Riotmiloo is a sonic project driven by Emilie Verbieze. The French native artist lives in London (UK) and released by the end of 2023 her second full length album “Blackout” by Ant-Zen. This work stands for Minimal-Electronics mixed with Industrial- and Experimental influences. I had an interesting chat with an artist you’ve to discover. (Picture credits by Esmeralda Muñoz-Torrero – Interview courtesy by Inferno Sound Diaries)

Q: You’ve been involved with music for quite a time now so can you draw up the balance sheet from all of your projects, activities and more specifically from Riotmiloo?

Emilie: Hello, I relocated to London in 2002 to immerse myself in the arts and music scene of this vibrant city. I was fortunate to connect with amazing individuals across different musical genres. In my first band, 3 Ant Riot, we had the chance to play around and innovate with sound. With Venom Seeds, our focus was on expressing feminist rage and chaos within a Garage-Punk framework. Riotmiloo has continually evolved, gradually shifting towards a more Electronic and Industrial sound. I’ve been incredibly lucky to have built strong friendships with people who share my interests, and the audience support has been amazingly positive and encouraging.

Q: You first got involved with Punk bands so what do you still recognize from that time in Riotmiloo -and more specifically in the lyrical content?

Emilie: One of the things that I loved (and still love from the Punk scene) is the ‘Do It Yourself’-spirit. Team up with your friends and make it happen. We don’t need the mainstream to create our own scene and to operate efficiently in terms of releases and playing gigs.

For many years, feelings of anger, dissatisfaction, and rebellion have inspired my songwriting. Speaking frankly, there are many aspects of the world that deeply frustrate me. This state of shock enables me to sit down and write lyrics on my notepad. These lyrics are often drawn from the struggles and difficult true stories of people’s lives.

Q: Your debut-album “La Pierre Soudée” was released in 2015 and featured an impressive list of guests. How do you look back at this experience and how happened the switch towards your new work without guests?

Emilie: I hold dear memories of “La Pierre Soudée.” Before its release, I often collaborated as a guest vocalist with various artists. However, I once had the idea to turn the tables and invite others to contribute to my first album. The level of enthusiasm and support from the artists who agreed to collaborate with me was unexpected and heart-warming. They were all wonderful.

When it came time to work on my second album, “Blackout,” I aimed for a more intimate and suffocating sound. At that time, the music room was packed with analogue synthesizers. I believed that two people were more than enough, minimizing the need for extensive musical exchanges. Consequently, the project was brought to life by just two people, EVA|3 and myself, using our two brains and four hands.

Q: When did you start the writing of “Blackout” and what have been the main influences, triggers, and different stages you’d to go through to achieve this work?

Emilie: The first song was “Blackout” itself. I originally wrote it to start a whole new project with another artist. Then his sound began to change. Mine too. Someone else tried to have a go at it and it never quite worked out. Then Eva|3 tried to flesh something out of it with analogue sounds. It sounded so delicate yet strong and beautiful at the same time. We knew we had achieved something special and it gave me the idea to explore more analogue sounds and machines to fit the new concept.

My influences span a broad spectrum. I’ve always been captivated by the intense sound of Haus Arafna and the coldness of their side project, November Növelet. They skillfully evoke moods of atmosphere and despair. Portishead has also inspired me, with their exceptionally high-quality production and Beth Gibbons’ delicately stunning voice. More recently, Gazelle Twin has become a significant inspiration. I’m particularly drawn to the powerful, menacing aspect of her character.

Regarding what inspires me, suffering comes to mind -it’s a universal experience that we’ve all encountered at some point. With “Blackout,” my goal was to delve into the internal battles we face, while also breaking down the artificially constructed barriers that separate what’s considered normal from madness. The struggles we each endure -mine, yours, and theirs -are all legitimate. Ultimately, I aimed to challenge and dismantle the stigma surrounding mental health, in hopes of starting meaningful discussions on the topic.

Q: “Blackout” features multiple analogue sound treatment creating an explicit retro-touch and yet it still sounds refreshing and magic. That’s quite contradictory don’t you think? What makes your fascination for analogue gear and do you have favorites?

Emilie: I feel that “Blackout” is also magical because it is more than the sum of its parts. I wanted the sound to feel bleak and oppressive, the beats to be suffocating.  I wanted the voice and the lyrics to guide the listener into the dark corners of the human psyche. I feel it is a bit like alchemy, all the parts fit in together and make the whole listening experience unique.

Even though we never planned for a retro vibe, it’s a natural trait of analogue synthesizers. The goal was to allow these synthesizers to express feelings freely. This might have led to what some perceive as a ‘retro sound’. Nevertheless, we also appreciate the crispness and detailed impact found in modern production and mixing. The essence of this album also lies in its contrasts; we aimed to create a sound that feels both intimate and constricting yet simultaneously expansive and liberating.

In the recent decade, I’ve developed a fondness for the sounds produced by analogue equipment like the Korg MS20, the Moog D-FAM, the vintage Soviet LELL UDS drum synths, the Moog Werkstatt. More recently, I have been playing with the Soma Lyra 8 and the Pipe. The sounds they create are incredibly rich, warm, and somehow both menacing and comforting at the same time -I absolutely love them. Additionally, I have a special liking for the Gristleizer; it’s an amazing device that always meets my expectations.

Q: l’ve been always wondered why there’re less female artists -except female singers, actively involved with writing and production of Electronic/Industrial music. I think it’s an aspect you’ve been always concerned about but do you think there’s an explanation to the lack of female composers and how do you expect things evolving?

Emilie: In both the physical world and online, there are people who tend to be overly critical. This is truly unfortunate, as it discourages many artists from sharing their work. Some groups face even more criticism than others. In my opinion, it’s best to ignore such negativity and pursue what you’re passionate about. We might be too much or too little for some people’s liking, but does it really matter? Find your community. You don’t have to conform to any standard. Focus on being an artist, which is challenging enough.

In terms of evolution, I believe there’s still room for growth. I’m eager to hear from a wider range of artists. I hope to see more diverse line-ups at concerts and festivals. By ‘diverse,’ I mean truly inclusive of Lesbian, Gay, Bisexual, Transgender, Queer individuals, as well as people from various racial and cultural backgrounds. We can gain so much by learning from one another!

Q: You’re a French living in London, right? How do you perceive the music ‘culture’ between both countries and their fans -England and France being probably two of the most influential European countries when it comes to music?

Emilie: Yes, I was born in France and I have been living in London for more than twenty years now. I moved from France because I believed England offered more opportunities for artistic expression.

I feel deeply connected to French language and poetry. I also have a strong affinity for music from the French label Audiotrauma. I still enjoy listening to artists like Twinkle, Sonic Area, and Chrysalide, among others. Flint Glass and Cent Ans De Solitude are also on my recommendation list. Their music creates a rich, soul-stirring soundscape.

Living in London has enabled me to experiment and forge connections with people both from England and other countries. I’m significantly influenced by the pioneering sound of Throbbing Gristle and Bristol’s Trip-Hop scene, but I also find inspiration in German Electronics and Swedish Death-Industrial music.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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The Toulouse, France-based industrial punk duo duo Moaan Exis are back with an all new (video)single, “Duality”. The single is the band’s first new mlaterial since the March 30, 2022 released split single with Moris Blak, “State Rejects / Moments of Dissent”.

Moaan Exis was formed in early 2015 by Mathieu Caudron (Mathieu and Xavier) who released a first EP on Industrial Strenght Records, the New York label of Lenny Dee, at the end of February 2016. He was joined in September 2016 by Xavier Guionie (Punish Yourself) to come and play the drums.

The band debuted their first album “Transcendence” in 2017 on the Audiotrauma label. Since then they have released 2 more albums next to a few singles and EPs. The albums were “Postmodern Therapy” (Audiotrauma – 2019) and “Necessary Violences” (2020 – self-released).

Here’s the band’s newest single.

You can download the single right now via Bandcamp.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Genre/Influences: Industrial, Cinematic.

Format: Digital, CD.

Background/Info: Brant Showers (∆Aimon) is back on track releasing the second album of Sølve. “Earth Inferno” comes six years after the promising debut album “The Negative” , released on the now defunct Audiotrauma.

Content: The main influences haven’t really changed. Sølve sounds pretty Industrial-like and has been accomplished with heavy, bombastic/epic arrangements. Instrumental parts of the album also reveal a Cinematic approach, which sounds however bombastic, but also evasive. The production of the vocals is once again reminding me of Depeche Mode.

+ + + : Sølve is much more than simply Industrial music. It’s a free-style production, which is hard to define, but accomplished with different Industrial-like related elements. It’s a powerful production, which you can notice in the mix of electronics and guitar playing, but still through the heavy, bombastic, arrangements. One of the best cuts (cf. “Nothing Pure”) is driven by a great chorus while this song makes me think of an imaginary offspring between :Wumpscut: and Depeche Mode.

– – – : This work isn’t the most accessible production so you need a bit time and several tracks before really getting in it.

Conclusion: Sølve confirms the great potential revealed at the debut album and is an elaborated and sophisticated production in a heavier Industrial-driven genre.

Best songs: “Nothing Pure”, “Never + Enough (Inferno)”, “Lost In The Dark”, “Black Silk Stone”.

Rate: 8.

Artist: www.patreon.com / www.facebook.com/solvevlos

Label: https://linktr.ee/remissionentertainment /  www.facebook.com/remissionentertainment

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

The Avignon, France based label Unknown Pleasures Records announces that Phil Von will release his all new album “Von Magnet” on September 1st via its imprint. A rather bold choice since Phil Von is part of the Von Magnet collective.

This is his 7th solo album. His first was “L’Autre Nuit” (2001) with Gnawa music and the musicians of Fès (Prikosnovénie records), followed by the “Deadline Now” (2006) soundtrack of performance for the Portuguese company Persona (Thisco records) and in 2015 the more intimate “Blind Ballet” on Ant-Zen Records. A selection of his best soundtracks written for the street theatre company Underclouds, entitled “Made Underclouds”, was released in February 2019 on Zona Music (LT) and Ant-Zen. In 2019 Phil Von self-released the album “Imagerie”. The album holds a selection of experimental & abstract soundscapes written for art projects and visual environments. His concert collaboration “Eiti Ramyben” with classical piano musician Rokas Zubovas revisiting electronically some piano works of famous Lithuanian composer Mikalojus Konstantinas Čiurlionis was released on vinyl in 2021 on Zona Music.

With his latest solo album “Von Magnet”, a way of closing this artistic life chapter as well as giving another token of his love for intertwined flamenco and electronic music, he again combines electronics with Arabo-Andalusian music. On the album we find contributions from such musicians as Hugues Villette, Tit’o, Flore Magnet, Def, Hugues Vincent, Dani Barba, Yana Maizel and Algirdas Klova. The mastering was executed by Norscq while Svetlana Batura covered the photo work. The design was in the hands of Karim Gabou.

You can already check a few tracks below.

About Phil Von

Parallel to his work with Von Magnet Phil Von is composing as well as performing for different dance-theatre and street-theatre companies. He worked together with Norscq on the “Atlas Project”, wrote the piece “Compass” for Art Zoyd and the Musiques Nouvelles Ensemble of Jean Paul Dessy which was performed in Brussels. With Mimetic he created “Groundspace” for the GRM (Group of Musical Research) and the Radio France festival.

He was also a musician and performer with the Russian/German company Do Theatre (Anatomy of Fantasy), French performance company Materia Prima (Body Without Wings, Insomnia, Eternal, Batailles, Choir, Cabaret Rouge), Street Theatre companies Entre Terre et Ciel (Neige de Feu, Physalis, Alma, Envol) and Underclouds (Funambus, Petites Histoires sans Gravité, VerSant) & U-Structure Nouvelle (Strip-Tease Forain, Melankholia).

In 2016. together with Somekilos from 2 kilos & More, he created the tribal electro project Meta Meat and released the album “Metameat” on Ant-Zen and Audiotrauma.

In 2017/18 he wrote and performed the music of the theatre play Medea written with rage in London for François Testory (DV8 Physical theatre, Gecko, etc.) which they toured in Great Britain. He worked with butoh choreographer Sakurako in Paris for her company Re-United Now-Here (Banzaï 2.0, Corsonor, Not a Love Story) and in Lithuania he was composing for Sakurako and her new Baltic butoh dance-theatre company Okarukas (Now-Here, Voyager, Dolls, Spells, Here-After, Birds).

In 2019, he created in Lithuania his first solo dance-music performance “Human, Lost and Found” which was performed in MO Museum Vilnius, Post Gallery Kaunas and Menu Spaustuvè Vilnius. In 2020, he produced the solo album of Lithuanian folk musician Algirdas Klova.

About Von Magnet

Von Magnet is a theatre music band originated from the post-industrial musical current from the 1980s. Founded in 1985 in London, the group gathered around Flore Magnet (stage direction, actions, vocals) and Phil Von (composition, feet percussion, vocals) initiating a style of their own which they named “Electroflamenco”. Becoming rapidly well known in the underground because of their new approach to electronic music, firstly by incorporating the bases of flamenco (rhythms, dances and melodies) then later adding influences of Middle Eastern music.

Their compositions, either instrumental or vocal melodramas, poetic, lyrical, cabaret crooning are sung or spoken in different languages; English, Spanish, French, and also in Arabic, German, Turkish or Russian. Since 1985, even before the “Computer music” era, they experimented within the likes of the post-industrial musical movement (Greater Than One, Cabaret Voltaire, SPK, Coil…) using intensive sound collage and sampling techniques. This work would give birth to their motto: “Sample us as we have already sampled you”.

After a collaboration with Robert Rental with whom they prepared their first demo tapes, Von Magnet, helped by Hugh Griffiths at the Remaximum studios, composed their first auto-produced E.P : “I”.

The band’s last release was the 2012 album “Archipielagos”.

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: Experimental, Minimal-Electro, Industrial.

Format: Digital, CD.

Background/Info: Set up in 1997 by Arnaud Coëffic, Sonic Area released several productions on the artist’s own label Audiotrauma while in recent years he joined hands together with Ant-Zen. “Ki” is taken from the Japanese language and means ‘ joy, sorrow, vigor, courage, cowardice, etc. These are terms used in our daily life. The Japanese see ki as an integral part of all of these’. The album features ten songs revealing several collaborations.

Content: “Ki” is mainly driven by Experimentation, a sonic osmosis between Electronic manipulations and Ambient atmospheres. It’s an album with a wider canvas of influences, which lead the artist to experiment with rather unexpected collaborations. Les Tambours du Bronx contributed to one of the tracks injecting a good-old Industrial percussion touch to the work. The Hint duo has been featured on another cut, which has something mysterious revealing trumpet sounds. Mysterious moods are hanging over the album and especially the opening part is achieved with somewhat Eastern-like elements reminiscent of Dead Can Dance. Some tracks at the last part of the work have something Ritual-like. Several songs are driven by a slow rhythm.

+ + + : I was mainly impressed by the global sound production of the work, which I think is also due to the use of real instruments. Sonic Area stands for a very personal sound, which is hard to label, but definitely diversified and mainly related with an accessible Experimental format and other Industrial elements. The track “Gongwar” featuring Les Tambours du Bronx is an impressive piece of music; Industrial music in the original sense of the meaning. The main strength of “Ki” is its diversity, but also the Minimalism and professional production. The very few vocal parts –by guest singer Jeremy Lemon (Yurodivy) bring a little bonus to the work.

– – – : Diversity is good, but sometimes creating a lack of cohesion between some tracks.

Conclusion: “Ki” stands for an open-minded production although meant to please Experimental- and Industrial lovers. 

Best songs: “Gongwar”, “Gardens”, “The Praying Mantis”, “Soot Spirit”.

Rate: (7½).

Artist: www.arcotrauma.com / www.facebook.com/SONIC-AREA-55148727462

Label: www.ant-zen.com / www.facebook.com/antzen.official

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: Industrial, Industrial-Metal.

Format: Digital.

Background/Info: The French act Moaan Exis consists of  Mathieu Caudron and Xavier Guionie (Punish Yourself). They together released two albums on the defunct French label Audiotrauma and are now back on track with this self-released “Necessary Violence”. 

Content: Moaan Exis remains hard to define, but rather resulting from a true sonic fusion and -cataclysm instead of belonging to an established music genre. “Necessary Violence” is a merciless and ultra-violent production. There’s no true break, but a devilish speed driven tempo mixing heavy guitar assaults with apocalyptic electronics. The sound is complex and unpolished. The last track is a remix by ESA.

+ + + : What I like with a band like Moaan Exis is the ‘no-compromises’ attitude. Those guys achieved a true hardcore piece of music; a kind of perverted Industrial sound, which takes no prisoners. I especially like the last 3 tracks whereon the power remains intact, but becomes more efficient. The last track, which is a remix of “Divine Automation” by ESA is an absolute masterpiece; the imaginary fusion between Cubanate and The Prodigy. I like it!

– – – : I experienced some passages as pure hardcore chaos; “Alone Together” symbolizes this somewhat lost control approach, which can’t convince me. 

Conclusion: Moaan Exis deals with Industrial Hard-Core music, which might be seen as the French answer to some famous American and Canadian artists.

Best songs: “Divine Automation – Rmx By Electronic Substance Abuse”, “Love Witches”, “Necessary Violence”.

Rate: (7½).

Artist: www.facebook.com/MoaanExis

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: IDM, cinematographic.

Format: Digital, CD, Vinyl.

Background/Info: French project t 2Kilos &More is already active since the early millennium years. While they’re still active with the famous Von Magnet collective, they now get back to 2Kilos & More unleashing their first new opus since “Lieux-Dits” (2015). Notice by the way the album has been released by the recently defunct Audiotrauma in the vinyl format while the CD version has been released by Le Label Beige. I got the digital version released by Ant-Zen.

Content: “Exempt” is maybe the most unusual release by 2Kilos &More. I notice a kind of fascination for minimal electronic treatments, but there also is a psychedelic flavor created by guitar playing. The tracks are somewhat versatile, moving from IDM and even experimental passages towards pure psychedelic- and cinematic impressions.

+ + + : “Exempt” is an album with its very own style and approach and that’s definitely what I like in music! This project strives for creativity. I like the electronic treatments revealed at “Circular” and “Trilogie I”, but I’m also fascinated by the cinematic experience at “Decibels” (feat. Black Sifichi). This song makes me think of a ‘film noir’ experience. The song is accomplished with great effects, guitar and a slow tempo. The low cadence is another essential aspect of the work.

– – – : The psychedelic element of the album is not what I like the most, but it for sure injects something special.

Conclusion: 2Kilos &More remain a sonic chemistry mixing different elements to get a very personal result! It however is not their best work to date.

Best songs: “Decibels”, “Circular”, “Trilogie I”.

Rate: (7).

Artist: www.2kilosandmore.com / www.facebook.com/2kilosMore

Label: www.ant–zen.com / www.facebook.com/antzen.official

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: Experimental, dark-ambient, noise.

Format: Digital, CD.

Background/Info: Chaotalion is a project set up in 1997 by Alexander Marco. This German artist earned some reputation in the industrial scene with his project  SaturmZlide (known by the Hands fans). “Asabjaris” is his second full length album and the first one released on Krater Recordings (Audiophob subdivision).

Content: Chaotalion has nothing in common with the industrial work of SaturmZlide. It sounds more abstract and definitely experimental. Some passages feel like pure improvisation featuring an assemblage of field recordings and noise manipulations. The last part of the work moves into a dark-ambient creation supported with dark synth layers.

+ + + : The work takes off with impressive, overwhelming sound waves.  This work will definitely catch the attention of all lovers of heavy sonic manipulations, but I prefer the dark-ambient approach to the last tracks. “Z7000RAIN0027Z” and “Z7000DARK0007Z” both have a strong visual appeal, which will please the dark-ambient fans.

– – – : The experimental side of the album is not easy to seize and not really my cup of tea. It sometimes sounds like pure noise chaos. This is not really an accessible record.

Conclusion: Krater Recordings definitely appears to be a more ‘extreme’ division of Audiotrauma and that’s precisely where this project belongs.

Best songs: “Z7000RAIN0027Z”, “Z7000DARK0007Z”.

Rate: (6½).

Artist: www.facebook.com/chaotalion

Label: http://krater.audiophob.de /

www.facebook.com/KraterRecordings

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

The Strasbourg, France based noise label Audiotrauma will close its doors. The label has been active for 20 years and says that its closure is due to the new economic model of distribution “(which) is only good for the majors and and the disposable and bankable musicians.”

The French associative label from Strasbourg was created in January 2002 by Syco Trauma, and was dedicated to the creation and the diffusion of experimental electronic projects in music (mainly electro and industrial) and in visual arts.

At the moment the label is cleaning its stocks before closing its doors forever.

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: Industrial-techno, experimental.

Background/Info: French label Audiotrauma already released and revealed some real interesting and original bands so I was excited discovering the debut album of Moaan Exis. This is a French duo claiming to experiment with ‘drum orientated industrial, techno, hardcore, cinematic atmosphere, tribal or experimental sounds’. The band already released an EP entitled “Invok” on Audiotrauma in 2016.

Content: This work indeed sounds as a truly sound patchwork revealing multiple influences. It’s hard to define the real style of Moaan Exis, but that’s what made this record special. There for sure is a kind of industrial-techno music emerging, but you’ll also notice dynamic breakbeats, trance influences and ambient passages the band defines as ‘cinematic atmosphere’. The tracks are instrumental versions.

+ + + : This album sounds original for the fusion between different music genres. It resulted in a heavy and powerful production. It’s a raw power sometimes leading into trance and empowered by breakbeats on other cuts. It’s pure crossover, moving from heavy cuts towards ambient-like compositions, which I like for their elaboration.

– – – : Despite the diversity, the songs are often rudimentary and a bit linear. I think some of the songs need some more elaboration although I get the impression Moaan Exis voluntary kept their songs this way.

Conclusion: This album lays somewhere on the edge of multiple styles. It’s an alternative for ‘classical’ industrial productions, but still for the darker techno sounds.

Best songs: “Daylight”, “Bardo”, “Tension”, “Breathe”.

Rate: (7).

Artist: www.facebook.com/MoaanExis

Label: www.audiotrauma.org / www.facebook.com/audiotrauma.records

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: Experimental, industrial, ethereal.

Background/Info: “Distyque” is the second album released by Machinalis Tarantulae. The band was originally set up by Justine Ribière in 2014 and later on joined by Miss Z (Punish Yourself) who contributed to the writing of this new opus.

Content: The least I can say is that this is an original and artistic composition. The main characteristic of Machinalis Tarantulae is the use of an electric viol de gamba, which has been connected to multiple stereo effects. It however creates a dreamy-like and somewhat medieval-orientated sound. This sound has been mixed with harder guitar play, electronic arrangements and industrial beats. The vocals are moving from enigmatic and somewhat bewitching ethereal parts towards harsh male vocals.

+ + + : What I especially like on this album is the original part. This band clearly tries to innovate, mixing medieval and ethereal elements together with rather classical electro-industrial parts. The harder side of the production clearly reminds to Punish Yourself, which remains another original formation. Machinalis Tarantulae is bringing somewhat opposites genres together. The result is matching and revealing multiple cool songs. It also is a well-crafted album.

– – – : Innovative and visionary artists aren’t always the most recognized ones. “Distyque” sounds a bit as a challenge revealing a style, which is hard to label and clearly covering a wide range of influences.

Conclusion: I heard multiple noticeable productions during 2017, but this one definitely belongs to the most original ones. Machinalis Tarantulae is a band to keep an eye on, but also confirming the good taste of Audiotrauma.

Best songs: “Onsolete”, “Clown”, “Dark Dark Green”.

Rate: (8).

Band: www.machinalis.net / www.facebook.com/machinalistarantuale

Label: www.audiotrauma.org / www.facebook.com/audiotrauma.records

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: IDM, minimal-electronics, experimental, cinematographic.

Background/Info: Before Irklis there was Forma Anonym and next Audioscope, which was a German formation set up in the late 80s. After a long silence Audioscope came back to life in 2014 under the new name Irklis. 3Aus Dem Ruder” is the band’s third official work for which they joined hands together with Sleepless Records (label of Eric van Wonterghem).

Content: The main link between the sound of Audiotrauma and Irklis remains the sound inspiration. It remains a pretty minimal electro basis, which however remain more sophisticated and experimental since the Irklis period. The tracks reflect numerous sound treatments, manipulations and experimentalism. But at the other side you also will notice evasive passages, delicate piano arrangements and dark electro spheres. Some of the cuts might remind you of the sound intelligence of Clock DVA, which I think is much more than simply a reference.

+ + + : I like the dark atmospheres hanging over the compositions. The minimalism and global sound intelligence the songs have been made with both are the main characteristics and strength of Irklis. This is a band with a very proper sound DNA, which can be linked to IDM. It first of all is a band you can’t compare with another one. It’s a fascinating experience and the kind of music that will ravish all fine tasters. Irklis belong to this selected group of visionary electronic artists.

– – – : The other side of the coin with original- and other visionary bands is that they aren’t always dealing with the most accessible music format. It’s not that easy to catch the sound of Irklis because it’s less comparable and that’s often what music fans need when listening to music.

Conclusion: Irklis is the kind of band I fully support for their very own approach and taste of innovation without taking care of fashion trends and other established genres. This is the kind of band striving for innovation and simply exploring the further paths of underground electronics.

Best songs: “The Cases Regress”, “Hunger”.

Rate: (8).

Band: www.facebook.com/irklis

Label: www.facebook.com/sleeplessrecords.berlin

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: Experimental, free-jazz.

Background/Info: Atonalist is a French duo consisting of multi-instrumentalists Renaud-Gabriel Pion (collaborator of John Cale, Dead Can Dance, Siouxsie, Hector Zazou, Björk and may more…) and Arnaud Fournier (member of Hint, La Phaze, Dead Hippies). They have been joined on vocals by Gavin Friday, the legendary singer of The Virgin Prunes.

Content: I didn’t know what to expect starting the listening of this album, but the only presence of Gavin Friday made it pretty intriguing. Atonalist have composed an album, which clearly sounds experimental and into a free-jazz style. They played on numerous acoustic instruments, accentuating some authenticity although the jazz style becomes sometimes pretty chaotic. You clearly hear passages played by piano, saxophone, clarinet, trumpet, guitar… but also a noticeable experimental part created by electronics.

Gavin Friday is singing on 5 from the 12 songs. His particular timbre of voice remains very unique, like injecting a mysterious flavor into the work.

+ + + : You’d better get a bit more familiar with jazz and/or experimental music to fully enjoy this work. I experienced “Atonalism” as total free-jazz, which makes it pretty experimental. The work is rather varied, but always carried by its experimental and jazzy basis. Joining hands with Gavin Friday is a real interesting experience and the least I can say is that music and vocals together create a sacred symbiosis. I especially recommend discovering “Gottesnabeterin”, which is a great song. Other tracks are more into soundtrack music for a ‘film-noir’ and I here want to tip “The Philosophers’ Argument”.

– – – : The free-jazz style is something particular and less coherent if you’re not into this kind of music. This total minimalistic attitude is not that easy to endure because of the sonic chaos and improvisation.

Conclusion: I’m not familiar reviewing jazz music –even if it’s still pretty experimental, but when I realized that Gavin Friday was involved I became intrigued. I can’t say that I fully enjoyed this work, but it’s an interesting production.

Best songs: “Gottesanbeterin”, “Different To The Others”, “The Road To Perdition”.

Rate: (6½).

Bands: www.facebook.com/Atonalist / http://gavinfriday.com / www.facebook.com/gavinfridaynews

Label: www.audiotrauma.org / www.facebook.com/audiotrauma.records

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: Industrial-EBM, cyber-industrial music.

Background/Info: I discovered the French Horskh- duo (Bass and Briou) by the extended version of the “Dawn”-EP. The Frenchmen are back on track unleashing their debut album featuring 12 cuts.

Content: I’ve been totally addicted to the “Dawn”-EP and “Gate” only confirms the potential of Horskh. Their sound is an explosive fusion of EBM, industrial-music and techno. Electronics and guitar parts have been merged resulting in an overwhelming production carried by powerful sound blasts and deep resonating bass lines.

Horskh feels like a hybrid between Cubanate and Combichrist plus electronics treatments which might remind you of Komor Kommando.

+ + + : Horskh is not reinventing electronic or industrial music, but this band has a real creative spirit to mix genres together resulting in a heavy sound. Call it visionary industrial music or simply hard electronics mixed with powerful guitar riffs, the result is however mind-blowing. The electronic treatments are raw and sometimes joined by technoid elements. Heavy electronic blasts sound like real electroshocks! The guitar playing injects the industrial touch to the work and only increases the power running through “Gate”. The vocals are in perfect symbiosis with the rage animating this production.

– – – : Except the short “Sleep” intermezzo, this album has no real points I would imagine to improve! The main difficulty for Horskh will maybe to find the path leading them to a wider recognition.

Conclusion: In times where too many bands are sounding the same or simply like to sound as their idols, Horskh is a real relief! Power and rage both have been joined with great creativity resulting in this astonishing work! This already got my full support and I can only encourage you to discover the “Gate”-album.

Best songs: “Victim”, “Strayed Away”, “Engaged And Confused”, “Trigger”, “Against”, “Intruder”.

Rate: (9).

Band: www.facebook.com/Horskh

Label: www.audiotrauma.org / www.facebook.com/audiotrauma.records

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

Horskh is a French duo hailing from Besançon. I discovered this band by their dynamic and merciless EP “Dawn”, which has been recently re-released as an ‘extended version” featuring extra songs and remixes. The EP has been released on Audiotrauma and will maybe remember to bands like Cubanate, Sheep On Drugs, Combichrist ao. There’s an impressive and powerful boost, which the band experienced as ‘orsk’-sound. As this name already existed, they finally added an H in the beginning and the end to create ‘HORSKH’, which according to the band sounds like their music. I’ve been in touch with Bastien to give you more details about this real interesting formation.

(by Inferno Sound Diaries)

Q: How did you guys met and set up Horskh and what are the main influences in your sound?

Bastien: We both play music for a long time in different bands and in the same city. I liked how Brioux (the drummer) played, so I told him if he wanted to play with me! We have many influences: EBM, metal, EDM, dubstep, hip-hop and bands like Prodigy, Combichrist, Depeche Mode, Owl Vision, Black Tiger Sex Machine, Nine Inch nails, Noisia…..

Q: How would you define your ‘sound’ and tell us a bit more about the composing process?

Bastien: Electronic/ebm/heavy electro/metal/ ?step…….. I’m writing the music. Afterwards, I write vocal parts, and I modify some things to adapt the music with my voice. After that, we adapt the songs with acoustic drums for live shows with Brioux

Q: The original “Dawn”-EP has been released a while ago now so how do you look back at it right now and are there some elements of the production you would change/improve right now?

Bastien: Of course, some sounds and choices seem strange to us when we listen to the songs right now. But what we did is a mirror of a period. And we try to learn from our mistakes!

Q: It was because of the fans that you finally re-released the “Dawn”-EP as an extended format featuring extra songs and remixes. Tell us a bit more about the ‘new’ songs featured and the remixes?

Bastien: We wanted to release these 3 songs which were recorded during  the  “Dawn”-EP sessions. These songs show some new facets such as tainted which is more electro-like and without vocals. The atmosphere became more ‘ambient’-like while the “Host”-song reveals a ‘metal’ aspect.

Q: There’s a live-video on the net revealing a rather ‘rock’ attitude on stage. What does it mean to you to perform in front of an audience and what are you trying to express on stage?

Bastien: We both come from the rock- and metal scene. We played in bands such as Jack And The Bearded Fishermen, Run Of Lava, Black Code, Lost Cowboy Heroes…. We want to exchange a strong  and powerful energy with the audience. From dance floor to pogo!

Q: You’re actually working on your debut album, planned for early 2017. Can you already reveal some information about this work?

Bastien: The new album is planned for the beginning of 2017 and will reveal an evolution of what we did. The production will be more powerful and some influences will be more visible…

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: Industrial, electro-industrial, ambient.

Background/Info: Behind this project is hiding Brant Showers who’s mainly renowned for his involvement in ∆Aimon. Sølve is another project, which unleashed its debut work on the visionary Audiotrauma label.

Content: “The Negative” is an atypical industrial release, which is clearly inspired by heavy industrial elements, but still explores other sonic paths. It’s an interesting voyage that will lead us towards tribal influences, neo-classic piano-like arrangements, subtle bombastic passages and even a kind of industrial trip-hop experience. The electro-industrial element is quite accomplished and reveals an impressive sound arrangements.

The vocals are quite diverse as well. It now reminds me a bit of Depeche Mode (cf. debut song) while other passages are more into a whispering format and fragmented parts. The album also features a few instrumental parts accentuating the versatile format of the album, which remains pretty compact.

+ + + : Just like on the ∆Aimon project this is an original and fully artistic composition. There’s a great progression running through the songs while some tribal elements are simply genius. The debut part of the album is really close to perfection. There’s a judicious balance between heavy, bombastic and industrial elements at one side and refined arrangements at the other side. “The Negative (Perspective 1)” and “What Remains” both a masterpieces.

– – – : The debut part is amazing while the final part of the work is not exciting and quite different. That’s a pity otherwise it would have been an album that comes close to perfection.

Conclusion: Sølve belongs to a new generation of industrial artists, who are more into elaboration and the mix of multiple influences. This is another noticeable release on Audiotrauma.

Best songs: “The Negative (Perspective 1)”, “What Remains”, “The Negative (Perspective 2)”.

Rate: (7½).

Band: www.facebook.com/solvevlos

Label: www.audiotrauma.org / www.facebook.com/audiotrauma.records

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: Industrial-techno, cyber-industrial.

Background/Info: Horskh is a French duo, which released a debut EP “Dawn” in 2014 on Audiotrauma. Because of enthusiastic reactions this EP has been now re-released featuring the 5 original songs plus 3 new tracks and 5 remixes.

Content: I never heard of this band before, but I can assure you I’ll not soon forget this work. Horskh reminds me a bit to their compatriots of Malakwa although their sound and global approach is more industrial-like and  technoid. It feels a bit like the sonic hybrid of Combichrist (for the rage) at one side and ‘older’ bands like Sheep On Drugs and Cubanate (for the crossover between electronics and guitar).

The songs are carried by aggressive sequences and raw technoid sound treatments, which make it all pretty industrial-minded. You get a succession of furious bass lines merged with amazing sound blasts. The vocals are quite enraged as well, which creates a great match with the sound.

Among the remixes made by bands 2 Methyl, Näo, Loss, Flesh and Hologram I especially will keep the remix from their label mates Flesh in mind.

+ + + : Horskh mixes industrial and techno music in a very heavy and aggressive way. I’m totally addicted to their phenomenal sound blasts and great bass lines, which mainly come through on the familiar songs from the previously released EP.

– – – : The new songs, with the exception of the instrumental “Tainted”, are not exactly adding a real bonus while I expected much more out of the remixes.

Conclusion: If you would like to experience a real sonic earthquake, which will make you dance like a possessed freak, you better try Horskh. This is a band to keep in mind.

Best songs: “Magma”, “Trajectory”, “Anomaly”, “Tainted”.

Rate: (8).

Band: www.facebook.com/Horskh

Label: www.audiotrauma.org / www.facebook.com/audiotrauma.records

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: Dub-step, glitch, cinematographic, experimental.

Background/Info: Terrabeats Concept is a Serbian solo-project set up by Marijan Stancic. This artist was previously active in the metal scene, playing guitar until he moved towards more electronic sounds. That brought him to set up Terrabeats Concept, which is now already active for more than 10 years. A few EP’s have been released while this is the debut full-length revealing 10 tracks.

Content: Terrabeats Concept sounds like a fusion between different genres. There’s a constant switch and evolution from wafting, cinematographic passages to a kind of experimental dubstep carried by deep, blasting sounds while mixed with multiple sources of noises. There also is a psychedelic touch and other d’n’b influences, but it’s a more experimental and definitely glitch-like element that emerges at the surface of multiple cuts.

The album sounds like having been made in a dedicated sound laboratory. The creation has been accomplished with a special care for great sound treatments. A few spoken samplings can be heard now and then as well.

+ + + : Diversity is the main keyword and still the main strength of this work. It sounds like a modern and avant-garde like composition, which is mainly dominated by impressive deep, resonating sound blasts.

– – – : I can’t say that “Concept 3004” is the most accessible work and you really need a few listenings to get a bit more into the sound of the artist. This is a complex and versatile work.

Conclusion: You have musicians and sound creators! Terrabeats Concept definitely belongs to this experimental number of artists who are more into the creation of sounds and the mix of influences instead of a clean and structured composition. Terrabeats Concept is to music what David Lynch is to the film industry: a visionary and fascinating artist, but who’s not easy to understand.

Best songs: “Insects”, “Slammer”.

Rate: (7).

Band: www.audiotraumatik.com / www.facebook.com/Terrabeats.Concept.1

Label: www.audiotrauma.org / www.facebook.com/audiotrauma.records

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