The Serbian industrial rock band dreDDup has been working hard lately on it’s video productions. “Cherry Noble” is the second single from the upcoming eleventh studio album “Pan/Dora” scheduled for a release in mid 2024 via Crime:Scene Records.

The video for the single was directed by Mihajlo Obrenov with the help of AI. It represents a critique of today’s society. In less than a month, dreDDup will enter it’s 27th year of existence and besides “Pan/Dora” they’ve been working on two more albums simultaneously.

You can see the video for “Cherry Noble” here.

Below are stills from the new video.

About dreDDup

dreDDup is based in Novi Sad, Serbia and has been active since June 1997. Their first release, “Abnormal Walz”, featured a sound ranging from experimental electronics and techno to electro punk. It was followed by their first full-length album, “Mr Borndead’s Feast” which was released in 2004. In August 2007 the band landed the album “Future Porn Machine” offering a crossover sound. From that moment on, dreDDup labeled their music as being ‘massacre industrial’. The third album, “El Conquistadors”, came out late in 2008, the 4th was released in February 2011 simply titled “dreDDup” again offering a crossover of multiple electronic genres. Their fifth album was released in 2012 celebrating their 15th anniversary.

In late 2013 the band started working on their new record entitled “I dreamt of a Dragon” which was released at the end of 2014. For this album they abandoned their aggressive style of music and went for a more electronic and commercial sound. The album was self-released and the track “Etika” which was available on the free “Face The Beat: Session 2” compilation featured the legendary Dario Seraval from the Croatian/Slovenian cult industrial band Borghesia on vocals. It was one of 3 songs that the industrial outfit dreDDup sent us for inclusion on the compilation.

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, Experimental, Ritual.

Format: Digital, CD.

Background/Info: Abbildungen Vareté was a Slovenian collective active between 1983 and 1984. They released the self-titled album “Abbildungen Varieté” on Galerija ŠKUC Izdaja -this label also released works from Laiback, Last few Days, Borghesia ao. The original album was released on cassette and is now available for the very first time on CD.

Content: This band brings us directly into the early spirit of 80s Industrial/Experimental music. Industrial sound treatments and noises plus Ritual like elements like chants are moving on crescendo till an imaginary sonic climax happens. The work is also featuring heavy shouting passages.

+ + + : This band brings the early Industrial spirit alive. This work reminds me of bands like Test Department, SPK and Last Few Days. This reissue is a great opportunity (thanks to FinalMuzik) to (re)discover a band which never gained a great reputation or recognition. I should say it’s an essential piece of music and it’s a pity this collective didn’t get a deserved recognition. This is a great Industrial production revealing a mature sound production and great mix.

– – – : It’s unbelievable to discover such forgotten sonic treasures from the past especially because Abbildungen Varieté had a true potential.

Conclusion: Thanks to FinalMuzik and the reissue of “Abbildungen Varieté” we get the opportunity to expand our knowledge of ‘early’ Industrial music. This work is a must have!

Best songs: “Kader Urbanosti”, “Republikanski Marš”, “Babilon”, “Max Ludwig – Insert”.

Rate: 8

Label: www.finalmuzik.com / www.facebook.com/pages/Final-Muzik/85814529244

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

Torul is a Slovenian project originally set up by Borut Bernik aka ‘Torulsson’. Several albums have been released over the years mixing elements of Dance music and Techno together with Electro/Indie-Pop. The band went throughout different line-up changes but hold on its ‘non-compromised’ writing approach. The new album “End Less Dreams” released by Infacted Recordings appears to me as the band’s magnum opus; a well-crafted and professional Electro-Pop production with sensual vocals on top. I talked about this master piece with ‘operator’ Torulsson.

(Courtesy by Inferno Sound Diaries)

Q: Torul has been set up in 2010. Can you draw up the balance sheet of all these years of commitment considering sound, albums, line-up changes etc?

Torulsson: It’s been quite a ride! After some really successful early releases since 2011 we begun to tour wherever possible and/or made sense for us. Our ‘main card’ has always been a wish to be and stay as independent as possible. Meaning, we felt no pressure or obligations to ‘adapt’ to any scene or mimic any style, band. We tried to keep on doing things our way. And we are obviously recognized this way these days, which is kind of fulfilling.

As Torul has begun as my solo project, I could actually work with any talented singer that is willing to work and develop and that’s how we survived a couple of front man changes. So Maj is actually our 3^rd front man. Sticking to our style and direction, there hasn’t been a big gap for our fans and audience. Currently, we enjoy really enthusiastic reviews of our new album and we feel the same about it -might be our best to date.

Q: Let’s talk about this new album entitled “End Less Dreams” which comes four year after your previous full length. So the album has been composed during the pandemic and seems to reflect feelings you encountered during this period. Tell us a bit more about it and how did the album come alive?

Torulsson: This period has been quite challenging for me. So many things have changed in my world -disintegration of a long term relationship, corona restrictions, no gigs, and also important, I sensed so many changes in society due to the new crisis and dynamics. Well, probably many people have. It’s just that it added up to my introspections, re-questioning many things etc. Far from playing a victim or anything, I’m just saying I’ve been having a personal transitional period. I’ve discovered some things that I’m still processing. And at the same time I have begun to see my music explorations even broader, started a couple of new projects that are yet to see light, i.e. Flamingo Revolt, which is a new solo Indie-Pop-Rock project of mine, first single coming out in May.

As for Torul stuff that is on “End Less Dreams”, I got a very clear picture what I wanted and I’m very happy both with how smooth I’ve been writing and producing it, it’s always rewarding when the production of a new full length is effortless in terms of frustration and considering it as work -it was more like my playground, heading to the clear goal.

Q: Music and arts generally speaking have been seriously affected during the pandemic and lockdowns. But music also was a kind of therapy and cure for numerous people to hold on. How did it happen at your side and what’s the importance of arts, music and Torul?

Torulsson: As I’ve already described above, it was very personal and like a time -stamp of a very certain period of mine. I just knew this is like the most important thing to do and the very right time to do it. That part has been one of my few joys during the pandemic. Well, I also improved my routine a bit, doing more sports etc. But at the same time I coped with some weird form of depression, not like just feeling down or something, the sensation of loneliness and sadness crawled up to me and couldn’t get rid of it easily. It’s still there, but I understand it better, I understand it’s a process and try not to fight it, I try to live with it.

Q: What have been the different stages you’d to go through to compose and produce “End Less Dreams”? What have been the influences and eventually references when it comes to writing process and production? And what have been the main challenges and difficulties?

Torulsson: I can’t talk about influences, as usually, it’s a whole broth of them and never think about that -I have an empathy and appreciation of many different kinds of music and I sense music more like mood -boards, than individual isolated pieces. If you listen to our work with some attention, you can discover things that come from different fields, I think and am often recognized as having quite unique and eclectic approach inside of the genre. That is kind of important to me, as I also hear many genre music which is so full of cliches and copying stuff more or less directly. I am really not interested in doing stuff this way for Torul. I need something that will fulfil myself in the first place, not the audience -the audience must ‘understand’, haha… not to get me wrong, it’s just my hope they do.

Q: Torul is playing live again. What does it mean to be back on stage again and how would you define yourself as a live band? How do you transpose the songs from the studio to the stage?

Torulsson: Well, it’s a bit different now for us. I’m singing more than I used to and have more presence on stage, it’s a natural progression and kind of new one to me. I’m discovering myself as a performer more than I have in the past. We really love to play new material, all of us are enjoying it. It’s a very emotional and energetic performance. We are still developing it, gig after gig.

Q: You’re hailing from Slovenia. We for sure all know Borghesia and Laibach but I’m wondering about the underground ‘scene’ in your country. How does it look like considering bands, live venues, festivals, radio broadcasts, media etc. ? 

Torulsson: There’s a lot going on in Slovenia within music, but all the scenes are more or less crumbled. We are only 2 million in total, so not every scene can develop -no critical mass. But audience can be curious and we see many different genres. A lot of concerts take place here, international ones as well. We do get radio play here, but not much on commercial radios, the same as everywhere, we know that on many radios there is no music editors really, there is a ‘model’, playlists that sell most commercial productions. That is the saddest thing for music industry really. So many great bands are overlooked these days. 

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

Serbian industrial rock band dreDDup has a new music video out for the track “Margot’s Not Dead” from their latest “Romance of Romans” studio album. Although the band changed its sound through decades of work, their latest album brings back the old industrial electronics to life.

This year dreDDup celebrates its 25 years of active playing so the plan is to shoot 10 music videos for some old songs, as we reported earlier, and they are planing to shoot 7 more videos until the end of this year. The new video was directed by film director Mihajlo Obrenov, and was shot in their home town of Novi Sad and in Bratislava (Slovakia).

Here’s the video.

You can check out the full “Romance of Romans” album below.

About dreDDup

dreDDup is based in Novi Sad, Serbia and has been active since June 1997. Their first release, “Abnormal Walz”, featured a sound ranging from experimental electronics and techno to electro punk. It was followed by their first full-length album, “Mr Borndead’s Feast” which was released in 2004. In August 2007 the band landed the album “Future Porn Machine” offering a crossover sound. From that moment on, dreDDup labeled their music as being ‘massacre industrial’. The third album, “El Conquistadors”, came out late in 2008, the 4th was released in February 2011 simply titled “dreDDup” again offering a crossover of multiple electronic genres. Their fifth album was released in 2012 celebrating their 15th anniversary.

In late 2013 the band started working on their new record entitled “I dreamt of a Dragon” which was released at the end of 2014. For this album they abandoned their aggressive style of music and went for a more electronic and commercial sound. The album was self-released and the track “Etika” which was available on the free “Face The Beat: Session 2” compilation featured the legendary Dario Seraval from the Croatian/Slovenian cult industrial band Borghesia on vocals. It was one of 3 songs that the industrial outfit dreDDup sent us for inclusion on the compilation.

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

Serbian industrial act dreDDup have been busy this year shooting a lot of music videos for their 25 anniversary celebration year. Their main idea was to celebrate their bands birthday at the end of the year by shooting 10 music videos for old songs during the year.

Out now are 2 brand new videos. The first, the 4th, is for the song “Mr.Fooz” from their 4th album “dreDDup” from 2011. The music video is done in the stop motion technique, using a lot of legos and the whole production lasted for more than a month while 7600 separate frames were animated photo by photo. The music video was directed by Mihajlo Obrenov. Next is “Lust Supper”, from their 7th album “DeathOven (Rebels Have No Kings)” from 2016. Also this music video was directed by Mihajlo Obrenov.

Here are a number of stills from the two videos.

Check out the videos for “Mr. Fooz” and “Lust Supper”.

dreDDup is based in Novi Sad, Serbia and has been active since June 1997. Their first release, “Abnormal Walz”, featured a sound ranging from experimental electronics and techno to electro punk. It was followed by their first full-length album, “Mr Borndead’s Feast” which was released in 2004. In August 2007 the band landed the album “Future Porn Machine” offering a crossover sound. From that moment on, dreDDup labeled their music as being ‘massacre industrial’. The third album, “El Conquistadors”, came out late in 2008, the 4th was released in February 2011 simply titled “dreDDup” again offering a crossover of multiple electronic genres. Their fifth album was released in 2012 celebrating their 15th anniversary.

In late 2013 the band started working on their new record entitled “I dreamt of a Dragon” which was released at the end of 2014. For this album they abandoned their aggressive style of music and went for a more electronic and commercial sound. The album was self-released and the track “Etika” which was available on the free “Face The Beat: Session 2” compilation featured the legendary Dario Seraval from the Croatian/Slovenian cult industrial band Borghesia on vocals. It was one of 3 songs that the industrial outfit dreDDup sent us for inclusion on the compilation.

You can get the full “dreDDup” album from 2011 followed by a free download of “DeathOven (Rebels Have No Kings)” from 2016 right below.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Soundtrack, Experimental, Electro.

Format: Digital, CD.

Background/Info: Slovenian phenomenon Borghesia strikes back with a Soundtrack inspired by the movie “Un Chant D’Amour” made in 1950 by Jean Genet. It was a contradictory movie which inspired Borghesia to compose a Soundtrack in 1986, ‘when Ljubljana was one of the hubs of urban subculture in Europe. At the time, the city was teeming with alternative civil rights movements, feminism, and peace movements; it saw the founding of the first gay organisation in Eastern Europe and the first gay film festival in Europe. These events were endorsed by Borghesia’s album “Their Laws, Our Lives”, dedicated to alternative civil rights movements.’

Content: The album features 7 songs simply entitled “Un Chant D’Amour” from part 1 to 7. The composition is pure soundtrack driven but revealing different influences. You’ll notice a kind of Martial cadence and typical 80s sound treatments while another passage is more into horror-movie music. I also noticed a darker side featuring Industrial sounds and pure Experimental composition at the longest piece of the album.

+ + + : With this Soundtrack inspired by the movie of Genet Borghesia reveals a totally different side of their artistic creation. I like the Soundtrack approach with typical 80s elements on top. The 80s spirit comes mainly through at the 6^th cut which holds you in its grip for nearly 20 minutes.

– – – : This album has nothing in common with the 80s EBM years of the Slovenian band. It sounds definitely Experimental and somewhat abstract, so you better get prepared.

Conclusion: Borghesia experimenting with sounds and Soundtrack music creating a kind of free-style.

Best songs: “Un Chant D’Amour Part VI”, “Un Chant D’Amour Part I”.

Rate: 7.

Artist: www.facebook.com/borghesiaband

Label: www.finalmuzik.com / www.facebook.com/pages/Final-Muzik/85814529244

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

Set up in 1982 in Ljubljana (Slovenia) Borghesia became a so-called pioneer in the electronic-underground scene. Early albums such as “No Hope No Fear” and “Escorts” both released on Play It Again Sam became EBM-icons. They next went on releasing noticeable productions such as “Resistance”, “Dreamers In Colours” ao, but the influences progressively evolved. The band finally stopped their activities in 1995, but came back alive in 2009. Core members Dario Seraval and Aldo Ivančić got joined by new members. The band released a new album entitled “And Man Created God” (2014) on Metropolis Records. And now they’re back again with the opus “Proti Kapitulaciji” released in their homeland on the independent label Moonlee Records. The work reveals a very own approach mixing elements of industrial- and rock music. I’d a chat with Aldo Ivančić. For this interview I would like to thank Side-Line and Peek-A-Boo for their interest to each publish this interview as a kind of ‘collaboration’ between both Belgian online platforms.

(Courtesy by Inferno Sound Diaries)

Q: How would you introduce Borghesia ano 2019 while reflecting items such as line-up, sound & influences, production and live performances?  

Aldo: The line-up is: Dario Seraval (vocals), Irena Tomažin (vocals), Jelena Rusjan (bass guitar and vocals), Ivo Poderžaj (vocals, bass guitar and guitar), Sašo Benko (guitar), Aldo Ivančić (drums), Lina Rica and Boštjan Čadež (video), Primož Vozelj (sound engineer) and Igor Remeta (lights). So, quite a big project with a lot of people. We like every kind of music and for this project we explored music from the beginning of 20^th century, artists like Luiggi Rusollo, Marinetti, Kurt Weill, Russian constructivists… very interesting stuff 😉 Our new performance is kind of multimedia with prepared computer graphics with live processing and live performance combined with back tapes from computer.

Q: “Proti Kapitulaciji” is your newest full length album. What kind of work did you want to accomplish and how do you look back at the writing and recording plus the multiple contributors (mainly singers) of the work?

Aldo: We worked for 3 years on this project. First we selected 12 poems by Srečko Kosovel and it was very hard to make a decision, because he has a lot of good poems. His poetry is timeless and a lot of people were surprised when they discovered that these lyrics where written 100 year ago. Can you imagine that he wrote 100 years ago: ‘The phone lines are all dead, Oh, but this one is cordless’.

Very visionary. So, the central point of the record are definitely the lyrics and we built the music around them. Most of the people think that W. Burroughs is inventor of cut – up technique, but we think, that Srečko Kosovel had invented it 50 years earlier. He called them ‘Kons’ (Constructions). Our approach was in a way cinematic in editing the lyrics like the film is made of different scenes. That is the reason why we used a lot of different vocals in one song. It is not very often that you can hear it in ‘pop’ songs. Maybe Frank Zappa, but this is another story;)

Q: You just mentioned Srečko Kosovel as main source of inspiration. While he’s a kind of Slovenian icon of poetry, I guess he remained unknown for a lot of readers and people. Tell us a bit more about him, his work and the influence he had on your work as musicians?

Aldo: Srečko Kosovel was a strange bird. He died at the age of 22 and as a radical anarchist he was not popular in his time nor is he today in petit bourgeoisie society. Even today he does not have a single monument in the capital of Slovenia and still after four months, our record was not presented on National Radio and Television. No review at all.

From the song “I Protest”:

Everyone of you, sitting in theatres,

bars and coffee houses

and other haunts of pleasure:

I protest!

In pain,

ruthless struggles,

I curse you,

I,

the fallen nation’s

fallen son.

From “Genealogy”:

Slave.

Slave the Servant.

Slave Servantich the Servant.

Slave Slavetich Servantich the Humble.

Slave II.

Slave Humblich III.

Servantich IV.

Janez the Humble, the Craven, the Grandiose.

(Janez is common name in Slovenia like John in GB)

He was also a strong critic of hypocrisy of politicians and economic elite

From “Destructions”:

Millions are dying,

but Europe is lying.

To destroy, To destroy, To destroy!

From “Kons”:

Civilization lacks a heart.

The heart lacks civilization.

An exhausted struggle.

Evacuation of souls.

The evening burns like fire.

The dead is Europe!

Mercy! Mercy!

Q: So we easily can consider “Proti Kapitulaciji” as an ‘engaged’ work; a reflection about the social-, cultural-, artistic- and political situation of the ‘great’ Europe! What did you try to express?

Aldo: After the fall of the Berlin Wall, we thought that better days were coming for Europe. But we witnessed a war in Yugoslavia in which 140 thousand people were killed, we saw the lies about WMD in Iraq (courtesy of Tony Blair and other bandits), then Libya,  Syria, now we have Brexit, the rise of right wing nationalists in almost every country, xenophobia, hate fake news, egoistic, competitive selfie narcissistic culture, stupid reality shows, uninterested pacific hipster youth promoting stupid values, corporative ‘truth’….

Q: You often have been considered as a ‘controversial’ band because of your imagery and themes, but in the end it was all about artistic freedom. I can imagine it hasn’t been always easy to handle and do you think things have changed today when it comes to artistic freedom and controversy?

Aldo: We think that today is even worse, since Thatcher/ Reagan neo-liberal politics occupied everything, media and political floor. We were always fans of critical artists like Woody Guthrie, sixties music, punk, The Clash, Sex Pistols, Test Department… Today it would be impossible for such artists to reach the wider audience. You just have to compare top charts from the past and today.

Q: The EBM community recently celebrated the international EBM day (-24/2 – February, 24th).. What does EBM mean to you today and what did you keep in mind from the early years of EBM when you were considered as ‘pioneers’?

Aldo: Like every style of music, EBM also had a limited period of duration. First comes the innovative, creative period, then the commercial one, and then the decline, just repetition of itself. We are very proud that we were part of this innovative period, but after so many years we are not the same persons anymore and the world has changed. EBM in some way become EDM and 95% of music today is made on computer. We were one of the first musicians that had an Atari on the stage.;) Today a smart phone is 1.000.000 times more powerful than Atari and now you can make music on a smart phone on the beach and this is very nice. In a very near future there will be Artificial Intelligence composing music to suit your personal taste, Artificial Intelligence will write books to suit your tastes… Most people will be just good consumers controlled by multinational corporations 😉

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: Rock-pop, industrial-rock.

Background/Info: Set up in 1982, Slovenian formation Borghesia became one of the EBM pioneers. The band became a real phenomenon during the 80s and disappeared a bit from the electronic radar in the 90s. After nearly 10 years of silence the album “And Man Created God” saw Borghesia getting back to business in 2014. And here they’re again; Dario Seraval, Aldo Ivančić and their acolytes are back with a new opus, which can be translated as “Against Capitulation”. The work is inspired by the work of Slovene poet Srečko Kosovel.

Content: Borghesia is no longer dealing with EBM. The band has radically changed their style during the years although the music remains driven by some good-old industrial input. Sometimes experimental and even into pop influences, the songs are diversified. From darker cuts to the very soft and lullaby-like “Evropa Umira” there’s a lot to experience. You also will hear classical music samplings, field recordings and the song “Moj Črni Tintnik” featuring sequences from the early electro hit from Trio “Da Da Da”.

The vocals are sung in the band’s Mother tongue. Dario Seraval remains the lead singer, but has been joined by several female guest singers. There are  several duos featured at this opus.

+ + + : One thing is for sure; Borghesia is a stubborn formation, which makes no compromises. They have their own approach, which clearly sounds like a mix between different influences. In the end it’s hard to say what kind of style they belong to, but it’s definitely crossover-like. I prefer the songs with more electronic treatments, “Kons” being probably the best exposure from this work. The male- and female vocals/duos are quite successful.

– – – : Some of the experimental-rock cuts are  definitely not my cup of tea. Borghesia has nothing really in common with their early years and that’s for sure a pity for all EBM lovers. This album makes sense, but the magic is gone.

Conclusion: Borghesia remains a great name because of their successful past, but an album like “Proti Kapitulaciji” definitely belongs to another time and feels a bit like coming from another band.

Best songs: “Kons”, “Na Piramidi”, “Razočaranja I.”, “Moj Črni Tintnik”.

Rate: (6).

Artist: www.facebook.com/borghesiaband   

Label: www.moonleerecords.com  / www.facebook.com/moonleerecords  

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: Body-pop.

Content: Invisible Devastation is a Russian band dealing with influences of electro-pop and EBM. Set up a few years ago they didn’t release that much stuff, but got some positive response in their homeland. Behind this band is hiding Mechanical Apfelsine, which is a rather successful electro-pop formation. But it’s now time for Invisible Devastation and their official debut album “Тринадцатый Апостол” (cf. “The Thirteenth Apostle”).

One of the main characteristics of the band is the Russian language, which is used on the entire album. It creates a kind of ‘exotic’ and original touch, but it’s simply impossible for non-Russians to understand a single word and or to read the titles, which of course are in Russian as well. But on the other side it makes for the charm of this work and the particularity of Invisible Devastation.

The work sounds as a nice twist between EBM and pop influences. Some songs are more into an explicit electro-pop style, but it always has the influence of darker atmospheres and deep growling vocals.

The timbre of voice reminds me sometimes of Dario Seraval (Borghesia). The cavernous timbre of voice is in contrast to the music, but there definitely is a kind of complimentary.

The work features several cool songs, but I have a preference for the power-pop like “Наследие” and the catchy body-pop inspired “Дьявол”. You can hear that this duo is experienced with pure electro-pop music and that’s an aspect which comes through with some great leads. The songs are also accomplished by noticeable sound treatments and subtle bleeps and other fine arrangements.

“Красное Братство” is an interesting song for the somewhat cinematographic style

Conclusion: All of the songs can’t convince me, but globally speaking this album is a rather enjoyable release, which totally fits to the style of SkyQode.

Best songs: “Наследие”, “Дьявол”, “Мать Героина”, “Красное Братство”.

Rate: (DP:7)DP.

Band: www.facebook.com/invisibledevastation

Label: http://skyqode.com / www.facebook.com/skyqode

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

Available now on vinyl is a selection of rare and unreleased material by such famous 80s electro bands as Click Click, Die Form, Numb, Borghesia, Front Line Assembly, Twice a Man, T21, etc. 10 tracks in total.

This vinyl collectors limited edition has been pressed on 500 hand-numbered copies, 180 gram vinyl, with no re-press scheduled. So better place your order now as these items are going fast.

The complete track list:

A1 Click Click – Nube (Remastered 2001)
A2 Die Form – Tecknoslaves (Unreleased Demo 1989)
A3 Crash Course In Sience – In Your Own Backyard (Unreleased Demo 1981)
A4 Numb – Push It (Rare Track From: VA-Operation Beatbox – 1996)
A5 Borghesia – Secret Affair No.4 (Unreleased 1984)

B1 Front Line Assembly – Resuraction (Ultra Rare Track From: VA-Electronic – 1985)
B2 Twice A Man – Cloud Sky Damage Version One (Unreleased Demo For “Driftwood” Album 1987)
B3 Die Krupps – Tod & Teufel (Live In Amsterdam 20 Feb 1982)
B4 Carlos Perón – A Dirty Song – Long Version (Unreleased 1988)
B5 Trisomie 21 – Youth Called To Edge Remix (Unreleased Version 1990)

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

If you have already downloaded the free “Face The Beat: Session 2” compilation, you will have noticed that track 17 called “Etika” by the Serbian industrial rock band dreDDup is featuring the legendary Dario Seraval from the Croatian/Slovenian cult industrial band Borghesia on vocals. It was one of 3 songs that the industrial outfit dreDDup sent us for inclusion on the compilation.

“Face The Beat: Session 2” features lots of new talents, and a few familiar ‘faces’ from the electro, wave, industrial scene including John Fryer, Acylum, NoyceTM, Desireles, Dario Seraval (Borghesia) and so on. The purpose is/was not to offer you material from the most popular acts, but mostly to let you discover newer bands which caught our attention and which often haven’t got a label contract or have just been recently signed etc.. The free compilation, counting 52 tracks, is available now via Bandcamp. It’s a free compilation, however if you want to support some of Side-Line’s charities (Plan International being one), feel free to donate too, all proceeds will go to financing these projects.

Here’s “Etika” by dreDDup featuring Dario Seraval:

dreDDup is based in Novi Sad, Serbia and has been active since June 1997. Their first release, “Abnormal Walz”, featured a sound ranging from experimental electronics and techno to electro punk. It was followed by their first full-length album, “Mr Borndead’s Feast” which was released in 2004. In August 2007 the band landed the album “Future Porn Machine” offering a crossover sound. From that moment on, dreDDup labeled their music as being ‘massacre industrial’. The third album, “El Conquistadors”, came out late in 2008, the 4th was released in February 2011 simply titled “dreDDup” again offering a crossover of multiple electronic genres. Their fifth album was released in 2012 celebrating their 15th anniversary. In late 2013 the band started working on their new record entitled “I dreamt of a Dragon” which was released at the end of 2014. For this album they abandoned their aggressive style of music and went for a more electronic and commercial sound. The album was self-released. The track “Etika” is taken from this album.

They also released a video from this sixth album, which you can see below.

Bernard - Side-Line Staff

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

side-line.com