent promotion and distribution back then, they could’ve made it really big.

Helge Gaarder – ‘Eine Keine Angst Musik’: Something as rare as a Norwegian art-rock/experimental/electronic album. Impossible to describe, must be experienced. The original LP will set you back at least EUR 120 and you find none of the music on YouTube or digital distribution. Very happy that this finally gets a CD release and the credit it deserves. Too bad Helge Gaarder died 17 years ago, so he never got to see this album being included in this classics series.

Plann – ‘Elektra Elektra’: One of very few minimal-wave albums from Norway, and a great one too! Quirky songs, haunting vocals, amazing synth sounds. Several songs can be found on YouTube if you want to check it out. Listen to “Cadillac”, “Sug”, “Ato Signal” and “Cherokee” which also was the single from the album. The original LP will set you back some EUR 140, so unless you’re a rich vinyl freak, I suggest you get the CD to enjoy this rarity.

Boastein – ‘Urgata Hurgata’: A Norwegian new-wave/kraut-rock inspired album, with repetitive drumming, charming synth sounds and a very nice all over feel to it. Check out the songs “Helium”, “Seismisk Kollaps”, and “Khomeini’s Visjon” on YouTube.

Ole I’Dole – ‘Blond Og Billig’: This album has become kind of an underground hit outside of Norway in the minimal-wave community because of the track “Space, Action, Sex & Blod”, which is pure synth heaven. The rest of the album is a bit more pop oriented, but the tracks “Framtidsskrekk” and “S.O.S.” are also really great tracks. Recommended listening indeed!

Creation – ‘The Real Thing’: two of the guys from Drama, making very soft synthpop in the style of Shatoo and a-ha, but with a couple of really nice tracks on there, and especially the track “Don’t Do It”. If you’re into Norwegian/Scandinavian (synth)pop this will hit home with you for sure.

Blind Date – ‘Don’t Talk’: Probably the closest you get to a Norwegian version of Psychedelic Furs, and this is a beautiful new-wave album with some really strong material on it! Check out the title track, “Don’t Talk” on YouTube, and if that is to your taste, then don’t hesitate to invest in this album!

There’s more goodies here of course, but the 10 albums above are my priority suggestions right now.
Also, currently there’s some other really great stuff still being crowdfunded:

Famlende Forsøk – ‘En Overraskende Måte Hvorpå Man Kan Kaste En Person Over Ende’: Norway’s equivalent to Throbbing Gristle, and their quirky synths, great programming and musical skills, mixed with dada elements and dadaistic lyrics/vocals, makes this super interesting. The full album can be enjoyed on streaming services, but really deserves a CD release. One of Norways most original and groundbreaking bands through all times!

PVC – ‘Emile Berliner’: A superb post-punk band that released two albums in the early 80’s. Bitten Forsudd later went on to join/fund Garden Of Delight mentioned above, and Eivind Rølles went on to form one of Norways most known pop duos, The Monroes. If you’re into Joy Division and The Residents, then this is music for you!

Chrissy – ‘Chrissy’: Her single “Mark My Words” sold over 500.000 copies in Scandinavia and Germany combined, and is one of the best selling singles in Norway in all times, way up there with a-ha and Röyksopp. The music is a fantastic new-wave/power-pop combo with snappy synth lines on there too! Find the track ‘Mark My Words’ on YouTube to get an idea. This is the album that I’m currently most excited about getting fully funded!

S-L: I guess you have a long wish list of albums not yet funded or suggested – wanna share? 😉

PAL: Yes, absolutely, and one of the first posts I made in the Facebook group, was an invitation to have everybody post their Top 5 Want List of albums they wanted on CD, and so far, I’ve gotten one of these 5 realized, and that was Munch – “Excessive Mobility”.

The rest of my Top 5 looks like this:
– Holy Toy – ‘Pakt Of Fact’ (Their best album in my opinion!)
– E-Man – ‘E-Man’ (Pre-Biosphere project from Geir Jenssen – great minimal-wave)
– Susanne Sundfør – ‘A Night At Salle Pleyel’ (Beautiful electronica!)
– Ultra Sheriff – ‘Galactic Frame’ (Norway’s first ever synthwave album, only released digitally!)

Other Norwegian albums that I feel definitively belong in this series and that I know is on the list is:
– Thorbjørn Grønning – ‘Galskapens Teater’ (Amazing minimal-wave self-released album)
– Göbbels A-Go-Go – ‘Våre Problemer Er Rent Musikalske’ (Superb electronic/new-wave)
– Ultra Sheriff – ‘Deception, Oil And Laser Beams’ (Another amazing synthwave album from them!)
– Det Elektriske Kjøkken – ‘Elefantene Er Kommet’ (Superb electronic/new-wave album)
– Bearburger – ‘The Bearburger’ (Great electronic/experimental album!)
– A Place To Pray – ‘Disciplina Arcana’ (Amazing goth/electronic album!)
– PLX 15 – ‘Kort Prosess’ and ‘PLX 15’ (Two great experimental electronic albums!)
– Axis – ‘Axis’ (Superb Norwegian new-wave mini album!)

… and finally, maybe one of the most important ones, because of the extremely high quality of the album, and this should absolutely be more known outside of Norway:
– Lily & The Gigolos – ‘Secrets’: An album that sounds like a Norwegian Siouxsie & The Banshees, with super strong song material, great production and great artwork. Check out the track “Listen To The Radio”, “Russia” or “I’m Just A Child” on YouTube, and you’ll know what I mean.

The project in itself has now released 88 albums in 99 days through crowdfunding, and is the most successful and longest spanning series in Norwegian record industry history, which in itself is a great feat! ALL countries should have a project like this! Just think about Sweden, a country which haven’t even released the albums like NASA – ‘Power Of The Century’, or most albums by Secret Service and Freestyle on CD at all! I really hope that this Norwegian project will inspire others to do the same in their countries, because there’s so much music history out there, and if we want to keep it for later generations, it has to be done NOW, or it will never be done. The younger generation consumes music digitally, so it is up to us to get these master tapes digitized and onto a physical medium like a CD, so that they also can be used as masters for digital distribution later on. That’s not the first priority, but what label wouldn’t jump at the chance of getting paid for a physical license and also get a remaster they can use for digital distribution/streaming? This also means that a lot of these artists WON’T be forgotten, and that their music will live on to be discovered by others.

Also, a lot of people in the Facebook group for ‘Norske Albumklassikere På CD’ constantly discover new “old” acts/releases, and this is half the fun of being part of this. I mean, I started working in a record shop in the summer of 1985, and I’ve worked in the music business in one way or the other since then, as a DJ, on radio stations, playing in bands, fixing record fairs, selling stuff via mail-order, working at record companies, writing for music magazines etc etc. so I try to contribute the best I can, but even I discover new and exciting things through this project.

Nobody knows everything, and that’s one of the great charms of music, that you can discover a band from the 80’s you’ve never heard of that you totally love!

Search and order already financed albums here: https://norskealbumklassikere.no/
See and order albums being crowfunded now: https://www.bidra.no/norskealbumklassikere

Join the Facebook group for CDs: https://www.facebook.com/groups/norskealbumklassikere and/or LPs: https://www.facebook.com/groups/norskealbumklassikerelp

Jan Ronald Stange

www.facebook.com/jrstange

‘Runaway’ – third single from Piston Damp incl. remixes by Die Krupps, Mesh and Substaat

Jan Ronald Stange — Fri, 02 Apr 2021 15:00:00 +0000

(By our Norwegian correspondent Jan Ronald Stange / Piston Damp press release)
The Danish/Norwegian duo Piston Damp releases ‘Runaway’, their third single in six months, following their smash debut ‘Something In Me’ and the critically acclaimed ‘Loose Ends’. This time they’ve joined forces with remixers such as Die Krupps, Mesh and Substaat.

The duo consists of Jonas Groth and Truls Sønsterud, Jonas being the singer/songwriter/producer, with more than 20 years experience from both stages and studios all over the world, mostly connected to his brother Stephan’s band, Apoptygma Berzerk, and has also collaborated with various other acts like Magenta, The Anix and The Dandy Warhols.
Truls is the musical arranger/keyboardist/songwriter, connected to various bands since the late 90’s, and has worked under the alias Tröll when remixing both Piston Damp and other electronic acts.

‘Runaway’ was written and recorded in demo form in 2001 when Jonas lived with his brother in Frxta, Norway. This demo was eventually discovered by national radio station NRK P3 and voted “Song of the month” in January of 2005 and has since lived its life on its own in the electronic underground scene.
Now, in 2021, the song has been re-sung with new lyrics and totally re-recorded. The single release will include a Single Version, the what-has-become-obligatory Extended Version, and an instrumental piano version.
Runaway has also been remixed by three legendary acts; Die Krupps, Mesh and Substaat, in three very varied remixes, which will assure activity on the various dance scenes when those days return.

The B-side track ‘Re-Shaper’ is a newly written song about how Jonas sees the many riots and demonstrations in the western world the last few years, as people tend to be extreme in their ways from the get-go and have a zero-tolerance for any other view than their own. The song uses multiple layers of vocal, which has become Jonas’ trademark, inspired by his many years of arranging and vocal producing for other artists (both Apoptygma Berzerk and Take That singer Gary Barlow have recently used his voice and arrangements).

Piston Damp have also worked hard over the last few months to record songs for a full-length album, planned to be released during the first half of 2021.

Buy/listen to the single at Bandcamp, Apple Music and Spotify.

Jan Ronald Stange

www.facebook.com/jrstange

Synapsyche – Hate And Psyche (EP – Alfa Matrix)

Inferno Sound Diaries — Sat, 27 Mar 2021 20:00:00 +0000

Genre/Influences: Dark-Electro, EBM.

Format: Digital.

Background/Info: This EP by Italian formation Synapsyche was originally released in 2015 on skyQode. The re-release features one extra song.

Content: This EP hasn’t lost its original magic, mixing brutal beats together with raw leads and aggressive bass lines. The songs are mixing elements of EBM and Dark-Electro, the vocals being totally devoted to Dark-(h)El(l)ectro. All the songs are cool and even the remixes by Zweifelhaft and Device Noize are worthy of examination. The extra song at this re-release is a surprising cover version of Apoptygma Berzerk’s early hit “Bitch”.

+ + + : This EP brings us back to the ‘early’ years of the band and I personally prefer this work to what they’ve done during the past years. I even consider this work as the best one they ever released; a perfect and heavy mix between EBM and dark-Electro. “Whore Wide Web” is a true smasher and especially its harsh, scratching lead sounds phenomenal. “Breath Control” is another great song while I also recommend listening to the remix of “Blame Index 100%” by Device Noize. The original version was featured on the band’s debut album “Crashdown Connected” (2014).

– – – : Quite surprisingly, the title song isn’t my favorite one. The cover version of “Bitch” is cool, but clearly more efficient for live performances.

Conclusion: Synapsyche brings us back to their past, revealing an essential piece in their discography.

Best songs: “Whore Wide Web”, “Breath Control”, “Hate And Psyche”.

Rate: (7½).

Artist: www.facebook.com/synapsyche

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Hate And Psyche’.

Inferno Sound Diaries

www.side-line.com

Echo Image returns with ‘Walk My Mind’ single after 20 years – including remixes by Apoptygma Berzerk ++

Jan Ronald Stange — Mon, 01 Mar 2021 17:20:19 +0000

(By our Norwegian correspondent Jan Ronald Stange / Sub Culture press release)

After a 20 years hiatus Pål-Magnus Rybom decided to revive one of Norway’s legendary synthpop acts – Echo Image! Having had great success with their album ‘Compuphonic’ in 2001 and the singles ‘Skulk’, ‘Need To Be Proud’, ‘Standing Alone’ and the club classic ‘Endless Day’, it all came to an end in 2002.

In 2016, the compilation ‘Compulation’ was released on LP, and a release-party gig was held locally in Fredrikstad, and hopes got up among avid fans that more would come out of this, but nothing more happened at that time.

Finally, now the new single ‘Walk My Mind’ is here, and it was released March 1^st on all digital platforms and streaming services via Pitch Black Drive, and is said to be just a warm-up for things to come later in 2021!

The new single includes remixes by Apoptygma Berzerk, Technomanzer feat. Angst Pop and Einar K. Five

Download / listen: Bandcamp | Spotify | Apple Music

Jan Ronald Stange

www.facebook.com/jrstange

Synapsyche covers Apoptygma Berzerk’s monster hit ‘Bitch’ on augmented re-release of ‘Hate and Psyche’ EP

Bernard - Side-Line Staff — Thu, 18 Feb 2021 18:20:35 +0000

Alfa Matrix is re-releasing another EP from Synapsyche’s back catalogue with as exclusive bonus track, their cover version of Apoptygma Berzerk’s classic cult song “Bitch”. The release can now be downloaded from Bandcamp with other platforms to follow in the next week.

Originally released on December 4th 2015, the “Hate And Psyche” EP was a real milestone in the band’s discography as the EP announced the band’s progression from their harsh dark elektro past to a new and more melodic attitude.

The Italian act is currently working on new material. Read the review of ‘Hate And Psyche’.

Hate and Psyche EP by SYNAPSYCHE

Bernard - Side-Line Staff

side-line.com

Apoptygma Berzerk side-project Piston Damp releases second single on February 1st: ‘Loose Ends’

Bernard - Side-Line Staff — Wed, 27 Jan 2021 18:03:48 +0000

The Danish/Norwegian duo Piston Damp – aka Jonas Groth and Truls Sønsterud – releases their second single “Loose Ends”, three months after debuting with “Something In Me”.

The track “Loose Ends” was written when Jonas lived with his brother, Stephan back in 2001, and a demo version has been wandering around online ever since. During the holidays of 2020, the band decided to
re-record the song and make it their follow-up single to last year’s debut “Something In Me”.

The new single was recorded by Jonas and Truls, with Computorgirl (Benedicte Sveinsson) lending her voice to the up-tempo b-side “Don’t”. A remix of “Loose Ends” has been provided by Alyxx of Zone Tripper, and the b-side was remixed by Truls, aka Tröll.

Magne Johansen of MJAudio served as mixer of the single, which also includes extended remixes of both tracks, and Ole-Espen Kristiansen (Elec This!) mastered everything at STUDIO+/-.

For now, check out the first single.

Bernard - Side-Line Staff

side-line.com

ES23 – Only Melodies Remain (Album – Infacted Recordings)

Inferno Sound Diaries — Mon, 14 Dec 2020 08:00:00 +0000

Genre/Influences: Electro-Pop, EBM, Body-Pop.

Format: Digital, CD.

Background/Info: Daniel Pad aka ES23 last year unleashed the EP “When I’m Gone” as an appetizer to his fourth official album “Only Melodies Remain”. It seems that it took a while to release the album, but here it is; twelve songs plus two remixes!

Content: After a rather evasive, instrumental debut song, “When I’m Gone” appears to be the real start of the album. ES23’s last releases were driven by Electro-Pop influences and even if this album holds on this influence, it also becomes empowered by EBM elements especially the second part of the album which is spiced by solid EBM bass lines. Some songs are getting harder while the vocals are spookier. There’s even one song featuring SynthAttack featuring the familiar hopping sequences of this band.

The first part of the song is more into the Electro/Future-Pop and ES23 here sometimes reminds me of Apoptygma Berzerk. The work comes to its end with a remix of “When I’m Gone” by Solitary Experiments and “Taking Me Down” remixed by Shiv-R.

+ + + : ES23 ever started as a Dark-Electro project and progressively moved into solid Electro-Pop music. This album takes some distance with previous productions and becomes harder again, powered by great EBM bass lines. While the debut songs have something more Future-Pop orientated –and revealing some cool songs, the second part of the work appears to be a great fusion between EBM and Electro-Pop. Songs like “Not Your Enemy”, “Good Or Bad” and “Taking Me Down” all are great exposures of this boosted format. Both remixes by Solitary Experiments and Shiv-R are also worthy of examination especially the hard-kicking remix of “Taking Me Down” by Shiv-R is pure sonic adrenaline! I think this album features more potential single/EP title songs.

– – – : I don’t see real minus points about this album, Daniel Pad having released one of his best productions to date!

Conclusion: “Only Melodies Remain” sounds like the perfect offspring between EBM and Electro-Pop.

Best songs: “Not Your Enemy”, “Good Or Bad”, “Only Melodies Remain”, “When I’m Gone”, “Taking Me Down”, “Taking Me Down – Shiv-R Remix”.

Rate: (8½).

Artist: www.es23.de / www.facebook.com/ES23official

Label: www.infacted-recordings.de / www.facebook.com/pages/Infacted-Recordings/124099254321690

Inferno Sound Diaries

www.side-line.com

The Anix launch ‘Die With You Remix Contest Compilation’ remix album – Out now

Bernard - Side-Line Staff — Tue, 03 Nov 2020 18:24:20 +0000

Out via FiXT is The Anix‘ “Die With You Remix Contest Compilation” album. The album features 14 mixes, including the top 3 winners from the contest, Kaixo, BassPanda, and Simdist, along with additional mixes by Ario, Cyborgdrive, Metarmonica, Rodria, Ephemeral Machine, and more. You can expect a range of genres, including drum & bass, house, synthwave, dubstep, industrial and more.

Originally founded in 2001 by Smith, and later joined by brother Logan Smith with longtime friend Chris Dinger, the group toured the Hollywood rock club circuit for several years. After writing hundreds of songs and playing countless shows, the band signed a deal in 2008 to record their first full-length studio album titled “Demolition City”. The band then landed a deal with The Diesel Management Group and toured throughout Europe on the “Rocket Science Tour” with Apoptygma Berzerk.

In 2011 The Anix signed a record deal with Cleopatra Records to record their second studio album titled “Sleepwalker”. In 2016, The Anix began the process of reinventing themselves, shifting away from a touring band into a studio project. After a full year of development, the group emerged with “Ephemeral” in March 2017 as their 2nd album on Cleopatra Records.

In 2018, The Anix completed their metamorphosis from band to solo project as front-man and songwriter Smith signed with FiXT. The Anix released the full-length album “Shadow_Movement” in 2018, “Hologram” in 2019, and “Graphite” in 2020, and has signed on for 3 more albums with FiXT in the years to come.

Here’s the video for “Die With You (Ario Remix)”.

Bernard - Side-Line Staff

side-line.com

Piston Damp (Apoptygma Berzerk side-project) debuts with 9-track single ‘Something in me’

Jan Ronald Stange — Sun, 11 Oct 2020 18:55:24 +0000

(By our Norwegian correspondent Jan Ronald Stange / Sub Culture Records press release) The Danish/Norwegian duo Piston Damp, currently residing in Sarpsborg, Norway, are releasing their debut single on October 16^th. Have a listen at the first track available at Bandcamp at the bottom here!

The duo consists of Jonas Groth and Truls Sønsterud; Jonas being the singer/songwriter/producer, with more than 20 years’ experience from both stages and studios all over the world, mostly connected to his brother, Stephan’s band, Apoptygma Berzerk. He also has
connections to various other acts like Magenta and The Anix. His production partner is Truls; musical arranger/keyboardist/songwriter, connected to various bands since the late 90’s.

Their new track ‘Something In Me’ was written and recorded this summer, with Stephan Groth serving as pre-production supervisor. It is mixed by Ole-Espen Kristiansen (Elec This!) at STUDIO+/-, and mastered by Carlos Perón (ex-YELLO), at Liquid Gold Mastering.
Something In Me also has a version called Noget I Mig with Danish lyrics, and both versions have several remixes (‘Pegboard Nerds Remix’, ‘The Anix Remix’, ‘Technomancer Remix’, ‘Extended 12”
Remix’, and more…).

Tracklist:

Something In Me
Noget I Mig
Another Pain (Blue Hearts Version)
Something In Me (Pegboard Nerds Remix)
Noget I Mig (Pegboard Nerds Remix)
Something In Me (The Anix Remix)
Something In Me (Technomancer Remix)
Something In Me (Kleinmelker Remix)
9. Something In Me (Extended Remix)

All tracks written by Jonas Groth
Recorded, arranged, produced and programmed by Piston Damp at Brakka Studio, Tveter
All vocals arranged and recorded by Jonas Groth at Love Studio, Greåker
Snare drum on Another Pain by Truls Sønsterud
Tracks 1-3 and 6-9 mastered by Carlos Perón at Liquid Gold Mastering
Tracks 4 and 5 mixed and mastered by Alex “O” at PBN Headquarters, Hamar
Tracks 1-3, 7 & 9 mixed and engineered by Ole-Espen Kristiansen at STUDIO +/-
Track 6 recorded and mixed by The Anix
Track 7 recorded and mixed by Technomancer at The Technomantic Zone
Track 8 recorded and mixed by Kleinmelker
Track 9 remixed by Jonas Groth at Love Studio, Greåker
Final compiling and editing by Tomas Siqveland at Lydmuren. Greåker
Logo and design; Espenoo
Pre-production supervisor; Stephan L. Groth
Production office; Per Aksel Lundgreen
Worldwide digital distribution by Sub Culture Records – “Making everything great again”

UPDATED October 15th: Check their music video!

Something In Me by Piston Damp

Jan Ronald Stange

www.facebook.com/jrstange

‘Easy Way Out’ – new video from The Sky’s Gone Out

Jan Ronald Stange — Wed, 24 Jun 2020 18:58:23 +0000

(By our Norwegian correspondent Jan Ronald Stange)
The Sky’s Gone Out, the band from Fredrikstad, Norway, noise-rock w/electronica and goth influences, just released a video for their latest single ‘Easy Way Out’. The band originally started up as The Pussyclub in 2006, always with Jon M. Holm at the helms, and I had a few words with him about the band and this particular video.

Side-Line: Tell us about this release – the song is already a few years old?

Jon M Holm: The video is a last farewell to past times and previous members who have influenced the band, and a welcome to new members Lars Lilleng (bass) and Magnus Skovly (guitar) from the current members Simon H. Hansen and myself.

S-L: The song itself sounds like it continues the legacy of Pussyclub?

JMH: Yep, the noise and fuzz guitars blended with electronica, partly due to a memorable production collaboration with Stephan Groth (Apoptygma Berzerk). The arrival of modular synths will forever mark our musical expression on coming releases and concerts.

S-L: Any other releases, concerts or other plans ahead?

JMH: We consider this video as a warm-up for the release of our next single ‘She’s Dead’ in August, and we’re also planning doing some concerts in September.

Do also check out The Sky’s Gone Out on Spotify!

Jan Ronald Stange

www.facebook.com/jrstange

‘Disarm’: Apoptygma Berzerk releases 2nd B-sides and rarities collection

Jan Ronald Stange — Fri, 22 May 2020 16:30:34 +0000

(By our Norwegian correspondent Jan Ronald Stange. Cover art by Halvor Bodin)
Exactly a month after the previous release ‘Faceless fear‘, Apoptygma Berzerk and Pitch Black Drive Productions followed up on May 1st with another digital compilation, ‘Disarm – A collection of B-Sides & Rarities’. In a busy time working on several projects Stephan Groth found time to elaborate on this release and more, and there’s even releases from his side projects in the pipeline!

Side-Line: The ‘Disarm’ compilation – any major differences as a concept from ‘Faceless Fear’?

Stephan Groth: It is basically the same concept, and a follow up to “Faceless Fear”. We are making rare APOP tracks available on all digital platforms, including the Pitch Black Drive Bandcamp page. We have so many B-sides, rare remixes and even unreleased versions of APOP songs lying around. A while back Per Aksel and I started to compile them and put them together in an album format. Because of the corona virus situation, we finally found the time to realize the project, and we are already working on Vol. 3! 😉

S-L: ‘Kathy’s Song – Litteraturhuset versjon’ is one of the more unexpected tracks here, and as I was present myself the first time it was performed I found it very surprising and pleasing seeing it on the track list.

STP: Yes, the ‘Litteraturhuset versjon’ of ‘Kathy’s Song’ is extremely rare! The song was only performed live once at a very exclusive show in Fredrikstad called “Menneske/Maskin/Musikk”, a concert we did playing only Kraftwerk songs as well as APOP songs in Kraftwerk’ish versions. The ‘Litteraturhuset versjon’ is not a live recording from that show though, but a touched up version of the rehearsal track that Jonas and I would rehearse to before the show.

S-L: The track ‘Disarm’ – never released before, right? Ever played it live?

STP: Correct, it was never released and never played live before.
It was supposed to have been put out many years ago but for some reason it just never happened. So, now was a good time to let people hear it, and the feedback has been great. It seems like people are really appreciating us doing this.

S-L: It took literally just seconds before ‘Disarm’ trumped the original Smashing Pumpkins version IMO. It’s named ‘Alex O. Mix’ – does that imply there’s other versions too? I think the track deserves it’s own single release in multiple versions!

STP: Better than the original, well… I don’t think so, but thanks for the compliment 🙂
It is an amazing song by an amazing band, a song that was very important to me earlier in my life.
There are other versions of Disarm, yes, but I never got around to finish them. Alex Odden (Pegboard Nerds/Drugwar) made this mix years ago, and it only needed a little touch-up before it was ready to be released.

He is an extremely talented producer, someone I will be working more closely with in the future. We just revived our project DRUGWAR, something that you`ll hear more of on the ‘Nein Danke!’ EP, as we did a remix of the song ‘A Battle For The Crown’.

S-L: What’s up next? Lots of plans postponed due to the corona situation?

STP: I have quite a few projects in the works at the moment. I already mentioned Drugwar, and I am also working with Echo Image for some new releases as well as a very interesting project with Mortiis, who I am currently recording with. This project will definitely be on the more experimental side of the electronic music specter, and we will use elements of both bands broad palettes.

There will also be a follow-up EP to the recently digitally released ‘Before You Came Along’ CD-Maxi with Fairlight Children, consisting of previously unreleased mixes from back then, mixes that are way to good to be left on a shelf somewhere.

Now that ‘Rocket Science’ will be released on vinyl for the first time on the same date as the ‘Nein Danke!’ EP, we will also be working on getting ‘You And Me Against The World’ out on 2xLP, hopefully together with yet another brand new EP.
So, we’re not getting bored down here in FRXTA! 😉

Next out is the 12″ and CD of ‘Nein Danke!’ EP, preordering have started in Germany at Poponaut and Infrarot, in US/Canada at The Electric Fox, in Denmark at Braincorp, in Sweden at Hot Stuff, and finally: in Norway at Retro Vinyl in Sarpsborg (phone or e-mail only).
Meanwhile check out the teaser @ Bandcamp!

For more upcoming APOP action:
www.theapboffice.com
www.facebook.com/ApoptygmaBerzerk
www.pitchblackdrive.bandcamp.com

Jan Ronald Stange

www.facebook.com/jrstange

Nope, this isn’t April fools! Apoptygma Berzerk releases ‘Faceless Fear’ B-sides and rarities collection

Jan Ronald Stange — Wed, 01 Apr 2020 19:47:18 +0000

(By our Norwegian correspondent Jan Ronald Stange. Cover art by Halvor Bodin)
Barely a week before April 1^st Apoptygma Berzerk and Pitch Black Drive Productions announced the digital release of ‘Faceless Fear – A collection of B-Sides & Rarities’, and today we can all get it on lots of platforms!

The name was indeed in touch with the current state of the world – coincidence or not?! I managed to get some background from the henchman of Stephan Groth, the x-member still pushing various buttons: Per Aksel Lundgreen.

Side-Line: This release, or rather the title, seems very current – something you decided recently due to the corona crisis, or had it been named earlier?

Per Aksel: It’s actually been planned for a long time. Before x-mas I put forward three suggestions for compilation albums to Stephan; the first called ‘Faceless Fear (B-Sides & Rarities)’. We also are more or less finished with the tracklisting for Vol 2: ‘Black Pawn (B-Sides & Rarities)’ and Vol 3: ‘Lidelsens Mening (B-Sides & Rarities)’

S-L: So the ‘Nein Danke EP’ has been postponed then?!

PA: Nope, we just squeezed ‘Faceless Fear’ in between other releases. We’re worked long and hard to FINALLY finish the ‘Nein Danke EP’, and also the remastering and cover for the ‘Rocket Science’ LP release. After that we considered the three compilations, and what better title to start off with than ‘Faceless Fear’ in these corona times when most of the world is in a quarantined standstill? At the same time it’s good to present something exciting for the Apop fans these days, trying to be a relief from news and social media packed with fear and sad stories about dead music colleagues.

Get the collection on Bandcamp, iTunes or Amazon, and it’s a also available on Spotify, TIDAL, Deezer, Simfy, Slacker, 7-Digital and other platforms.

Jan Ronald Stange

www.facebook.com/jrstange

The Cassandra Complex re-release 20-year old ‘Wetware’ in 3 linked releases

Bernard - Side-Line Staff — Mon, 25 Nov 2019 18:44:25 +0000

(Picture by Daniela Vorndran) Almost 20 years ago (it’s like yesterday if you ask us) the influential goth-electro-industrial-cyberpunk band The Cassandra Complex released “Wetware”, a milestone in the dark wave scene. Now it is finally being made available again, fully remastered and resequenced, in three linked releases.

First up is the 3 track “Twice As Good” EP on November 22, featuring legendary electronic acts Front 242 and Apoptygma Berzerk, who were now both called in to do remixes. December will see the release of the other songs from “Wetware” split into two parts: “Hardware” and “Software”.

Rodney explains this special re-release treatment of the “Wetware” material: “When we were originally working on Wetware we ended up writing so many great songs that we couldn’t fit them all into one 70 minute CD, so we had to leave some songs off. When it came time to remaster it for streaming I realised that I could now add in the missing stuff, and split the whole thing into two albums instead. So now Hardware contains the harder, faster, more in-your-face songs, while Software contains the longer, slower, more psychedelic pieces. Listening to each one individually is a much more coherent experience – it’s the two halves that make up the totality of The Cassandra Complex.”

“We had gotten fairly burnt out”

The “Wetware” songs were originally written in 1999 in Los Angeles and Hamburg, and were seen by the band as the culmination of the work they had been doing in the previous 15 years of near-constant recording and touring.

Rodney Orpheus: “From the moment I started The Cassandra Complex we had basically never stopped working on music – when we weren’t touring we were in our studio in Hamburg doing production and remix work for other European alternative bands. I literally lived in our studio. We had gotten fairly burnt out by that stage which left us wondering where to go next.”

With the band lineup down to just Rodney and guitarist Volker Zacharias, Rodney was offered a job with music software company Steinberg in Los Angeles, and things looked bleak for the band’s future.

“Getting out to LA forced me to look at our past from a new perspective. I started listening to our older records in order to rediscover what had made them so good in the first place. I had also been doing some work with Kraftwerk, which got me involved with their interest in the Man Machine interface. I realised that was something also intrinsic to what we were doing with The Cassandra Complex – the synergy between very rigorous and computerised rhythms and human improvisation and emotion. That got me thinking about computer systems, where you have Hardware, which is the chips in the machine; Software, which is the information running on it; and Wetware, which is the biological operator controlling and directing the whole thing i.e. us. That became the working basis and title for what we wanted to do next.”

Working on the record meant frequent trips back to Hamburg where Rodney and Volker would feverishly work on finishing songs in the limited time they had together. The final mix was then completed back in LA.

Formed in 1980, still going strong today

The Cassandra Complex was originally formed by Rodney Orpheus, Paul Dillon, and Andy Booth in 1980 in Leeds, England. Over the years, the band’s sound has included elements of EBM, industrial, goth rock, new wave and synthpop.

Earlier in 2019 the band remastered and re-released their two earliest albums “Grenade” and “Hello America”. In recent months Rodney and Volker have again joined up along with band co-founder guitarist Andy Booth and keyboard player and “button-pusher” Axel Ermes to tour across Europe with The Cassandra Complex. This year they have successfully played to thousands of fans at WGT Festival and Amphi Festival in Germany, W Festival in Belgium, and DarkMAD Festival in Spain; and have a forthcoming headline performance in December at BIMFest in Belgium. Coming into next year the band have already committed to major shows in Germany and Greece, with more European dates to be confirmed.

You can view a full video of the band’s recent concert at WGT Festival in Leipzig, Germany below.

Bernard - Side-Line Staff

side-line.com

Interview with Bernard Van Isacker on the ‘Face The Beat’ series: ‘Charting with smaller bands? It’s possible, this compilation has proven it.’

Eldrina Mich — Sat, 02 Nov 2019 12:04:46 +0000

(Interview / photo by Eldrina Mich) While the charity download compilation “Face The Beat: Session 5” is still reigning the charts on Bandcamp, we decided it was time again to speak with Bernard Van Isacker, the brain behind this compilation. He is also Side-Line’s chief editor and resides with his family (and 2 cats) in Ypres, a small town nearby the French border in what’s called the Westhoek or Maritime Flanders. During the First World War, Ypres (or “Wipers” as it was commonly known by the British troops) was the centre of the Battles of Ypres between German and Allied forces, nowadays it’s a bit calmer.

I meet Bernard on a cold Friday evening at The Times, a small pub on the border of the Ypres market square.

SL: The previous interview was in June of 2015 when the 2nd volume of “Face The Beat” had just been released. It’s like yesterday!

B: Time flies very fast indeed. Good to see you are still looking great (laughs)!

SL: The compilation has been doing quite well since its launch, it went straight to the number 1 spots on Bandcamp in the alternative, industrial and goth charts.

B: Yeps, and it even was the 2nd most downloaded release on Bandcamp the day of its release, so yes, quite spectacular. It’s not really a surprise though, all of the volumes kept on being downloaded ever since the project started and I kept getting questions when the new volume would be released. But most importantly, I think we have a very strong list of tracks on this volume.

Next to that, the power of Bandcamp has become very clear here. The moment the new volume was launched Bandcamp’s notification system sent out a huge blast to a massive amount of people informing them and as a result you saw the release climbing very fast in the charts.

SL: I don’t know of any other scene compilation which has succeeded charting that fast and so high on Bandcamp?

B: Me neither (smiles). I have already been asked by a lot of people from inside the music industry how this is possible with a compilation that doesn’t feature the biggest names from this scene like Front 242, VNV Nation, etc.. But it’s especially the fact they can discover new and less wellknown bands that makes people wanting to get hold of it. Speaking of which, I especially want to thank Raphael Beck (darkTunes), Andy Skyqode (Skyqode) and Seba Dolimont (Alfa Matrix) who have been good allies in the past few years – and again this time – in getting the series up and running. They have valued the series since day 1 and I really appreciate that.

SL: Was the start so difficult?

B: When I started with this series a few years ago, in 2011 that is, not many labels believed in the concept, some did like the ones I mentioned earlier. The hesitation was mainly because I decided to feature a lot of smaller and starting bands. For me that was THE reason to do it that way because this is actually the core idea behind Side-Line since day one: being an indie magazine that is a platform for bands to get noticed, unknown and known, starters and established acts. Since the start of the series, the influx of submissions for the compilation never stopped, a lot of bands want to be on it and especially those who stand behind the charity causes that we support.

SL: It took you a while to come up with this 5th volume, I think I have seen some preliminary cover artwork some 2 years ago already?

B: Yes (smiles). It would initially have been released in early 2018, but something came up in mid-2017 that jeopardized the whole project. Let’s say that some mainstream label thought they could just harass us in taking over the concept. It kept on causing problems till mid-2018. I won’t say more about this, suffices to say, we won, they lost (smiles). The first cover artwork you refer too (Editor’s note: you can see it below) was made in November 2017 during a stay in France, at Le Mont Saint-Michel, together with my wife and newborn son Magnus.

SL: The cover artwork produced at that occasion had ‘the final side-line’ as subline? What was the meaning of that?

B: Back then I was really doubting if I would go on with the magazine or not. So that artwork would have been my final word on the matter.

Notice the subline saying: the final side-line

Sorry I didn’t inform the rest of the team, but it was really on my mind to pull the plug. It isn’t all that unlogical, it takes lots of time to keep this doing and with a new baby in the family, I wasn’t sure to be able to handle this all. My other ‘companion de route’, Stef, also has had his fair share of not so pleasant news, so the toxic mix was there and it played around for a while…

I think we all have those difficult moments when there’s too much going on. Plus, and that’s on a personal level, often you don’t really get any ‘thank you’ back for all of the work that you do, and I’m not only talking about Side-Line or so. When you do a lot of (mostly unpaid) work for very little return on several levels, it starts nagging.

Then in February 2018 I was in Oslo with my wife and I visited Jan Ronald Stange, our local correspondent there. We have gotten along really well since meeting I think in 2010 and when I’m in the Nordics I always try to pay him a visit. And believe it or not, his enthusiasm is kinda infectious (laughs). My wife also noticed that, and said something like: “It’s time you get the same enthusiasm like Jan in your work again”. That made me thinking… Anyhow, here we are (smiles).

As a result I binned the first cover artwork idea and went for a completely new approach. But it was only last month after visiting Maastricht in The Netherlands together with my oldest son Sebastian that I found the perfect artwork idea. I saw this great bronze lion face on a big door, watched it closely, took a picture and in the hotel I started playing with some ideas. I sent those to Simon Helm from Cold War Night Life to ask his opinion and we picked the final one.

SL: Why Simon?

B: Long story cut really short. I knew Simon was behind Cold War Night Life, and one thing led to another and I got to meet him a few months ago when he was in Brussels. Jean-Marc Lederman told me he was a decent guy so the more reason to meet up. We ended up talking for hours in a small restaurant, the Arcadi in case you wonder, about all kind of things. And Simon got to learn to eat Stoemp with saussage, a typical dish from Brussels (laughs)! Cool intelligent guy he is with a clear view on a lot of things. I like straightforward people and he for sure is one. On top we kinda share the same humor, something really important. Simon also has been writing some stuff for Side-Line since then. I trust him and value his feedback, hence why I asked for his feedback.

Simon Helm on the left, Bernard Van Isacker on the right.

SL: In the press release for this compilation it’s noted that the release is by far the darkest you ever compiled. I tend to agree with this. Personally, it reminded me of “040 Hamburg Strikes Back!”, the compilation released by the defunct label Hypnobeat in 1992.

B: I love that compilation! For me it was the first time I got to hear from Fortification 55, the band formed by Björn Petersen and Jan Kruse. They made some great albums back in the days. Thanks for the compliment, it was really that feeling that I had when going through the selection here!

SL: I noticed you also had a megamix prepared to promote this release, how did that come about?

B: I actually hadn’t prepared this at all. It was pure coïncidence. Shane Aungst, who made the megamix, contacted me a few days after the release was out saying he had picked 20 something tracks of the compilation to create a megamix. It turned out to be one that was 1 hour, 33 minutes and 21 seconds in length featuring 23 tracks and the quality was excellent! After mailing back and forth I created a cover for the megamix and Shane edited the megamix into 2 because Bandcamp was unable to feature the full length in one cut. Perhaps they should increase the 600 MB limit when you want to release a megamix (smiles).

It’s a nice extra on which Shane has been working for hours. We plan an interview with him in the next days actually.

Shane Aungst vs Face The Beat 5 – Megamix by Shane Aungst

SL: Something else. You informed us a few weeks ago that Side-Line had opened a channel on the mobile app Telegram?

B: Yes, that’s correct. The reason behind this is that Facebook is more and more becoming a no-go for indie news discovery. I for instance use Twitter a lot more for my news digestion, because Facebook really is rubbish at getting decent news in my feed even though I follow some really good sources. At Side-Line we could easily write clickbait articles that would get spread a lot. But that’s not what I want, and on top the team really wants to continue bringing news about smaller bands. But that’s not what Facebook wants, so it deliberately doesn’t push those newsitems to our readers since the ‘engagement’ is lower.

Facebook is really becoming a graveyard as far as non-commercial news is concerned. Unless you pay and even then. I don’t expect Facebook to get any better, on the contrary, it will get worse, because the shareholders will want more and more. Facebook can only deliver this by squeezing more and more money out of our pocket. And with their Libra project becoming a nightmare, you can be sure we the publishers all will have to pay for it (laughs)!

You know, Facebook has censored a ton of our articles because they didn’t like the artwork used by the band’s featured. Rammstein, Apoptygma Berzerk, Siva Six, Alien Vampires, Combichrist, articles from all of these bands and many more were simply censored and banned from the network … pretty frustrating.

SL: So Telegram is the way to go?

B: Yes. The service offers you the possibility to send out newsupdates to an unlimited number of people in one go without it being stopped, hidden away or censored even. I prefer this kind of news updates where I chose what I want to get.

People can join us on Telegram via this link https://t.me/sidelinemag (install the app as well, on desktop or mobile) and they will get our news first before it gets posted on Facebook. The good thing is that the channel is ad free. You just get our news and you can leave a like or dislike, and that’s where the comparison with Facebook ends. I’m personally also using Telegram a lot more to connect with people instead of Whatsapp. If you haven’t got an account yet, make sure to sign up!

SL: What’s coming up next?

B: As far as Side-Line is concerned I’m working on a few projects, but it’s too early to announce anything yet.

SL: Last question, what keeps you busy besides Side-Line?

B: Ha, a lot of things, too many things really. Besides my daytime job as a social media marketeer and CRM responsible at the Belgian branch of a multinational, and running 2 small holiday houses, I’m still heavily involved in Alfa Matrix, Bob De Moor, collecting original drawings by comic masters and a lot of local ‘policy work’, the latter is often draining a lot of my patience (laughs). I also have started running to stay fit. Every 2 days I try to do my 5 kilometers, early in the morning before having a breakfast at the local Panos, which opens at around 5.30 AM. It’s a perfect way to start the day with fresh energy I must say.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Apoptygma Berzerk releases “Nein Danke!” EP – get the first two tracks today

Jan Ronald Stange — Sun, 11 Aug 2019 19:35:19 +0000

(By our Norwegian correspondent Jan Ronald Stange / Tatra Records, Pitch Black Drive pressrelease) Apoptygma Berzerk have been very active in the recent years, and in 2016 we saw the release of the instrumental album “Exit Popularity Contest”, a hommage to Stephan Groths musical heroes and inspirations. Between doing remixes for Machinista, Peter Heppner and Page, APOP have also been playing concerts and festivals every year.

In 2018 APOP amazed everybody with the fantastic 25th Anniversary of their debut album, “Soli Deo Gloria”, and the reworked album “SDGXXV” that accompanied it, filled to the brim with legendary artists from the electronic scene doing stunning reworks of the old APOP classics!

The analogue instrumental album and the work with classic electronic artists inspired APOP to take the analogue sound into their traditional “pop” songs, enhancing them with the golden sound of electronic pop from the late 70’s and early 80’s, while also wrapping them in an electronic blanket covering your aural senses like a comfortable shroud.

Now the time has come for a new release in the form of an EP titled “Nein Danke!”. It includes three brand new tracks; “Atom & Eve”, “A Battle For The Crown” and “Soma Coma”, and also several remixes, giving a total of seven tracks.
Estimated release date: end of September 2019.
Formats: CD EP, 12” EP and Digital EP

The teaser for the EP can be heard now from iTunes, Spotify, Tidal etc., and the tracks may also be purchased in high quality from Bandcamp!

PS! Don’t miss out on the following live dates if you’re able to attend!

August 15: Hannover (Capitol) (DE)
August 16: Dresden (Reithalle Strasse E) (DE)
August 17: Köln (Essigfabrik) (DE)
August 18: W-Festival / Waregem (BE)
August 24: Oslo (Parkteatret) (NO)
October 26: DarkMad Festival / Madrid/Pinto (ES)

Jan Ronald Stange

www.facebook.com/jrstange

Post-punk artist Astari Nite releases new song ‘Dearly Beloved’ + sign to Negative Gain

Bernard - Side-Line Staff — Wed, 17 Jul 2019 07:13:58 +0000

Florida based post-punk artists Astari Nite have released a brand new single, “Dearly Beloved”. The track is the first song off Astari Nite’s new album “Here Lies”, which is expected in the Winter of 2020 on the dark electronic label Negative Gain, (also home to Mr. Kitty, Goo Munday, Curse Mackey and Panic Priest).

You can download the track right now from Bandcamp.

Vocalist Mychael explains the inspiration behind “Dearly Beloved”: “This friend of mine sure has a way with words, I’m intrigued by her capability to explain sorrow from afar. I quickly realized that sometimes there isn’t a diary left behind to follow when letting go of someone in the afterlife. I’m understanding that love / affection can pour down at any moment, kind of like the summer rain, in essence “Dearly Beloved” can be described as a funeral – holiday song.”

“Dearly Beloved” was produced by Astari Nite and mastered by Jason Corbett of Actors at Jacknife Sound.

You can check out the song below.

Upcoming Shows

September 8th Los Angeles,CA – Part-Time Punks with Ash Code and Tearful Moon
October 5th Tampa, FL – w/ Assemblage 23, Actors, Twin Tribes and more

Who are Astari Nite?

Astari Nite formed in 2007 and released their self-titled debut EP shortly after they emerged onto the local new wave scene. Their debut EP was followed up by EPs “Winter’s Gone” and “Requiem Mass” and established them as a regular live act resulting in opening acts for Peter Murphy (Bauhaus), Cold Cave, Modern English and Apoptygma Berzerk.

After joining up with producer Stephen Thompson (Whitney Houston, Blues Traveler, Korn) Astari Nite hit the studio for months on end to record “Stereo Waltz” which was released in 2013. The band’s first full-length album featured their best known single so far, “Pyramids”.

In 2018 the band released “Midnight Conversations” which was produced by Tom Shear of Assemblage 23.

Bernard - Side-Line Staff

side-line.com

Machinista – Anthropocene (CD Album – Infacted Recordings)

Inferno Sound Diaries — Mon, 01 Jul 2019 18:30:35 +0000

Genre/Influences: Electro-pop.

Background/Info: Swedish Machinista duo is back on track unleashing their third full length in history. The first album “Xenoglossy” was released in 2014 on Juggernaut Music Group, the second one “Garmonbozia” in 2015 on Analogue Trash Records while they now joined hands together with Infacted Recordings.

Content: Machinista remains faithful to their electro-pop sound formula, which they demonstrated with real talent on songs such “Arizona Lights” and “Salvation”. If you’re familiar with the band’s discography you’ll easily recognize this efficient and danceable electro-pop style. But I also noticed a few ‘harder’ cuts revealing bass lines reminding me to Eisfabrik. Next to the most danceable cuts, “Anthropocene” also brings a few softer, reverie-like songs.

+ + + : Machinista has for sure gained some maturity. The song writing remains interesting and even efficient at different songs, but the global sound production is much better now. The work reveals several beautiful songs for their emotional aspect –which is also noticeable in the vocal parts, but especially for their power to get people dancing! If you like Eisfabrik I highly recommend discovering “Let Darkness In” and “The Scare – Version”. The title song is also worthy of examination and reminds me a bit of early Apoptygma Berzerk. And if you prefer ‘traditional’ Machinista songs you for sure are going to like “Seconds Minutes Hours” and “Pain Of Every Day”.

– – – : I’m not that fond and less convinced by the softer passages from the album. There’s nothing wrong with softer cuts, but songs such as “Astrid” and “Universe Is Here” don’t belong to the band’s best exposures.

Conclusion: Machinista has signed a deal with a major label from the electronic alternative scene and that’s for sure an opportunity for this interesting band to gain a wider recognition.

Best songs: “The Scare – Version”, “Let Darkness In”, “Anthropocene”, “Seconds Minutes Hours”.

Rate: (7).

Artist: www .machinistamusic .com / www .facebook .com /machinistamusic

Label: www .infacted –recordings .de / www .facebook .com /pages /Infacted –Recordings /124099254321690

Inferno Sound Diaries