Belgian studio project Aiboforcen has been a fixture in the music scene for over 30 years. However, its operator, Benoit Blanchart, has taken a more relaxed approach to releasing new albums. Their latest, the 7th studio album, arrives after a six-year hiatus and features an impressive 22 tracks. Longtime collaborator Patrice Synthea (Regenerator) continues to contribute as a vocalist, appearing on several tracks. Blanchart also enlisted a wide array of guest artists, including Jan Dieckmann (Norderney), who shines on multiple tracks, Mari Kattman (Helix), Noemi Aurora (Helalyn Flowers), Emke (Black Nail Cabaret), Sorrow Stories, and even Patrick Codenys (Front 242), Implant & Pouppéé Fabrikk (singing together), and Numb.

The album primarily consists of original compositions, but it also features a few alternative versions, a remix by Patrick Codenys, and a cover of a Death In June-song. The sound remains unmistakably Aiboforcen—a blend of Electro influences that lies somewhere between EBM, Future-Pop, and their unique, freeform style. The music is intricate and sophisticated, offering a compelling mix of tracks that are both listenable and danceable.

Jan Dieckmann’s vocal performance left a lasting impression, his voice evoking shades of Ronan Harris but with a subtler, more sensual delivery. His duet with Noemi Aurora—unquestionably one of the finest vocalists in the scene—creates a truly euphoric moment. While I’m unsure if this is my all-time favorite Aiboforcen album, it certainly showcases some of the project’s best work to date. (Rating: 8½).

Listen to “Heaven Knows”:

About Aiboforcen

Aiboforcen is a Belgian electronic band founded in 1993 in Charleroi by Benoit Blanchart and Séba Dolimont. The project blends elements of electronic body music (EBM), industrial, and synthpop. Blanchart handled music, synths, and sampling, while Dolimont provided vocals, lyrics, and additional sampling. Their earliest work, the demo “Black Slang”, appeared in 1993 in fewer than 100 copies, released via Side-Line’s former tape label.

In 1995, Aiboforcen released their debut album “Elixir Lytique” through Khazad-Dûm, a sublabel of Celtic Circle Productions. Their second album, “Face (of) Death”, followed in 1996. After a period of inactivity, both members co-founded the Belgian label Alfa Matrix in 2001, the same year Aiboforcen returned with “Sons Palliatifs”, concluding the trilogy begun with “Elixir Lytique” and “Face (of) Death”. “Kafarnaüm” followed in 2004, then “Dédale” in 2011 and “Sense & Nonsense” in 2018.

“Between Noise & Silence” is Aiboforcen’s seventh studio album, arriving in 2024 to mark the project’s 25th anniversary. It features collaborations with Patrick Codenys (Front 242), Henrik Bjørkk (Pouppée Fabrikk), and Don Gordon (Numb), alongside vocal appearances from Mari Kattman, Noemi Aurora, Emke, and Sorrow Stories.

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 iconic Belgian dark electro/future pop act Aiboforcen recently returned with their 7th studio album, “Between Noise & Silence”. Led by Benoit Blanchart and featuring the enigmatic Patrice Synthea (REGENERATOR), this album merges melancholic dark synth/EBM anthems with thrilling collaborations! Notable appearances include EBM/industrial legends like Patrick Codenys of FRONT 242, POUPPEE FABRIKK & IMPLANT (in a duet), and NUMB. The album also features outstanding female vocalists from the pop wave scene, such as Mari Kattman (HELIX), Noemi Aurora (HELALYN FLOWERS), Emke (BLACK NAIL CABARET), and SORROW STORIES… Without forgetting the splendid collaboration with Jan Dieckmann of NORDERNEY who sings on several songs and strongly contributes to crafting the album’s magic through moving lyrics, catchy dark pop melodies, and upbeat EBM sequences that often evoke the melodic and emotional depth of VNV NATION!  Benoit gave us more insights on his new album… 

You can order the new album now on Bandcamp as download and on 2CD via the Alfa Matrix webstore. Note that the 3CD version was sold out immediately.

S. “Between Noise & Silence” is your 7th studio album and features an impressive 22 tracks. Can you share the journey of creating such a substantial body of work, and what inspired the album’s title?

B. I started working slowly on what would become this new album during the covid period.  Like many bands, those very special times allowed me to concentrate and spend much mor time in the studio creating new sequences and sounds.  After a few months, what was started with no clear objective became to take shape and I started gathering several demo tracks thinking I could use them for an EP or album.  It was a very creative period and also (hopefully for me) the opportunity to learn/improve a bit more the mixing and production side of the aïboforcen sound…  I thus also started thinking about the right vocalist for each track.  The title track “between noise & silence” is actually a sentence coming from a demo track that Tina from SORROW STORIES was working on for me…  it became the title for the track but also for the album.  It’s a bit of a special track (a bit more complex) that I really wanted to be on the album but couldn’t find the right vocalist for it…   Then Tina did a test and she nailed it down!! 😊  It also has a double meaning because since I’m not considering myself as a musician what I create in a studio probably lies in the grey area between noise and silence! 😉

S. On this album it seems that Patrice Synthea and Jan D. play a key role as vocalists? Tell us more about these collaborations?

B. Well, Patrice (REGENERATOR) has been the main vocalist with aïboforcen for quite a long time now and she helped creating some kind of a trademark for us.  But I’m always interested in working for certain tracks with other vocalists, either male or female.  Of course it can break a bit the cohesion of the album but for me it’s more like trying to avoid the monotony of the album. I see/hear the different voices as new instruments I can play with, and it can totally change the result of the tracks.  I also appreciate the fact that I can offer a broader pallet of sounds and emotions. I was introduced to Jan while working on a remix for our label mates of ELEKTROSTAUB.  I knew a bit of his project NORDERNEY that I also appreciated a lot and I thought he would be the right vocalist for a track I was working on at the time.  I sent him a demo and after a few days he came up with something really brilliant for me. I was so pleased with the result that I asked him to do a second track and the result turned out to be even better…  He has such an emotional voice that it really adds another dimension to the song and brings them to a next level.  After a while we started swapping ideas but also sequences and sounds and he eventually became more and more involved in the whole process.  He helped me a lot giving advises and also programmed several synth lines, what was totally new and unusual for me… it was surprising, challenging and it contributed in creating a more mature and developed sound.  In the end he helped for a great bunch of the album in various forms…  Therefore the album is also much more balanced between male and female vocals.  He also made a duet with Patrice on the track “everything” and I’m pretty sure that it’s something we should try again in the future…

S. The album indeed boasts collaborations with a variety of other artists too, from EBM/industrial legends to outstanding female vocalists. How did these collaborations come about, and what unique contributions did each guest artist bring to the album specifically?  

B. As I said, when a demo is finished I try to think about what would be the right vocalist and what it would add to the sound of it.  Of course there are some people/singer I would dream of having on the album but sometimes I have to stick to reality.  My choice is influenced by the music I listen to, people I met through remixing, bands I know and so on… I’ve been blessed in the past working with great artists such as Jean-Luc from FRONT 242 and this album also gathers some legend from the scene such as Henrikk from POUPPEE FABRIKK or yet Don Gordon from NUMB who both helped me deliver the most aggressive cuts from the album.  Tina from SORROW STORIES was also really involved in the process, contributing to several tracks that we can find both on the EP and the album but also on the special 8cm cd available with the limited edition.  I had met her through a remix I had done for PSY’AVIAH actually and I had been mesmerized by her rather delicate and otherworldly vocals. She is also a very passionate and nice person, and meeting and exchanging  with people is another aspect of collaborating on tracks.  Then there is also Noemi Aurora who helped us with her very characteristic and powerful voice and it helped adding the extra touch to “cycle of life” and “heaven knows” you can find on the album.  It was a pleasure working with her and she’s a professional and also involved and more than passionate with music…  Also doing a track with Emese from BLACK NAIL CABARET was really an honor for me.  She has one of the most distinctive voice from the scene at the moment and the result is a very captivating cut with upbeat sequences.  I really hope listeners will like this track as much as I do…

Mari Kattman also lends her voice on the opening track as well as on a remix of “In My Arms” (a track from the previous album) and she also has a very distinctive and beautiful voice. Last but not least I also worked with Len from Implant since he is a long time friend of us and I was glad to have him back in one form or another.  With the lyrics of the track he did evoke, it’s like a celebration of a long-time relationship between us (including also Seba, Bernard, Stephan) and how it was when we started this all as students (the magazine, the label, the bands, the gigs).

S. Your sound is often compared to iconic acts like VNV NATION, FRONT 242 or yet COVENANT. How do you approach honoring these influences while still maintaining your own distinct identity as AIBOFORCEN? “Between Noise & Silence” seamlessly weaves between oppressive industrial assaults and catchy synth-pop tunes. Can you discuss the creative process behind balancing these contrasting elements to create a cohesive listening experience?

B. Well, it’s sure that I’ve been listening to those bands a lot (one of my first vinyl was 242’s politics of pressure, along with Kraftwerk radioactivity’s 7”) but I am also influenced by other acts from inside and outside the scene.  I listen to a lot of music from the EBM but also to darkwave, gothic, experimental, industrial or yet metal…  All this is ingested and some parts/influences appear here and there in my music.  Also I hope that with time I manage to create a bit of my own distinctive sound and style. 

As far as VNV NATION is concerned, I have to admit that Ronan has a deep sense for great melodies and a very emotional voice and is an example of what soulful music is. So if we sound a bit like this it’s a good point for us! 😊  Remember he remixed one of our track at our respective very beginning!  But I always try to balance catchier tracks/tunes with a rougher sound and more complex structures or experimentations.  For me it’s kind of logical and it can create a cohesion because some sounds, fx, way of treating things are the same and reflects the different side of one same “machine”.  Also  I tend to focus on recording an album with highs and lows rather than a succession of single tracks…  so this new album (especially the first disc) needs to be explored and listened as a whole, with the tracks kind of merging one into another.  I spent hours / days / months working on sometimes very little details of mixing, samples, eq’s to find the best result I could.  I like it when it takes several listening to really get all the details included in the tracks and hopefully surprise the listeners…

S. One of the tracks on the album is a cover of DEATH IN JUNE’s “Break The Black Ice.” What drew you to reinterpret this particular song, and how did you make it your own while staying true to the original?

B. We’ve always tried to include at least one cover song on any of our releases, either for fun or to show where our roots are…  I was introduced to DEATH IN JUNE’s music more than thirty years ago and the album “The World That Summer” from 1986 has always been a favorite of mine.  “Break the black ice” was an obvious choice because it is a rather simple, dark but catchy song, kind of desperate also and I really liked the version sung by Rose McDowall which is a fragile and delicate dark cut.  I thought that Patrice could do it as well and recorded a demo.  The first version was really slower and darker than the one on the album. We will feature it on a compilation from our label later this year actually.  The final version has a stronger beat and an aggressive lead sound while the original one is softer.  Both Patrice and I liked the version very much and what was a the beginning more like a “b-side” became one of the main important track from the album…  I hope fans of DEATH IN JUNE and AIBOFORCEN will be pleased by this tribute…  the structure is rather close to the original version from DEATH IN JUNE but of course it’s 100% electronics and there are some distortions here and there… 😊

S. The album is described as a high-tension dark elektro masterpiece. How did you approach crafting the sound production to achieve this level of intensity and maturity?

B. I always spend a long time editing, changing, mixing, adding details and I hope it can be reflected in the overall sound of the album.  I never intend to choose the easiest way while producing the music and I hope I raised the level a bit more on this new release.  I spent much more time on the vocals (cutting, eq’s , volumes, …) than on any other previous releases; there are lot of movie samples (hidden or not), lots of different synths and fx…  I can sometimes leave a track for one month and then come back with new ideas and Jan also helped me developing as much as possible this new sound which is probably more focused than before.  It still goes into any directions but with a common thread and overall atmosphere throughout the numerous tracks.  It was exhausting (especially at the end) but it was worth (at least personally) and I really hope our fans will like it… 

S. How important is the visual aspect of your music, and what role does it play in enhancing the overall experience for listeners?

B. It is important, not as much as the music, but it sets the tone for the whole album.  We always tried to have eye-catching sleeve or at least mysterious ones that will give the envy to enter into the universe of aïboforcen…  When I was a kid, I used to go to a place where you could rent vinyls and I would sometimes rent releases just because the sleeve would attract me in a way or another.  On this release we obviously used AI to create the graphics but it was intended and assumed. It was our easiest way to express and get the closest to the images we had in mind while creating the music.  And since our music relies on techniques, processors, synthetic soundscapes, it makes sense…

S. Lastly, the first 50 orders from the official Alfa Matrix e-shop received a signed version with an exclusive bonus mini-CD. Can you tell us more about the significance of this bonus content and what fans can expect from these exclusive tracks?

B. When the album was completed and sent to the mastering, I noticed that there were a few tracks left without vocals that couldn’t make it on the album but were a good insight of what it’s like being in the studio and working on new tracks.  It is more like demo’s but also I had the feeling that they could stand on their own and give another view on our music.  The first of those 4 tracks is called “eliza effect” and is a brand new one that maybe will give some infos of how the future sound of aïboforcen will be (or not).  The track “pulsions” (with vocals by Tina from SORROW STORIES) arrived too late in the process of the album but was good enough as well. In the end it gives the opportunity to the die-hard fans to have some extra tracks (unreleased) and have a bit more “intimacy” with the band…

Bernard - Side-Line Staff

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

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The Belgian cult dark electro/future pop act Aiboforcen has announced its 7th studio album, titled “Between Noise & Silence”. The new release will be out via the Belgian label Alfa Matrix at the end of May, but can already be pre-ordered.

The 22-track album again shows a blend of electro pop, future pop and dark pop but also includes a cover of Death in June’s “Break The Black Ice”. The album is available as a double-CD digipak with a 16-page booklet and as a download via Bandcamp.

ATTENTION: The first 50 orders (!!) from the Alfa Matrix e-shop include a signed version with a bonus mini-CD “Eliza Effect” featuring four exclusive tracks.

Benoit Blanchart this time worked with Patrice Synthea from Regenerator, Patrick Codenys of Front 242, Poupee Fabrikk, Implant, Numb, and female vocalists Mari Kattman, Noemi Aurora, Emke, and Sorrow Stories. Also Jan Dieckmann of Norderney joined in.

This new album was teased earlier with the 7-track EP “Cycle Of Life” featuring collaborations with artists such as Jan of Norderney and Noemi Aurora. The EP included a mix of new songs and exclusive non-album tracks, and it’s still available on Bandcamp with a digital booklet containing lyrics and artwork.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

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

Format: Digital.

Background/Info: Belgian Aiboforcen remains driven by core member Benoit Blanchart assisted by different guest singers -although he now considers Patrice Synhtea (Regenerator) as a constant member. This EP comes as an appetizer to the announced seventh album “Between Noise & Silence”. Patrice Synthea (Regenerator) was in the company of Jan (Jordernay) & Noemi Aurora, Mari Kattman and Tina Forlom.

Content: This EP features 7 songs -including remixes and alternative edits. The title song reveals a great, danceable Electro piece with a strong melodic chorus and male-female vocals by Jan (Jordernay) and Noemi Aurora. You’ll also discover a ‘Club’-edit and a remixed version by Elektrostaub. The other songs remain in the line of Aiboforcen while featuring different vocalists. One of these cuts has been remixed by Aesthetische.

+ + + : “Cycle Of Life” is for sure one of the best and most accomplished songs ever written by Benoit Blanchart. He remains a very unique musician you can’t compare to any other. The title song sounds not just danceable but also reveals a true sound intelligence while the duo vocal parts between Jan and Noemi sound better than intercourse. There’s such a great complementarity between both artists while Noemi’s heavenly voice is mainly emerging on the final part of the song. This track has something NVN-Nation driven but transposed into Aiboforcen’s sound DNA. The “Club-Mix” is pretty cool as well. Among the other songs left I especially recommend “Heaven Knows – Single edit” also sung by the duo Jan – Noemi Aurora. “Katarsis” featuring Patrice Synhtea is another cool cut and I here especially like the Acid sequences running through the song.

– – – : I expected a bit more from the remix of Aesthetische and Elektrostaub which don’t add a true bonus to the EP.

Conclusion: The song “Cycle Of Life” is a real masterpiece and I can only hope we’ll hear more doings from this level at the announced album.

Best songs: “Cycle Of Life – Club Mix”, “Cycle Of Life – Single Edit”, “Heaven Knows – Single Edit”, “Katarsis”.

Rate: 8.

Artist: www.facebook.com/Aiboforcen

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Cycle Of Life’.

About Aiboforcen

Aiboforcen is the Belgian dark electro and future pop project led by Benoit Blanchart, released on Alfa Matrix. Patrice Synthea of Regenerator is a regular vocal collaborator, alongside guests including Noemi Aurora, Mari Kattman and Tina Forlorn. The “Cycle Of Life” EP, featuring Jan of Jordernay and Noemi Aurora on the title track plus remixes by Elektrostaub and Aesthetische, served as the appetizer to the band’s seventh album, “Between Noise & Silence”, released in 2024.

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 Belgian dark idm ambient project Kilmarth has released an all new 5-track strong mini-album, “Better Days¨. Behind Kilmarth we find the Belgian musician Cedric Wattergniaux.

Small but important detail, Cedric used to write for Side-Line and with his project he is the 5th (ex)member of the Side-Line team who has released music next to Ronan Harris (VNV Nation), Benoit Blanchart (Aiboforcen), Seba Dolimont (Aiboforcen) and Stephane Froidcoeur (Nebula-H).

Cedric’s work is the kind of work you would link to productions released on labels such as Ad Noiseam, Tympanik Audio, Ant-Zen, Mindtrick Records and M-Tronic. Wattergniaux, who has been active in the dark music scene since the early 90’s, first as writer for various fanzines including our very own Side-Line magazine up until a few years ago, and now with Kilmarth, the project he debuted in July 2017 with the 3-track single “The End of Humanity”.

On his newest EP, out now on all digital platforms, we find (female) vocals for the very first time by the the Nigerian singer Blessing. Also included are two remixes from the IDM project, D-Fried.

You can download the release right below from Bandcamp. Read the review of ‘Better Days’.

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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Two charity releases to help Ukraine have taken the Bandcamp charts by storm in the past few weeks. There is the Side-Line powered “Electronic Resistance” compilation (and book and T-shirt) featuring 55 Ukrainian bands, and there’s the COP International powered 3-track single “Come Together” featuring members of bands including Faith No More, Stabbing Westward, Rammstein, Black Needle Noise and others.

The two releases have three things in common, they come from the indie scene, they have been created and released in record time, and both people behind the release are actually longtime friends. We decided to talk with both initiative takers, our very own chief editor Bernard Van Isacker and producer and musician John Fryer who both invested their time in creating two extremely successful charity projects.

SL: John and Bernard, you were the very first people to launch a charity project in the metal/rock and darkwave scene to help the Ukrainian people and also the ones that made it a huge success. What was the decisive moment when you said, ok, let’s do this?

John: It was late one Sunday evening and I was talking to Christian from COP International records on the phone and as always we were discussing many thing that are happening to us and the world and we got talking about the invasion and all the people suffering the effects it was having on them. So we decided to do a song to raise money. We were like yeah let’s do a song get it recorded and out by Friday of that week.

We were totally nuts to think it could have been done in such a short time. It took as 3 weeks and working around the clock not just on the music side of things but calling, emailing and texting people to get them involved in the project.

Bernard: The moment I saw the first images of the bombing, the dead civilians, I was like, I have to do something, and I have to do it right now. It took roughly 2,5 weeks to get everything done as far as the compilation goes, because I’m still working on the photo book itself which is also going to be released.

I honestly never thought Putin would actually invade Ukraine… who on earth can be so sick? It came as a big blow in my face when I heard the news. I was like, WTF, we are in the year 2022 and some lunatic still thinks it is OK to just invade another country. Looking back, we should have known this was going to happen, all the signals were there for years, especially after he invaded the Crimean with his ‘green’ men. Putin has a track record which is just plain wrong in all its facets and that was just one of the examples that should have made us realize far worse was bound to happen. Add to that that Europe acts like a junkie when it comes to oil and gas…

SL: I know you know each other rather well, it’s like same minds think alike?

John: I have known Bernard for many a moon now and he has a big heart also. Even though we didn’t discuss this with each other we have both come to the same conclusion of what a terrible thing that is happening in Ukraine and want to help in some way.

Bernard: I appreciate John a lot as well and I know he has the heart at the right place. It didn’t surprise me that he ended up with a similar idea. I think we both are very much affected by what is happening so it came as a natural thing to help in the way we know best, John by making music, me by setting up a project and use the Side-Line promo machinery to turn the project into a success.

SL: Can you both describe how you set up your projects?

Bernard: Within 3 days most of the tracks were delivered by the participating bands, some even recorded new material during those 3 days. I then had to literally chase for the necessary paperwork, because the last thing these Ukrainian bands are busy with or need now is bureaucracy, which I totally understand, but it is and was a necessary evil which took me around 2 extra weeks. In the meantime I had contacted Erlend Eilertsen (Lights A.M, Essence Of Mind) in Norway if he could make sure the sound would be ok because some of the sourced material literally was recorded while the bombs were falling like I said. Other bands had nothing left but rough demos, so there was some work needed to get everything polished.

John: Christian and I had done a similar thing before but on a smaller scale. This time we wanted to reach a much bigger audience so we decided to reach for the stars. I’ve known some of the artists for a long time but we also got a lot of help from people we asked like Geno Lenardo, Marija Buljeta, Rod Saez Chavez who also joined in asking people to join our project and we thank them and everyone else who has helped along the way and the people who have donated money to the project.

Side-Line: Bernard, you decided to get to work with Ukrainian bands only. How on earth did you get hold of 55 bands in such a record time?

Bernard: Ah yes, I forgot to tell that. Very simple, I contacted a few bands in direct, but most were actually triggered by a Facebook message I spread in Ukraine. People there reacted very quickly from allover Ukraine, also fans contacted bands after seeing the message. That’s one of the few times when I thought that Facebook did a proper constructive job.

Side-Line: John, you chose to work on a cover of John Lennon’s “Come Together”…

John: John Lennon wrote “Come Together” and we re-imagined it and added Queens [we will rock you]. It is a cover of the Beatles song mixed with a Queen song and we changed the words to [we will stop you]. As in the name, we wanted people to come together to help. This kind of invasion should not be happening. It’s horrifying to think that things like this can still happen in this day and age.

Side-Line: John, you made a supergroup – à la Bruderschaft – but this time from the metal scene featuring members of Faith No More, Stabbing Westward, Rammstein, and a lot more bands. How did this process technically work?

John: I wouldn’t say Metal Scene I would say Alternative Music Scene.

Doing this kind of thing these days is much easier I would say as you have the internet and that’s how we got everyone from around the world on the track. We would email, text or call and if they were willing to be involved we would send them the track and they would record their parts as most people these days have the ability to record at home. I ended up with about 200 tracks of audio and it was like fitting a jigsaw puzzle together and everyone is super happy with the end result.

Bernard: Now that you mention Bruderschaft, I worked on that charity project when it was released on Alfa Matrix back in 2003. You know, working on projects like these makes you realize that you can indeed help people, you just have to use your talents and network. And if everyone would do this, the world would be a much better place anyhow.

Side-Line: If I’m not wrong, this is the first time that 2 band scene players, COP International and Side-Line took the number 2 and 3 spot at the same time on Bandcamp. Kinda huge. What is your feedback on this?

John: In fact “Come Together [we will stop you] reached number 1 on Bandcamp and we have raised around 10,000$ and the artists that are involved with us in this have donated 100% from the money raised but unfortunately Bandcamp have taken their % from the donated sales and we are probably going to have to pay the publishers too even though it’s a god damn charity record to raise money for those who are suffering from this horrific and despicable war.

Bernard: Bandcamp and Paypal indeed take a big chunk. Luckily Bandcamp Friday helped a lot to recoup some of the costs that were involved.

As of this morning, Side-Line has already donated over 8000 EURO (8674,96 US$) to Ukrainian aid. Our compilation is still doing very well and I foresee to be sending hundreds of parcels with merchandise by mid-May as well.

As far as Bandcamp goes, it does make sense that we both stormed the charts there. You don’t find an artist like Rihanna on Bandcamp do you, I think she doesn’t even know it exists. Bandcamp mainly is a platform for the indie crowd, whether it is darkwave, metal, folk, jazz, blues or any other alternative (sub)style that often is not captured by the mainstream charts. So, we charted right in the indie scene, and that’s a very good thing.

Side-Line: Bernard, Side-Line is not a label, but a magazine, why was this project not released via a label?

Bernard: Good question but very easy to answer as well. These kind of projects need a very short roadmap from idea to execution, and since I worked with 55 bands things needed to be done quickly. In short you can not wait for months to get the ball rolling with these kind of projects, you need to act fast and thus instead of having this project go through various hands with different views and ideas, I decided to do it myself and handle everything from A until Z. Luckily Benoit Blanchart (Alfa Matrix, Aiboforcen) quickly volunteered to work on the book layout when I told him about the idea late February this year. Lots of work, which basically happened during long nights after my daytime job and all other work I have. But since I’m also responsible for the ‘Face The Beat’ compilation series, compiling it was not really different as far as the approach goes, just a lot faster when it came to releasing it.

The major difference however was the multitude of charities that had to be funded this time. I usually donate towards 2 or 3 charities per release. But here I spent a whole morning wiring money to all kind of Ukrainian organizations and also to bands who then did local charity. Lots of work, but I guess it’s more than worth it.

Side-Line: How do you both see things evolve in Ukraine?

John: We are hoping this ends now and the killing must stop and Ukraine can be re-built and bring back the misplaced people to their land and rebuild their lives. It’s amazing to see the resolve of these people through this tragedy.

Bernard: I’m personally not really optimistic as far as the length of this full blown war goes. If I see the increasing aggressive tone from all parts in the Russian society – just look how they have set up this huge Z-propaganda – I don’t think this will be over pretty soon. Hence why we need to support the population right now and continue to do so. The country is under heavy shelling in the east since a few days now and there is more happening. Putin started to roll a snowball downhill that is increasing in velocity and size.

I would not be surprised they’ll do sabotage acts inside Finland and Sweden to disrupt the society there since those countries clearly will choose to adhere to the NATO. Railway sabotage, massive hacking of public service networks, etc., they have done it in the past in the Baltic states so I see them returning to that modus operandi with Finland and Sweden especially. This is just the beginning. And we haven’t talked about how China is behaving in all of this.

But, one thing is quite clear, Putin seriously miscalculated what a courageous people the Ukrainians are. And especially because of that we have to start thinking of how to help Ukrainians to rebuild their country after this mad war is over and done.

Side-Line: Bernard, you are still in contact with all the band’s on a weekly basis, how are they?

Bernard: At least once a week they receive an update on the compilation, and I usually get a lot of messages back from the bands telling me how they are, where they are, where they have fled to this week, etc.. I wouldn’t say it is depressing, but it’s not really uplifting either. Having said that, I’m here, safe in my attic, they are there, unsure what will come next. So who am I to complain? I’m proud of every single one of those bands.

Side-Line: Is this the final word or do you plan to continue with this?

Bernard: I don’t know for you John, but I will most probably work on another project in the near future to help and collect funds for Ukraine. The first plans are on the table as we speak. Honestly, I am very positively surprised how our scene has been showing that they really care for the idea and purpose behind these 2 releases. A BIG thank you to all those who donated and who made these projects big successes.

John: We hope the song will continue to keep raising money. So if you have read this and want a way to help please head over to Bandcamp and buy the songs as every little bit will help in the long run. A big thank you again for everyone involved and those who have donated and to those who be donating in the future.

Below are the two charity releases.

Side-Line also covered John Fryer’s ‘Not Another Vampire Song’.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

This weekend Side-Line released “Electronic Resistance“, a 55-track compilation featuring darkwave / post​-​punk acts from the Ukrainian underground scene only on Bandcamp. Compiled in the past few weeks in – extremely – difficult conditions it offers you an insight into the Ukrainian dark underground and also reflects what all of them are going through. It suffices to see some of the titles on this compilation to understand what we mean.

All donations will go to the bands involved and/or a humanitarian project of their choice. Although this is a free compilation, we do encourage everyone to be very generous.

The release goes hand in hand with a photo book which will act as a testimonial of every band participating in this compilation. The release of this book is planned for early May as we are still working on getting all the material secured.

Also, everyone pre-ordering the photo book by mid-April will be added in the credits as sponsor. Benoit Blanchart from Alfa Matrix / Aiboforcen will take care of the design of the book.

And there’s more, the famous graphic artist Dirk Stallaert (Belgium) made a drawing which will be featured in the preface of the book. Compiler Bernard Van Isacker explains: “I know Dirk for years and have always appreciated his work whether it was for Nino, Nero or any other material he worked on, I also have various originals from him. In early March I asked him if he would be up for making a drawing. He succeeded in delivering a drawing which perfectly showcases the idea behind this compilation and the struggle the Ukrainian people, in this case musicians, are undergoing. And there’s more, but I will reveal that in a later stage.”

Besides this you can also support the artists by getting your ‘Electronic Resistance’ T-shirt, or a packet holding both the photo book and the T-shirt. For the big fans, you can also sponsor a band in direct via a special perk.

Let’s act, not just talk

The 55 bands reacted in record time on a call spread by Side-Line via social media in Ukraine and Ukrainian darkwave fans were themselves contacting bands to participate. The bands on the compilation represent a good example from the dark scene in the country covering post-punk, industrial, darkwave, dark folk, dark rock, noise and dark ambient and this from allover Ukraine, from Odesa, Kyiv, Kharkiv, Dnipro, Mariupol, and many other cities.

When we say that the release happened in extremely difficult conditions we refer to the fact that many of the artists are right now in the frontline, or help in all kind of services from the fire departement to field hospitals. Others are distributing food, others have been forced out of their destroyed homes.

Bernard Van Isacker adds: “Within the first 48 hours after that call for submissions went live in Ukraine, I received the largest bulk of the submissions, with some bands even using their phones to transfer files from the frontline. To not loose time Erlend Eilertsen (Lights A.M, Essence Of Mind) immediately started work on the sound in his studio in Norway the moment all material had arrived. Within 4 days we had the material ready for upload. In the meantime the biggest challenge was to set up a communication line with every band to secure the paperwork as well, not easy when you know you are trying to contact people who are on the run, or in metro stations seeking refuge or who are on combat missions. But in the end all got arranged. I must say that this is probably the most rewarding release I have worked on in years despite the long nights, little sleep and in-between all my other work which also needed to be done. But the feedback I got from the participating bands was very heartwarming.”

As we speak, the compilation has reached the number 1 spot in the industrial charts on Bandcamp, thanks to you, our readers who are very supportive once again.

Bernard Van Isacker: “I must say that this is probably the most rewarding release I have worked on in years. I have been completing this project every evening after all my day job and evening work was done, so it have been very short nights for me the past few weeks. But the feedback I got from the participating bands was very heartwarming.”

Van Isacker also plans to head for Ukraine: “I promised that the participating artists would also get their merchandise and books, so I’ll stick to my word and I will personally hand it over to them. I have already assembled a team around me who wants to go with me as part of a humanitarian convoy to deliver goods there. That will be organized by another action here locally in Belgium for which I have already laid the contacts. This is an ongoing story…”

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Alfa Matrix has been set up in 2001 by three friends. Séba Dolimont, Benoît Blanchart and Bernard Van Isacker were all involved with Side-Line magazine, but decided to start an Electronic label. The label became a home for artists dealing with EBM, Dark-Electro and Electro-Pop, but throughout the years the label welcomed other genres like Gothic, Ambient and Industrial. Front 242, Ayria, Pouppée Fabrikk, Plastic Noise Experience, Armageddon Dildos, Unter Null, Acylum, Implant, Metroland,  Zombie Girl, Helalyn Flowers, I:Scintilla, Mentallo And The Fixer, Leather Strip, Star Industry, Alien Vampires and many others joined the ‘matrix’. And I nearly forget to mention Aiboforcen which was set up by Benoît Blanchart and Séba Dolimont.

(Stéphane Froidcoeur / Courtesy by Inferno Sound Diaries)

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

Seba. Alfa Matrix was created in 2001 with 2 key values: running the label from an artist perspective in our collaboration approach, and focusing on a direct servicing of our customers. All this with the aim to support and market underground Electronic music with attitude with an eclectic approach. Twenty years later, and although the music market situation has drastically changed, we are still active on the same Indie music scene, we still dare signing newcomers and our repertoire confirms our quite open-minded sound range of interest. We do run the label in mutual respect and care with our roster of artists and developed a quite strong direct sales approach for both digital and physical releases.

So we quite sticked to our original mission and simply adapted our operational mode to the constantly evolving music consumption habits and we keep anticipating new trends in order to stay relevant and future proof.

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

Seba: Through the years, it has become harder and harder to open the gate of the ‘matrix’ simply because we want to stick to a certain maximum number of bands, but also because any new signing to the label should bring something new to the label family, add a new color to our sound/artistic palette. Also important for us is that any new addition to the label must get the green light form the 3 members of the label management team.

The art must touch us for sure, but personally, in my role of artists manager, I pay a lot of attention to the personalities of the artists, probably more today than 20 years ago! Simply because we believe in long term collaborations and to achieve such goal we better construct our relationship on solid foundations and values. So that personal click is also something I need to give my vote…

Bernard: Nowadays it takes time to launch a new unknown artist, and we work slowly, but steadily to get their music heard to the public. There is no magic formula to create instant success, it’s continuous work both by the label and the band. The first has to use the best channels to create the best value for the band while the bands have to work on social presence, and the interaction with fans on several platforms. It’s also why we have started releasing lots of singles, so bit by bit we reach a bigger audience this way via all platforms.

When we started the music market was already in decline so we had to start early on with a new model to get the word out. Know that there are many bands out there and if you actually look at it, too few labels to manage all those great talents.

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

Seba: As owners of a company several dozens of artists gave their trust to, the least we can do is running this company professionally through a strong overall financial management and anticipating business and market evolutions to remain future proof. This is why Alfa Matrix was one of the first labels from our scene to be on digital platforms, and I even remember some were laughing about us, especially when we decided to invest a lot in streaming that is still seen as a danger by some today. Like other labels we also went through some tough economic challenges when we faced several bankruptcies from big CD distributors in Germany or in America. But with our strategy of focusing on an international market rather than putting all eggs in one or two baskets, it was easier for us going through all this, and especially with the unmatchable force of having a strong fanbase buying in direct from our e-shops and giving us more financial independence.  So the decisions we make are more guided to the way we adapt our ‘go to market’ strategy: changing distribution channels, deciding how we spread our budgets and investments, etc…

Bernard: In respect to that, we have been continuously checking out new platforms to vet if they were adding value to our media mix or not. For instance Facebook was quickly used by us, but we also knew that this free ride would not continue and that at some point Facebook would close the open gates and restrict the organic reach from their pages. That happened, a bit later than we anticipated, but it did happen. The same for Instagram for example. The free rides are over and done and you can no longer count on getting free unpaid reach for every communication you do. During that process we continued to work on a direct relation with customers. So while some bands and labels have gone that far to only have Facebook as their window we never neglected the own properties we can manage for the full 100%: an own e-shop, a very active Bandcamp page which both have given that what we are looking for, namely a direct link with the fans. So, suppose that Facebook or any other social media platforms stops their activities, we won’t feel any impact as we have a direct link with customers. This under the hood approach has been working very well for us and is something we will continue to do. Social media for us are a nice extra, but nothing more than that, the real value lays elsewhere for us.

I also strongly believe in the streaming market for the future, it’s how most of the music will be digested by music fans alongside HQ audio which people will find on Bandcamp and via physical products. As far as YouTube is concerned, I share the same comment and idea which Dave Heckman made earlier this week to you. This Google moloch pays really peanuts, 10 times less than Spotify, it also offers poor audio, but surprise surprise… everybody wants to be on it. It’s maybe good for the image but not so good for your wallet in the end if you consider the production cost of a video versus the extremely low return you get from it. It doesn’t mean we don’t have to be present there, but I seriously doubt that a lot of money should be thrown at it, it’s not our preferred medium.

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

Seba: First of all the pandemic affected every person behind our Alfa Matrix bands and the label staff itself, most probably first on a personal level, cos they themselves struggled against Covid-19 or lost loved ones around them. What obviously hurts the most is the recurrent cancellation of tours, festivals, shows… this is hard for all bands. The stage remains the ultimate place of communion between artist and fans. The duration of the pandemic crisis also makes it more and more complex for artists releasing new albums and not being able to perform the new songs live.

Economically, so far we have been working hard and increased our promotional efforts to support the bands. As a result we actually managed increasing our label turnover between 2019 and 2020 with over 15% although the lockdown hit us all heavily. It was a combination of efforts: we continued to deliver CD’s to shops in direct -when some of our distributors were obliged to keep doors closed for example, but also from our bands who released more digital music to also bring some nice entertaining moments to their fans in these difficult moments, but also from our fans who continued supporting us massively.

Now unfortunately we all know that the economic crisis that will follow will hurt at all levels, but we will only start experiencing the real impacts in the second half of this year. It’s then that more and more people will continue loosing their jobs, loosing a portion of budgets they usually put into art and leisure. I also hope that this sanitary crisis will lead more people to pay more attention to their health in general. So yes, the world will change for sure, and we will all need to adopt and adapt at some point.

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

Seba: Media changed a lot in 20 years indeed! Print magazines have been going through tough times. The major challenge is remaining relevant as a print magazine coming out monthly while online news get published instantly and spread a few clicks further. Combining digital with print is not easy. Integrating social medias, streaming platforms, etc… in the overall journalistic equation is tricky.

It’s just like for music, the new generations tend to consider that art and information should be free of access. As a label, of course journalists still play an important role for a certain portion of music fans who still enjoy turning pages while reading and enjoying the pleasure of holding a magazine or a book in your hands. They then also reach out to the digital audience via their blogs and other websites. But the readers tend to identify themselves less than before to some specialized journalists, but will rather trust and follow the advise of some friends posting on social medias, other buyers leaving comments on webstores or other influencers. They also tend to trust themselves more and more and believe in algorithms recommending them the next music to play on their own music radar.

Bernard: Many online magazines do not publish news daily or even regularly which makes it difficult for them to stay relevant in these days of social media. In the past we were able to work with a lot of great web magazines, but these days we have to work with hundreds and most really have a very very small readership, while others have been smart enough to evolve, develop, stay relevant. Those online magazines from the past who did not evolve have seen their visitors go to Facebook and never have seen them back. Most also ceased all activity. It shows clearly that Facebook for instance is not the booster that most had hoped, on the contrary, and it also explains why many magazines are increasingly negative towards Facebook because they have now largely decided what you get to see, what you discuss about etc..  

As a label we must combine all these elements to reach out to our customers/fans and make choices based on gathered experience and acquired know-how, while exploring new grounds… 

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

Seba: I think our biggest accomplishment is to be talking with you today and celebrating 20 years of Alfa Matrix, each release from our music repertoire between 2001 and now each contributed to this success, from newcomer acts to living legends from our beloved music scene.

The only regrets I might have are first of all not to have 10 days in a week to do all I’d like to do, and maybe having put a couple of friendships in danger by starting a label collaboration with friends without having been enough aligned and synched together on strategic elements. As far as the future, I hope we will still be able supporting talents as long as possible and having the chance to release the great work from our artists, and working with experienced music supporters like you…

Bernard: I personally never expected that this story that started as an idea amongst friends would turn out to be that successful and long-lasting. Seba had the basic idea and then pitched it to Benoit and me. Since I knew Seba as a very trustworthy guy (you introduced him to me remember!) it didn’t take long for me to decide to get on board and invest in it.

As far as the future for the label, or any label, I guess that the love for what we and the bands do will be the biggest power behind it all. I still discover great music in this scene so we are not in desert modus. The biggest challenge will be to keep on making new people warm for this scene’s music. Not a simple task, but we’ll manage alright I think.

My biggest regret… we all know it’s very time consuming and it’s not always easy to find a good balance between family life and work. As far as my two colleagues is concerned, I know how to separate my private life from work, so even if we have some catfights about certain things (we have to agree all 3 on something or it doesn’t happen), we remain loyal friends above all. And as far as how we function together, you can say that the structured thinking of Seba combined with the fuzzy logic style of thinking of Benoit and myself is an ideal breeding platform for great adventures!

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

Back in 1991 I started writing my first reviews for Side-Line magazine. I would have never thought to go on writing reviews and making interviews non-stop for 30 years. So 2021 is a special year to me, a kind of ‘celebration year’. I got the idea to celebrate this special event by interviewing people from the scene who all have a special meaning to me. The first interview I made in this series is with Séba Dolimont. He was Side-Line chief-redactor till the end of 2007. He’s now running Alfa Matrix for 20 years and got also involved as singer with AIBOFORCEN and [IN]TERNAL. But above all we’re best friends. We no longer need music to meet and speak about a lot of things although this interview is only about music…

(Courtesy by Inferno Sound Diaries; Stéphane Froidcoeur)

Q: We met more than thirty (!) years ago now. Back in time you were busy with Side-Line, which was a kind of ‘fanzine’. How do you look back at these ‘early’ years and what was your motivation to get involved with a magazine?

Séba: Time flies doesn’t it?! Well, the crazy idea of doing our own ‘zine’ was thrown on the table by my friend David Noiret back in the days, one of these nights at university when we were having fun, listening to music, having some drinks and reinventing the world… But the next day when we met again at school, the idea was stuck on our respective minds. Side-Line was born! With the aim to have a true fanzine devoted to dark underground music cos the only mag we had then in Belgium was getting more & more mainstream… We wanted to defend and promote the music from the side-line. We were then carried away by the unexpected positive response on our first issues.

A bunch of friends rapidly joined the team including my all-time friend & partner in crime Benoit Blanchart, Lol Chevaux from France… and YOU!

Q: Side-Line finally became one of the most renowned- and leading Electro/Industrial/Gothic magazines from the scene. What made it that special and maybe different from others?

Séba: Looking back at it, I think our true devotion to the scene and the quite wide musical culture of the editorial staff made the difference. We were also lucky to be one of the few first mags written in English (and this way accessible to a much wider audience) while at that time this scene was mostly covered by German mags. Once we had the opportunity of getting published on professional glossy format (by a German label (Celtic Circle Prod) and later by Claus Müller of Orkus!) magazine before becoming fully independent, powered by the unique design touch of Didier Delhez and with the challenging concept of having a CD attached to the magazine, we instantly got the massive support from all record labels, bands and the fans!

By then we had also started embracing the internet, many many years before everyone, thanks to the initiative of Ronan Harris (VNV NATION) and later the arrival of the one and only one Bernard Van Isacker who came and reinforced the digital and commercial strategy of the magazine, but also enlarged our journalistic approach thanks to his many connections with bigger bands and major labels. We were on orbit!

Q: You finally left Side-Line in 2007 because of some health troubles, but still to focalize on Alfa Matrix. As a label owner, what’s your perception of media/magazines today? What’s their impact and importance for a label?

Séba: This is still one of the most difficult decisions that I made in my ‘music’ life. But when as a father of 2 young boys you are stuck by a virus that abruptly attacks your heart and almost kills you, the long days and nights you spend at hospital allow you questioning your priorities in life. To find a more appropriate balance between family, your main job and your music passion, there was just one too much in the equation. I felt I still had much more to learn and experience for the label rather than for a magazine. I could also inject more flexibility in the label planning than for the magazine which had a strict release date planning and always imposed us long sleepless nights before the closure of each issue.

Since then I have unfortunately seen so many scene magazines falling apart one after the other because of a general disinterest from readers and a lack of support from labels and other potential advertisers. The difficulty of being active on a shrinking underground scene, in a fast evolving world where social media’s and internet sites rapidly challenge the relevance of your articles or the freshness of your news bits. And too many invested way too late in a combined complementary offer mixing on-line and print, or just did not. I am still very admirable and respectful though for the job and activities run by the few surviving print mags like Sonic Seducer or yet Orkus!. Their longevity is exemplary. Today as a label you need to mix various medias to reach your audience cos more than ever, the consumer today is king and decides his/her own information modes. Tough tough… but congrats to all journalists still investing time and energy in defending and supporting our beloved dark music scene. Without people like you Stef, who would we be?

Q: You set up Alfa Matrix while you still remained involved as chief editor of Side-Line. That sounds rather incestuous, don’t you think? How do you look back at it? 

Séba: I hear you. It’s a point we discussed at creation of the label actually. I rapidly decided to be only publisher of the magazine and stopped my editorial activities. I focused only on the coordination and business side of the job, selling adverts, etc. And we always gave journalistic freedom to our editorial staff: no censorship, even for advertised releases… But our experience with the magazine and its related website was also one of the leverages that were there to put Alfa Matrix on orbit. We knew exactly the impact that Side-Line could have to help us launching new talents and new releases… So yes, you can describe it as incestuous, but in all magazines you can see clear financing by specific record labels and you see many band members or even label staff in editorial staff of several magazines. I see it more as expertise sharing. And if the connections and affinities help, this is what business is all about isn’t it?

My past work at Side-Line definitely helped me signing many artists to the label cos I had built a strong contact or friendship with them through the years…

Q: Alfa Matrix this year celebrates its 20^th anniversary. What does that mean and how did you see things and the scene evolving over the years?

Séba: Honestly, I would have never thought that 2 decades later, we would still be up & running, and especially with such an impressive repertoire and diversified constellation of artists around us. It’s been an amazing adventure. With lots of exceptional moments. Lots of ups and downs also of course. Several bankruptcies from big distributors which each time put our finances at risk. Also a radically changing and constantly evolving music market on which you need to challenge yourself continuously to remain relevant and future proof. 

If I were telling you that the future is bright and beautiful I would be lying to you. It’s obvious that there is no way back at this point. The dark underground scene keeps shrinking and losing ground. The several economic crisis, without mentioning the current pandemic and the changing music consumption habits all have heavy impact on sales potential. So I expect the physical format to be more and more limited and eventually get replaced by streaming. This is it! But with the right knowledge, it’s always possible to adapt your business model and move ahead. If you don’t try to anticipate the future, then it will get you.

Q: Physical sales are going backwards for years now. What do you expect during the next years and what will be the impact on the scene?

Séba: Bigger bands will still have some limited physical releases. Smaller newcomers will be available on streaming platforms. Once streaming gets generalized, the notion of albums will vanish and get replaced by one-song releases, getting published the next day they get recorded and mastered. Time to market will get zeroed and release radars will feed us proactively…   and here again the underground world will loose more & more visibility against the algorithms. So yes, when  people do not react timely and invest more in supporting younger acts, this will smother our indie art slowly but surely. But at Alfa Matrix, as long as we will have the energy to do all this, we’ will be there for you and for our artists.

Q: FRONT 242, this year celebrating their 40^th anniversary, has been for sure your biggest signing; like a serious accomplishment for an underground label! How did you convince them to join the ‘matrix’ and how is it working with such a legendary formation?

Séba: The arrival of this cult Belgian band to the Matrix was indeed an amazing boost in our ascension in our very first months of existence. Years of friendships and mutual respect brought us together and it’s been a very great, fruitful and inspiring collaboration with them in all simplicity. Things flow and are obvious. We now released their ’91 live albums and managed selling out before release date, with over 50% of the pressings sold in direct by ourselves via our own webstore thanks to our amazing staunch fanbase. This is something we are very proud of. 

The official collaboration started with the MALE OR FEMALE trilogy. Patrick and Daniel asked me back then helping them finding the right label for this new project cos they had been very deceived by labels from their past experiences. Back then Alfa Matrix was a tiny label with 5 bands, so I did not even consider making them an offer. I rapidly brought them a handful of contractual offers. And then they asked us why there was no offer from Alfa Matrix cos trust was very important for them! The rest is history. Respect to them and thank for the eternal trust.

Now when you say it’s our biggest signing, they are indeed a true legend. But it does not mean we don’t have other artists selling more than FRONT 242 actually! You could be surprised sometimes of the potential of our eclectic roster of artists…

Q: Some artists and their ego… you for sure know what I’m talking about! How do you manage this situation as label owner?

Séba: Well… it’s a tough one indeed. Now of course to be an artist and have an own creative concept, having an ego and a very own vision helps and makes you more pertinent. The main problem is when artists with a strong ego don’t have both feet on the ground and have no realistic grasp or knowledge of the market’s reality.  Then things can turn wrong cos they can have unrealistic expectations. Sometimes also the ego is so strong that they turn into control freaks and prove not to be able to efficiently collaborate. We have been there a few times…

Being myself artists manager, through the years I started putting more and more attention to the persons themselves and not only the music. I need that click, that trustful gut feeling that tells me ‘yes we can’… Before signing anyone we take the time to talk, explain who we are, how we work. This way I try building a collaboration on solid grounds.  Cos we really believe in long term collaborations in our label management concept. And when you check the longevity of the collaboration we have with a large majority of our way I wish I could do, I’m proud of the many friendships we built thanks to music…

Q: You’ve been an ‘artist’ yourself as you also were the singer of AIBOFORCEN and [IN]TERNAL. What did you keep in mind from both bands and why did you finally quit?

Séba: Yes indeed. It’s funny cos we actually started the label to self-release our 3^rd album of AIBOFORCEN. We had several nice offers from big German labels but were so much deceived by our previous record deals that we made the decision to launch Alfa Matrix. But in the end through times the label activities prevented me from being in studio and at the end, the decision became obvious. I’m so happy Benoit continues injecting life into the project. I still of course help him from distance, making connections for new collaborations, giving him tips from demos he shares with me, etc.  He’s currently working on his next album and what I heard so far is once again amazing! But here again, it was a deliberate choice, keeping the balance between family, my time demanding job and my music passion. 

While [IN]TERNAL was more of a one-shot project with friends without constraints. We were all free at the right place at the same right moment, all wanting to do something new outside our respective main projects. I am still very proud of that album we released on Zoth Ommog back in the days…

Q: Thanks to music, you and I became very close friends. Any specific souvenir or anecdote you want to share?

Séba: So many memories that it’s too hard to pick a specific one. But chronologically, I will surely mention receiving your ‘Deranged Psyche’-compilation tapes on which I was each time discovering new bands… I had found my master ;-)! Bringing you massive orders of CD’s from my travels to Germany. Our exceptional adventures on the road driving from one festival to the other across Europe with some special souvenirs of preparing you the craziest sandwishes I could up to sleeping on soccer fields… Memorable after party nights with our Spanish DJ friends of Girona. The first days of FUZE BOX MACHINE up to NEBULA-H. Without mentioning the amazing editorial moments within the Side-Line teams and nowadays your honest, neutral and objective support to our Alfa Matrix label. But above all the unique friendship we both constructed that is today above all this music adventure and even makes that we can meet and talk hours long without even talking ‘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.

www.side-line.com

The 4th track on our free (or pay-what-you-want to support our charity work) download compilation “Face The Beat: Session 5” is by the Belgian darkwave act Aiboforcen.

“In My Arms” was originally released on the “Sense & Nonsense” album while the Ocean Mix of the track followed on the “In My Arms” EP which came out earlier this year. We picked it as it brings a very moody atmosphere which perfectly fits the feeling we had when creating this compilation. The track features the lush vocals of Mari Kattman who has been working extensively with the with the band in the past.

Aiboforcen was founded by the duo Benoit Blanchart and Seba Dolimont, but is nowadays mainly Benoit Blanchart who works with guest vocalists. After the release of two CD albums (“Elixir Lytique” & “Face (of) Death”), the band disappeared from the scene to work on various other projects. They returned with a more mature and better mastered type of sound on the “Sons Palliatifs” album which closed their trilogy around the “near death experience” theme.

Released in June 2004, their 4th album “Kafarnaüm” offers a complex and modern mixture of eclectic electronic styles ranging from harsh EBM to crunching power industrial through dark trip hop with a certain future pop touch and their trademark combination of harsh male growls and sensual female vocals. The next album was released in 2011, “Dédaleé” and in 2018 Aiboforcen released the extremely dark “Sense & Nonsense” featuring amongst others Jean-Luc Demeyer (Front 242), Damasius (Mondträume) , Lars Bass (Kant Kino) and many more guest singers.

The complete backcatalogue by Aiboforcen is available here.

Check “Face The Beat: Session 5” on Bandcamp to discover the other bands. All donations will go to charity.

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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Belgium’s cult dark electro act Aiboforcen is back among the living. A teaser was already released online a few days ago, but it’s now official, there is a brand new Aiboforcen EP out via Bandcamp: “In My Arms”.

The 13-track (!!) extended EP focuses on Benoit Blanchart’s collaboration with Mari Kattman. Both “In My Arms” and “Tears” are taken from the band’s recent 6th full length album “Sense & Nonsense”. The title track also got the remix treatment by label mates Mondträume, Mental Exile and Jean-Marc Lederman who each plunged the song in totally different moods. “Tears” on the other hand got re-discovered by the other Alfa Matrix companions Aesthetische, SD-KRTR and Psy’Aviah.

This new 13-track EP (available now from Bandcamp) also reveals some 4 new exclusive songs: “Therapy Through Violence”, “Abysses” (featuring Patrice Synthea of Regenerator fame) and 2 radically different cover versions of New Order’s “True Faith” and DAF’s “Als Wars Das Letzte Mal” (featuring Uwe Kanka of Armageddon Dildos on vocals).

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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A special fan-pack has been prepared for the new Aiboforcen album. The 2CD box comes augmented with 4 signed exclusive cards inserted in a special black envelope. This unique Aiboforcen gem is retracing the band’s last 4 albums on Alfa Matrix and will be included in the first 50 orders of the new “Sense & Nonsense” album placed via the official Alfa Matrix webstore.

Still mostly centered today around mastermind Benoit Blanchart and female singer Patrice Synthea (Regenerator lead singer), Aiboforcen strikes back. The return was already hinted at on the Aiboforcen Facebook page a few weeks ago, but today the Belgian industrial label Alfa Matrix has announced more details about the upcoming album “Sense & Nonsense”.

You can already pre-order the CD, 2CD (including the special funpack for the first 50 orders) and via Bandcamp the download version of the limited edition set. Here are already 2 songs to enjoy.

For this release Blanchart has once again collaborated with a rather promising list of special guests. The first one is Jean-Luc De Meyer (Front 242, 32CRASH, Underviewer, …) who lends his unique voice on not less than 3 songs on this album, including an upbeat EBM cover version of Front 242’s very own “Loud” and the more atmospheric and darkish “The Arrival”.

Other noticeable appearance comes from Damasius of label mates Mondträume, Mari Kattman, Mildreda, Venal Flesh and Kant Kino.

Next to the normal CD version there is also a limited edition of the album which will hold a 13-track bonus disc entitled “An End Unto Itself” revealing some 3 exclusive non-album tracks including guest vocals by Junksista and Lovelorn Dolls plus own reinterpretations of 3 other album songs. Add to this a bunch of remixes.

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

Still mostly centered today around mastermind Benoit Blanchart and female singer Patrice Synthea (Regenerator lead singer), Aiboforcen strikes back. The return was already hinted at on the Aiboforcen Facebook page a few weeks ago, but today the Belgian industrial label Alfa Matrix has announced more details about the upcoming album “Sense & Nonsense”.

You can already pre-order the CD, 2CD and via Bandcamp the download version of the limited edition set. Here are already 2 songs to enjoy.

For this release Blanchart has once again collaborated with a rather promising list of special guests. The first one is Jean-Luc De Meyer (Front 242, 32CRASH, Underviewer, …) who lends his unique voice on not less than 3 songs on this album, including an upbeat EBM cover version of Front 242’s very own “Loud” and the more atmospheric and darkish “The Arrival”.

Other noticeable appearance comes from Damasius of label mates Mondträume, Mari Kattman, Mildreda, Venal Flesh and Kant Kino.

Next to the normal CD version there is also a limited edition of the album which will hold a 13-track bonus disc entitled “An End Unto Itself” revealing some 3 exclusive non-album tracks including guest vocals by Junksista and Lovelorn Dolls plus own reinterpretations of 3 other album songs. Add to this a bunch of remixes.

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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