Genre/Influences: EBM, Dark-Electro.

Format: Digital, 2CD.

Background/Info: Three years after the debut-album “The Worst Dream” (2018) Rebirth strikes back with a double album featuring twelve new songs and eleven remixes. Rebirth is Bruno Ruch (Sleepwalk) and singer Olivier Moser.

Content: The main disc reveals solid EBM bass lines, powerful rhythms, carrying choruses and harsh-spooky   vocals. “System:Error” reflects a cold production, which is mainly created by icy sequences and -atmospheres. The vocals are in German and English. There’s one instrumental song somewhere in the midst of the work, which appears to be a break.

The second disc reveals remixes by Atropine, Rotersand, Oldschool Union, Covenant, Struck9, Frozen Plasma, Pyrroline, AD:Key, KIFOTH, Deadly Injection and Onenine.

+ + + : I was not a huge fan of Rebirth’s debut album, but this new work sounds definitely more convincing. Bruno Ruch improved most aspects of the production, but the song writing is just better. The album features several great songs, but I especially recommend listening to “Ultimate Sin”, “Teufel In Mir” and “Streets Of The Damned”. The sound treatments reveal a professional approach. I especially like the fusion between power and haunting atmospheres on top.

The bonus disc reveals great names, but also great remixes. I especially want to mention Rotersand, Oldschool Union, Struck9, Pyrroline and KIFOTH as the most inspired cuts. Onenine is a noticeable feature as this is a solo-project of Axel Kleintjes (formerly involved with Page 12, Cyber Axis, Cycloon, Mindware).

 Last, but not least I also want to say a word about the great and artistic digipak format of this work.

– – – : This work is just missing an absolute hit to speak about a real masterpiece, but we get a real great number of songs instead. I expected a bit more from the Covenant remix.

Conclusion: “System:Error” is a work I fully recommend to all lovers of sophisticated dark EBM.

Best songs: “Ultimate Sin”, “Teufel In Mir”, “Streets Of The Damned”, “Letzte Schlacht”, “R.I.P.” + “Streets Of The Damned – Rotersand Rework”, “Teufel In Mir – Struck9 Remix”.

Rate: (8).

Artist: http://rebirth-music.ch / www.facebook.com/Dr.Tinitus

Label: www.ekproduct.com / www.facebook.com/EKProduct

About Rebirth

Rebirth is a Swiss EBM and dark electro duo formed by Bruno Ruch, also active as Sleepwalk, and singer Olivier Moser. The project released its debut album, “The Worst Dream”, in 2018 on EK Product. Three years later, Rebirth followed up with the double album “System:Error”, pairing twelve new songs with eleven remixes from acts including Rotersand, Covenant, Oldschool Union, Struck9, Pyrroline, KIFOTH, AD:Key, Atropine, Frozen Plasma, Deadly Injection and Onenine, issued on digital and 2CD formats through EK Product.

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

Genre/Influences: EBM, Dark-Electro.

Format: Digital, Double CD.

Background/Info: Three years after the astonishing album “Assailant” Norwegian EBM combo Atropine is back on track unleashing this double album featuring twelve new songs and thirteen remixes. Atropine is already active since 1994 and has released several full lengths. After a break the band has been active again since 2014.

Content: Atropine is doing what they do the best; composing a sophisticated EBM format, which rapidly evokes the atmosphere of early Skinny Puppy. But it’s much more than simply a new emulation of an EBM Godfather; it’s a well-crafted composition mixing harsh vocals together with tormented spheres and danceable passages. It also evokes to me the genius of Mortal Constraint. The power is rather emerging from the icy, horror-like atmospheres instead of the BPM’s. There’s also a trace of minimalism running through a few songs.

The second disc brings a nice selection of artists who for sure had some pleasure remixing Atropine. This is an opportunity to discover the remix skills of Miza[r], Kant Kino, Tourde Force, SWG, Amnistia, 11grams, Substaat, SKL, Impulskontroll, Amorphous, How Green Is My Toupee, Hexadiode and Pyrroline.

+ + + : If you think that EBM is easy music, you should listen to Atropine who reveal the most sophisticated and definitely intelligent EBM format. This is an elaborated writing composed with the magic of analogue equipment. Songs like “Missile Missive” and “Mutual Demise” definitely belong to the best exposures of this Norwegian formation. But I also have to mention the minimal sounding “Flesh Wreath” and the tormented “Dub Sermon”. If you pay attention to the explicit and horror-like front cover of the album you’ll get an idea about the universe inspiring this work. Among the remixes I heard excellent tracks, but will especially recommend the work by atropine’s compatriots Kant Kino and Substaat. And one more I’ve to add is the less familiar Norwegian artist SKL.

– – – : This is a great album so no real minus points. It remains a pity this band doesn’t get more recognition!

Conclusion: If you’re waiting for a new Skinny Puppy work in the good-old vein of the early years, you better listen to Atropine’s “Human Emulsion”. I promise you’ll not be disappointed!

Best songs: “Missile Missive”, “Mutual Demise”, “Flesh Wreath”, “Dub Sermon”, “Bulwark”, “Knife Vision” + “Missile Missive – Monotow Mix by Substaat”, “Knife Vision – SWG Remix”, “Bulwark – Kant Kino Disco”.

Rate: (8½).

Artist: www.facebook.com/AtropineEBM

Label: www.ekproduct.com / www.facebook.com/EKProduct

About Atropine

Atropine is a Norwegian EBM and industrial-experimental band active since 1994, releasing several full-length albums before going on hiatus and returning to activity in 2014. The 2020 double album “Human Emulsion” follows the band’s prior release “Assailant” and pairs twelve new songs with thirteen remixes from artists including Kant Kino, Substaat, SKL, Amnistia, Hexadiode, Pyrroline, Amorphous and 11grams, released via EK Product.

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

(By our Norwegian correspondent Jan Ronald Stange)
At the start of July I was made aware of the ‘Norwegian Beats, Vol. 1’ album by Norwegian Giants, had a listen and thought this was excellent summer chill beats. Then came ‘Vol. 2’ the following week, and by the time I’m writing this four albums have been released!

Tarjei Krogh, the founder and music producer, are the one putting it all together, with Joakim Vestin and Markus Storm as his wingmen for The Giants, with input on musical ideas and concepts. Tarjei was earlier involved with industrial and electronic groups in the 1990s like Anstalt, Atropine, Solar Temple and Industrial Heads, some of I both have heard before and seen live. A chat and a few e-mails later I knew even more!

Side-Line: What are Norwegian Giants, and which people are involved?

Tarjei Krogh: Norwegian Giants started out as an idea for an art collective in 2008, but after the financial crisis the whole group split up. It was reborn as a record label / creative collective in 2017, releasing artists like Svett and Cupid Rubini. Finally, in 2020, after years of work with beats and soundscapes, we decided to release albums under the name of our collective; The Norwegian Giants, more like a chill out/instrumental crossover, including synth, EBM, trap, hiphop, ambient, future bass and more… and we opened up for vocalists and instrumentalists around the Globe to contribute to our beats. They can also be enjoyed as is.
The Norwegian Giants is a big family, always open for new members and contributors. Besides the musical aspect, we will explore other art forms as well.

S-L: Four rapid releases in July! Have you been productive over a short time, or had these tracks in store and waiting for an occasion? (summer!?)
TK: The Giants have been making beats under different names since 1998 in lots of different genres, we have access to our gigantic archive, and we still work with new music several days a week.

S-L: More releases in the future? Other plans? Playing live?
TK: Our aim is to release an album with beats every Friday with contributions from various vocalists, and release regular albums with vocals and more instrumentation in the future. We’ve already got two lined up with vocals, called ‘Fasan’ and ‘1969’ to be released later this year.

Live performances could be very interesting for The Giants, we also got a brilliant dj RK on our team which is already interpertating our beats into his own mixes, this makes for an interesting collaboration.

Unlike the name Norwegian Giants suggests, we would love to collaborate with people and other artists globally, and we encourage people to contact us for collaborations using the email norwegiangiants@gmail.com.

 
Listen to their albums @ Spotify and check their Facebook page for updates on coming releases.

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

(By our Norwegian correspondent Jan Ronald Stange. Interview photos by Sigrid E. Ø. Reinertsen)
Apoptygma Berzerk, the first leading exporter of electronic music in the synth/EBM genre from Norway, are still celebrating their 25th anniversary for their debut album ‘Soli Deo Gloria’.

This time by releasing a reworked edition named ‘SDGXXV’ – already out on CD and Bandcamp, and also released on several double vinyl versions and streaming platforms April 18th. We’ve gotten some hints about the process the last year, understanding it’s been a hectic year with a lot of collaborators involved, so an interview about this was overdue. As the Apop guys lives on the opposite side of the Oslo fjord than me, we decided to meet in the middle in the ferry town Horten, where we occupied my mothers dining room for a few hours (thanks Mum!).

The release comes out in various versions which can be ordered here: CD Digipak / Tape / Cassette / MC / Two different DOUBLE-VINYL editions.

Side-Line: Was there a plan behind this rework album, and how did you end up with all these tracks and collaborators?

Stephan Groth: The short version was that the 25th anniversary for the ‘Soli Deo Gloria’ (SDG) album last year triggered it. But there’s no short versions anyway for this story, so…. First we wanted to release a 12″ maxi single with two tracks from SDG involving new, relevant musicians we like, to mark the event. This caught momentum, the list of people we wanted to work with grew and now it would be a four track EP. Everyone we asked in this process said yes and was eagerly exited.

Per Aksel Lundgreen: And when we reached 7 or 8 positive answers we decided to do the whole album – all tracks from SDG! And we still had an abundance of collaborators!

Stp: Some tracks are repeated several times on the CD version, and this led to the somewhat thematically splitting of the album, Part I, II and III, in order to distribute the songs a bit and make each part a sub-album/EP that could be listened to by itself. We also ended up in a curious situation regarding our cover of ‘All Tomorrow’s Parties’ – how to make a remix or rework of someone else’s song…?

PA: The funny thing when that situation arose was that we asked Naked Lunch to work on this song – luckily this was a favourite of theirs and the exact song they would have asked for themselves!

Stp: … and it somehow seemed destined to happen. First, we found out a Naked Lunch producer and live member also had a past in the band Sudeten Crèche, which once supported Nico on tour, and she did the vocals in The Velvet Underground’s original version of ‘All Tomorrow’s Parties’. Then we found an old flyer stating Naked Lunch also played with Nico. So there’s a connection there, making this full circle for several involved.

Someone else we must mention is Erik Wøllo, who was a very important part of making SDG in 1992-93. He released several electronic albums in the 80s and 90s before we met him.

PA: The ones on Cicada Records triggered our interest as they were on a sub-label of what was to become Tatra Records, so when we found out he had a synth studio in Fredrikstad we were quick to get in contact with him via mutual connections.

Stp: We ended up in the studio, having him helping us with technical issues and teaching us a lot, also lending us synths, drum machines and other equipment. Having access to three times more synths than we started out with helped shape SDG towards the final result, so having Erik back doing a SDGXXV track was great – and he wasn’t hard to ask either!

Erik, like Beranek and Bal Pare, hadn’t done many (or any) remixes/reworks before, so part of the collaboration became sharing my knowledge of that part of making music with them, as I’ve been doing remixes half my life.
Basically, I told them to think about how you would do this track yourself, in your style or fashion, and still keep the gist of the original.

I’d met Beranek on a few occasions, that excellent Geek Night (#1: SYNTH) at Popsenteret and a NOTAM synth meet-up, and we started thinking about doing something together.

PA: As a lead up to Stephans first meeting with Beranek it’s also worth mentioning that when Beranek curated the Norwegian Spotify list ’20+5′, where artists picks 20 favourite Norwegian tracks and 5 of their own, Beranek chose TWO Apoptygma Berzerk tracks. So, we knew already then he was a fan, and he later confirmed that at a record signing session, stating “it was to emphasize the seriousness of the situation – this is some of the best music made in Norway!”.
[Check out the list here!]

Stp: I grew up in Denmark and never got the initial buzz of Beraneks breakthrough single ‘Dra til hælvete’, which cause a lot of fuss and were banished from Norwegian radio in the 80s. Hearing it years later, I was yearning to do a remix for it, but Todd Terje beat me to it. As I considered Beraneks debut album as the first Norwegian synth album, and I’m a fan, it made sense to invite him to collaborate on SDGXXV.
‘Arp’ was one of the tracks not picked yet when Beranek was to be invited, and after I’ve listened to Beraneks album ‘Sound of danger’ on vinyl I accidentally had the record player set to 45 RPM, not 33 RPM, when I wanted to hear ‘Can’t go to sleep’. That gave me some ideas which I pitched to Beranek, and a week later I got his beautiful version in return.

The whole album was made this way, not just as another remix album, but more like reworking the tracks with others, me contributing more than in usual remix settings, so we have deliberately avoided using the work “remix” at all for this project.

PA: And “rework” is definitely fitting, because about 50% of the old tapes and discs were unusable, some even found moldy after being stored in lofts and cellars for years, so a lot had to be re-created.

Stp: The earliest work was made on Atari floppies and cassette tapes, maybe a DAT for the final masters, media not so easy to access in this digital age. Combined with several relocations and storing this in various environments we found a lot had to be made from scratch again, borrowing samplers, trying to read old diskettes and so on. And even the vocals had to be redone, and as I wasn’t an English professor 25 years ago, I also had to recreate grammatical errors, making it as true to the original as possible.

PA: There was lots of feedback going back and forth to the collaborators, something that became a fun part of the project, seeing the music making evolve like this.

Stp: … and that’s also why it took so long to finish! Adding to the process itself, much of the people involved aren’t exactly your average people , so it was sometimes demanding to incorporate everyone’s working methods, available hours etc.

S-L: When and how did this project start?

Stp: I know exactly when: It started in January 2018, when Ole-Espen had booked Ancient Methods to play at The Villa in Oslo. I remembered seeing them streamed live from a Boiler Room event in Berlin, mixing hard techno with old EBM, something that made a lot of sense to me. I wanted to have an Ancient Methods remix, and during an Indian dinner I explained my ideas, something Michael Wollenhaupt really turned on to. That was the first confirmed collaborator for SDGXXV.

PA: Then we thought about asking The Invincible Spirit, I sent an e-mail to Thomas Lüdke, got a positive reply, and from that point on the ball really got rolling.

Stp: After that it’s been a lot of work – music, the cover, everything – more or less a year.

PA: Another special thing for us regarding the 25th anniversary is how some parts around us haven’t changed; Tatra Records are involved again, both with the SDG re-issue and SDGXXV, just as they were with the original 25 years ago. Halvor Bodin, the designer of the original cover, worked with us on the new cover too. Morten Lund from Masterhuset did the mastering yet again, Erik Wællo got involved again, and of course Stephan and I are still here. A reunion bringing us all together again!

Stp: Yes, that really brought forward a kind of trueness that made the whole project feel even more “right” for all of us. As SDG was the first Norwegian EBM record, which opened a lot of doors for other Norwegian bands, doing this now felt important. But it’s also been a tiresome process that I don’t see myself repeating anytime soon, so don’t expect a the same treatment for ‘7’ 😉

PA: We paved way for others with SDG, making Norwegian bands eligible for records companies, distributors, concert promotors and so on, in a time where electronic music wasn’t very appreciated. We had some backing from people in the Norwegian music industry. Worth mentioning among these are Helge Gaarder, a musician who also distributed money from Rikskonsertene, which made it possible for us to have our first concerts.

Stp: Someone else we hold in high regards is Arvid Skancke-Knutsen, a music journalist who’s been writing about us from the very start – and even had an extensive review of our first maxi single!

S-L: Any favorites among the tracks?

Stp: … that’s a hard one -– there are favorites all over the place! The Beranek version of ‘Arp’ is just so beautiful, Ancient Methods’ ‘Burning Heretic’ is outstanding, and Bal Pare’s ‘Ashes To Ashes’ is insane – so far from the original in the minimal wave soundscape. But really, I’m so happy with all the tracks, couldn’t ask for anything better.

PA: What I found exiting is that Alex Dahl from Atropine, when asked which track he’d like to work in, answered ‘Borrowed Time’, which isn’t even on the album, but as the B-side of the ‘Bitch’ single. His version really blew me away!

Stp: Alex is a genius – amazingly good at what he does, and I think he’s not getting the credit he deserves in Norway.

S-L: How has the interest for SDGXXV been so far?

PA: SDG have had several reissues, but always on CD, so having it on vinyl now is long overdue. Pre-sales have been OK, but can’t really tell before after the release April 18th. Check the links below to get your copy!

Stp: Next up is my very delayed “normal” studio album, which has been put on hold for years now. Partly due to personal reasons, but also some musical reasons, which led to the “Exit Popularity Contest” album, something I needed to do to get back to my roots. And finally, this project, which really grew beyond expectations – from a couple of tracks to an four track EP, and finally an extensive album. The songs for the next album are written, some new inputs need to be digested into what kind of music I want to play. Both of my latest releases give hints of my future direction, going back to the more analogue roots of the music I like, using many of the same instruments as my heroes from the 70s. I’m very thankful now that I’ve hoarded synths for the past 30 years!

After hearing Stephans and Per Aksels stories about the making of SDGXXV, inputs from some of the collaborators felt natural to include here.
Say what you want about Facebook, but undeniable a great place to get in touch with people. I sent some messages asking about their relationship or history with Apop, also about the process and collaboration with Stephan on this project, and got great responses in return!

Espen Beranek: ARP (No Sleep Mix by Beranek)

I’ve been a longtime fan of Apop, and was very flattered to be asked for a contribution on SGDXXV.

I got both audio and MIDI stems from Stephan, and he told me I was free to change both pitch and tempo if I wanted to. I (and Stephan too I think) wanted to tint this version with some tonal colours from my early works. I therefore started to experiment with the MIDI stems together with my old non-midi equipment like the Korg KR55 rhythm box and my old trusty PE-1000. It became obvious to me that I needed to slow down the pace in the song in order to make space for my tonal intentions. After hearing my first edit Stephan got inspired and he sent me some fresh vocal tracks with some spacey effects. They fitted in perfectly and from there on it was kind of a simple edit/mix job.

Tony Mayo, Naked Lunch: All Tomorrow`s Parties (Evolve Or Die Mix by Naked Lunch)

We have been FB friends with Stephan for several years and not only have we known Per, (an original Apop member) for years, we have met him in person, and he was our tour manager when we toured with Covenant in 2015. Per is a personal and professional friend.

Per got in touch and asked if we would do a remix for the album and gave us a choice of which track to do. We are massive Velvet Underground fans, loved the Apop cover, and reworking ‘All Tomorrows Parties’ was a work of love for us. Funnily enough, back in the 80’s, within a few days of Naked Lunch headlining the Venue in Victoria, both Nico and John Cale headlined on separate nights too.

Håvard Ellefsen, Mortiis: Walk With Me (FRXTA Skyline Mix by Mortiis)

I´ve had some collaborations with Stephan from time to time since 2003 or so, and it´s always been a pleasure. He´s got this high energy approach to music that I really like.
Of course, since we live on the same street, he knew I´d burn his house down if he didn´t include me on this album. Haha!

Jarle Hansen, Substaat: Bitch (Weil Mix by Substaat)

I didn’t discover Apop until I heard ‘Kathy’s Song’ on Norwegian radio, even though I lived only 30 km away or so. It was a great experience to discover that “this sound” had survived through the harsh conditions of the 90s, when a lot of my favorite bands turned industrial, rock or techno. Apop has been a great influence both for the sound and for the strong melodies since.

I was told that we were asked to do this collaboration with Apop because Stephan liked our version of ‘Circling Overland’. He liked that old school sound in a modern production. We had a close communication and ideas were sent back and forth. Besides vocal, Stephan contributed with the cold industrial choir and the vocoded voice rumbling in the background – and, of course, general “guidance”. Anyone knowing Stephan, knows that nothing is left to chance.

alx, Atropine: Borrowed Time (Sublime Mix by Atropine)

The story behind the remix of ‘Borrowed time’ goes back to 1991 when I was working on various projects and we listened to Stephan’s 1st release ‘Ashes to ashes’. We played that record to dust. Later came the single ‘Bitch’. ‘Borrowed Time’ was my favorite on that release, I was thrilled to be able to remix that particular song since I think it’s one of the best songs from that period, and it only exists on that single. Stephan was for a period having a studio next door in Oslo, and that’s how I got to know him.

When I received the file it was only as a mp3. I wasn’t able to work with that, so in order to make the remix I had to recreate the song again from scratch. I recorded the exact song, and Stephan had to sing on it again and record the vocals. Once the song was recreated in its original form I could finally start to take it apart again and add my personal musical view to it. While Stephan gave some musical input during the process I often decided to do the opposite – and he even liked it much better! We had good communication during the process, and I ended up sending 2 different versions.

Steven R. Sellick: Like Blood From The Beloved (Part 1) (Interpreted by Steven R. Sellick)

I moved to the synth capital of Norway, Fredrikstad, in ’92. Stephan worked at a record store 3 minutes from my flat, and we soon bonded over our mutual love for shoegaze and synth music.
We also shared a fondness for beer and dancing to 2 Unlimited in crappy discos. I remember him working on Soli Deo Gloria, I loved listening to the tracks as they evolved.

Stephan approached me and told about his idea for SDGXXV. I was honored to be asked, and I especially liked the fact that he wasn’t looking for a remix. He gave me a bunch of old midi files and I re-recorded and re-arranged the track using old synths and drum machines. He wanted a certain German vibe and I think we nailed it.

Ole-Espen Kristiansen: Stitch (Patched & Processed by O/E)

I met STP around 12 years ago, we have become very close friends and work partners. We have the exactly same taste and understanding of electronic music and music in general so we work very good together creatively. The story in a whole is way too long…

I chose ‘Stitch’ to remix since I love the bassline and vibe in the original track. I wanted to do a more modern club friendly version, but still keep some of the “old school” Apop vibe to it. A lot of the noisy atmos and effect loops in the track are heavy processed parts from an 128k MP3 file of the original track.
Besides that STP and I had close talks through the whole process with compiling the album, adjusting some mixes, some mastering details etc.

As music journalist Arvid Skancke-Knutsen also was mentioned as being there from the very start, his input would be a perfect closing to this story.

Arvid:

I was working at the Norwegian music monthly Puls Magazine at the time. I was probably the first mainstream writer to pay them any attention, in connection with the release of the ‘Ashes To Ashes’ twelve inch. I liked their attitude and their enthusiasm, and also truly enjoyed the music itself, which was very original and energetic compared to the music scene in Norway. Since then I have been following them pretty closely, enjoying many records and concerts along the way.

Apop is also very present on the net and digital platforms – choose your poison! 🙂

Homepage / Bandcamp#1 / Bandcamp#2 / European Webstore / US Webstore / Songkick (Tourdates) / Spotify / iTunes / Instagram / Twitter / 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

Following the releases and shows honouring the 25th anniversary of Apoptygma Berzerk’s debut album “Soli Deo Gloria”, the Norwegian electronic-rock outfit presents “SDGXXV”, available on CD, double-vinyl, and cassette editions.

Re-imagining “Soli Deo Gloria” was not an easy task. Groth and co. looked for artists who would not simply provide remixes, but, rather, re-conceived versions that go down to the roots of what made the original Apop record so special. The band looked to old friends such as Cronos Titan, but also commissioned music from a new breed of artists who are changing the landscape today.

The team who worked on this album includes Steven R. Sellick, Ancient Methods, The Invincible Spirit, Blackhouse, Clock DVA, Substaat, Naked Lunch, Prurient feat. Maniac, Mortiis, Codex Empire, Portion Control, Bal Paré, Atropine, Monster Apparat, Beranek and Erik Wøllo.

The release comes out in various versions which can be ordered here: CD Digipak / Tape / Cassette / MC / Two different DOUBLE-VINYL editions.

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

Genre/Influences: EBM.

Background/Info: Struck9 is a Colombian EBM project set up in 2008. After a debut album (cf. “Democracy”) released in their homeland on Black Leather Records (2010) the band is now back on track with a new opus. They joined hands with EK Product to unleash their “Ritual Body Music”.

Content: Struck9 stands for pure old-school EBM with a raw and somewhat unpolished production. The sound might remind you of great names such as DAF, Armageddon Dildos and co, but I also have to say this band has a very own approach. The songs are well-crafted and not just an easy and cheap EBM cliché.

Both last songs are remixes by Autodafeh and Atropine.

+ + + : This is retro-EBM, but with a personal style and attitude. The songs might appear ‘classical’, but they’re well-crafted and accomplished with little details like cool bleeps, metal percussion sounds at the right place and simple, but efficient tunes. The album features a succession of great songs and honestly there’s no song to throw away. Struck9 doesn’t reinvent EBM, but will please all lovers of the genre by this outstanding work.

– – – : The unpolished sound production is pretty vintage-like, but it took me a few minutes to get used to it. I think a more contemporary (and professional) production would give an extra to the album although the spirit would maybe be different. It’s a bit the same for the production of the vocals. So in the end it’s pure old-styled EBM in influences and production. The remixes of Autodafeh and Atropine are cool, but I personally prefer the original versions.

Conclusion: Struck9 doesn’t innovate, but this album is absolutely phenomenal. I even dare to say one of the best EBM releases I’ve heard in months!

Best songs: “No Fracking U.S.A.”, “Kapital”, “Resist”, “Bodytemple”, “Ritual Body Music”, “Interconnected”.

Rate: (8½).

Artist: www.struck9.com / www.facebook.com/strucknine

Label: www.ekproduct.com / www.facebook.com/EKProduct

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

Background/Info:

Read the news on ‘Tempus Vincit Omnia’.

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

Genre/Influences: EBM.

Background/Info: 11Grams is the meeting between American Rob Early (Retrogramme) and Australian Simeon Fitzpatrick (Project K11). They released a few digital EP’s, but the consecration at the end of 2017 has been this official debut album released on EK Product.

Content: 11Grams deals with a sophisticated and diversified format of EBM. It’s not the typical old-school hard-core body music, but a mix of dynamic rhythms, intelligent sound sculptures, bombastic passages and darker atmospheres.

Daniel Myer (Haujobb, Architect) contributed to this album by a superb version of “The Stalker” while there also is a noticeable remix by Atropine and Xavier Swafford (3Teeth, Impulse Control). Notice by the way several guest singers and musicians have been invited to achieve this work.

+ + + : I like the intelligence of this work revealing a more sophisticated EBM format. The diversity is quite exciting and probably due to the different guest artists. Daniel Myer’s version of “Stalker” is an amazing piece of astral body music. But I also have to mention the elaborated “Synthetic 3.5” revealing an interesting contrast between the sexy, female vocals by Lisa P. Duse and the bombastic arrangements. Atropine also made a great remix of “Machine Malfunction”, which reminds me of the obscurity of Vomito Negro.

– – – : “Panacea” is not the most accessible work in EBM land. It’s ‘difficult’ music, which I’m afraid will not appeal to the hard-core lovers, but probably would be enjoyable to music lovers in search of something more personal and unique.

Conclusion: “Panacea” has accomplished a rather atypical EBM format revealing the band’s creativity, but still great writing skills (with the help of some guests).

Best songs: “The Stalker – Daniel Myer Version”, “Synthetic 3.5”, “Cutaneous”, “Machine Mazlfunction”, “Machine Malfunction – Atropine Version”.

Rate: (8).

Band: http://11grams.com / www.facebook.com/11grams

Label: www.ekproduct.com / www.facebook.com/EKProduct

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

Electro Aggression Records (EAR) welcomes the veteran Swiss electro act Sleepwalk to its roster of artists. After 5 years of silence, Sleepwalk return with a double disc to celebrate the band’s 25th anniversary.

With “Tempus Vincit Omnia” revisits its old school electro roots resulting in a mix of EBM and dark electro. The album is the follow-up to the concept album ”Nibiru” (2012) and reconnects with its trademark sound which consists of atmospheric accessible melodies, heavy beats, and angry shouts.

The bonus disc of “Tempus Vincit Omnia“ is called “Addendum Est” and includes 4 bonus Sleepwalk tracks and 11 remixes by such acts as Pyrroline, Second Disease, kFactor, Terminal State, Trilogy, Tri-State, Seven Trees, KIFOTH, Atropine No Sleep By The Machine and Amorphous.

You can preview 2 trailers below, for CD1 and CD2. Enjoy! Orders are accepted here.

Read the review of ‘Tempus Vincit Omnia’.

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

Genre/Influences: Dark EBM, dark-electro.

Background/Info: Set up in the 90s by Brazilian artist Giba Reys, Homicidal Feelings stopped all activities during a rather long lapse of time until the project got reactivated a few years ago. The album “Virtue To Vice” got released by Advoxya in 2014 while “Cognitive Disorders” saw the light of day at the end of 2016. The album is more a kind of EP featuring numerous remixes and only a few new cuts.

Content: Homicidal Feelings deals with a dark EBM format mixed with some classical dark-electronic elements. The sound is harsh and features various industrial sounds. The vocals are harsh as well. Next to the danceable aspect of the work there also is an obscure and sometimes disturbing atmosphere supporting the songs. The sampling ‘Allahu Akbar’ only accentuates the mystery and torment running through the songs.

Next to 4 new cuts there also is a song featuring Deadjump and a kind of cover/tribute of the :Wumpscut: song “Slave To Evil”.

The main part of the work features remixes by Cardinal Noire, Larva, Serpents, Cold Therapy, Subliminal Code, Brain Over Dust, Deadjump, Amorphous, Human Vault and Atropine.

+ + + : I really like the original edits by Homicidal Feelings. The dark and tormented EBM style was remarkably accomplished while the dense and heavy sound atmospheres inject this kind of angst feeling. This band deals with the coldest format of electronics and has composed a few brilliant cuts, “Sectarian Strife” being my personal favorite one.

Among the remixes I would especially mention the work of Larva and Subliminal Code plus the more minimal-like sounding remix of Atropine.

– – – : I would have preferred to hear an entire album instead of this remix orgy. The :Wumpscut:-tribute is for sure an original idea, but not exactly the best track from the list. I expected a bit more out of the remixes, the original versions being definitely better!

Conclusion: Homicidal Feelings in an interesting Brazilian formation if you’re in search of tormented EBM. The new songs are danceable and supported with frightening dark atmospheres.

Best songs: “Sectarian Strife”, “The Final Consummation”, “One Existence In Pain”, “One Existence In Pain – Myasis Mix by Larva”, “Cognitive Disorders – Atropine”, “Cognitive disorders – Subliminal Code”.

Rate: (7½).

Band: www.facebook.com/homicidalfeelings

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

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

Background/Info:

Read the news on ‘Kopfkino’.

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

Alexander Jarlev and Tomas Kulberg is an experienced Norwegian electronic duo. They already worked together in bands like Anstalt and Pogrom Synod. Atropine is another formation they set up during the late 90s and which got reactivated after a hiatus of several years. They recently released their newest opus “Assailant” on EK Product revealing an elaborated and sophisticated dark-electro sound, which still is one of the best albums in the genre of 2016.

(by Inferno Sound Diaries)

Q: When did you get contaminated by the ‘electro-underground’ virus and what incited you to set up Atropine?

Atropine: In the late 80s discovering the Mute/PIAS/Zoth Ommog/Nettwerk/Volition labels (and countless others). After that there was no turning back. We’ve been a team since 1992, first as part of Anstalt, then from 1994/95 as Atropine.

Q: We clearly can speak about 2 periods in the band’s history: a first one around the late 90s till 2001 and second one, which saw you releasing the album “Recurring Nightmares” in 2014. How would you analyze both periods and do you see main changes/evolutions?

Atropine: During the first period from around 1996 to 2001 we recorded the tracks that became the “Master Raze”-album. Soon thereafter we went on an extended hiatus and didn’t really get back to recording as Atropine again until 2008. Most of the “Master Raze”-material was re-recorded from scratch to form “Recurring Nightmares”. A few years later EK Product approached us to release on their label. We thought the original album sounded very dated so we decided the best option was to just do it over with vastly improved gear. It was much more of a chore for us to record music early on when everything revolved around MIDI and a large degree of detailed programming was always required.

Things are a lot easier now and we have all, but abandoned the need for traditional sequencing after building a large modular synthesizer system.

Q: Late 2016, you released the album “Assailant”, which I consider as your most elaborated and best work to date. Tell us a bit more about the writing and sound of this album?

Atropine: “Assailant” is basically the result of around 20-25 studio sessions. Almost everything you hear was generated spontaneously within an eight hour time frame and subsequently edited as pure audio until we felt we could approve of it. There’s a strong element of improvisation permeating the whole album so bass-line tweaks, strings and percussion tracks were recorded live. Lyrics were typically written on the spot and the vocals recorded with minimal preparation. We do not go back and re-record stuff or do any sort of overdubbing.

Rather we accept the errors that creep in using this approach and use them as a challenge to improve our process and extend our range. Over the two year span after “Recurring Nightmares”, that has worked out rather well. We enjoy working under the added pressure. Things that are easy to do, usually merits nothing. But, most importantly we enjoy our recording sessions immensely. Copious amounts of beer and electronics – it can’t be beaten!

Q: “Assailant” reveals sophisticated sound treatments and a mix between haunting electro atmospheres and electro-industrial treatments, which remind me to bands like Skinny Puppy, Mortal Constraint ao. Do you feel related with the sound of other bands and what does it say about your sources of inspiration?

Atropine: We are not denying the fact that bands like Skinny Puppy are integral to what we do. But so are more than a thousand other artists. Around half-way through our sessions we stop screwing around and start building up for vocals and final assembly of the constituent parts of the track we’re working on. Our modular system is quite simply the most extreme tool an electronic musician can have. Anything else in the studio can be routed through it at any time. The options are quite frankly unlimited. You can have a complete track ready for mastering and less than ten tweaks on select controllers and you have a completely different track.

This would have taken several sessions to accomplish in the 90s but now can be done in under a minute. Our inspiration is drawn from so much music that it’s impossible to even begin listing it here. However, if you are truly interested in the vast number of artists that filter through Atropine you can begin by looking at this complete list of my listening habits since 2006:

http://www.last.fm/user/Cthulberg

Q: Next to the “Assailant”-album released on EK Product I noticed you also self-released the “Assailant::Remixed”-album on digital format. What have been your criteria to choose for these bands and do you have favorite remixes?

Atropine: Most of the artists on “Assailant::Remixed” are friends of ours going back years, while others are just really nice people we encountered along the way. We wanted a non-traditional remix album. Usually it’s a lot of beats and all remixes are of a couple of tracks from an album with more than ten individual tracks and quite often the remixers operate within roughly the same musical genre.

To counteract this, we gave our remixers complete access to everything we had recorded. It’s a lot of extra work, but it’s all about the end result. I (Cthulberg) have a couple of favorites, but I feel it unfair to name them because of the extreme variety in the remixes. For instance Kant Kino must have spent a considerable amount of time turning “Sewercide” into a pop-song, while Europ Europ latched on to the string on “See Through” and made a lo-fi funeral dirge. It’s impossible to rate these things, but we cherish every single contribution we received, but our reasons for that varied with the spirit in which it was recorded.

Q: What did you try to express in the clip of “Exterminism” and what’s the importance of a clip and a site like Youtube today?

Atropine: This is an impossible question for us to answer as we are for the most part a non-entity on social media sites. The concept in the video has only an extremely tenuous link to the concept behind the track itself and is based on an idea developed by director Christian Ryder which he had mulled over for a long time going back to his school days. We had little or nothing to do with its production and feature only very briefly at the start of the video. Our take on “Exterminism” is outlined in the cover artwork where it replaces the lyrics this time. Mainly this is because most of “Assailant” consists of songs that deal with humanity at its lowest, basest form and so reading that text will sum it up pretty well. The whole thing is too convoluted to try and explain here I think.

Courtesy by Inferno Sound Diaries

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

Genre/Influences: EBM, dark-electro.

Background/Info: The Norwegian Atropine duo has been active for more than 20 years now. They made a noticeable comeback in 2014 releasing the great “Recurring Nightmares”-album. “Assailant” is their newest album featuring 15 songs of horror-electronics.

Content: The front cover reminds me of Frontline Assembly while the music remains strongly inspired by early Skinny Puppy. Atropine is not exactly reinventing the EBM standards, but they simply confirm impressive writing skills. The sound is dark and filled with horror-atmospheres, but it especially reveals a sophisticated and complex writing.

“Assailant” reveals a passion for unique sound sculptures and the band clearly doesn’t spare any effort to find the right sound. It also sounds a bit industrial-like, which is mainly due to the constant sound manipulation and the use of vintage gear. The work also reveals refined arrangements accomplished by subtle icy bleeps.

+ + + : “Assailant” definitely is the masterpiece in Atropine’s history. The band here excelled in the creation of haunting and obscure atmospheres recovering a surgical sound writing carried by industrial-like slow rhythms and spooky vocals. The composition is achieved with endless details and samplings, which will notice by using  headphones. This is a brilliant and totally accomplished work revealing numerous outstanding songs, which will please lovers of Skinny Puppy and Mortal Constraint. Some of the vintage electro sounds also reminds me of early Front 242, but in a harder and more industrial format.

– – – : There are a few album without real minus points and that’s precisely what “Assailant” is all about.

Conclusion: Atropine deals with the most sophisticated format of EBM, which reflects a real maturity in writing, but first of all a creative approach resulting in genius sound treatments and outstanding songs. There are not enough superlatives to express the beauty of this album, which without a shadow of a doubt is one of the highlights of 2016 in EBM lands and for sure one of the best albums ever on EK Product.

Best songs: “Exterminism”, “Assailant”, “Forfeit”, “Hearse Hand”, “Naked Fear”, “Ultra Swine”, “Life Leash”.

Rate: (9).

Band: www.facebook.com/AtropineEBM

Label: www.ekproduct.com / www.facebook.com/EKProduct

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