The Danish duo Am Tierpark celebrates 10 years of music-making. Comprised of Claus Larsen (known for Leaether Strip, Klute ao) and John R. Mirland (Mirland ao), they present their fifth album, staying true to their distinctive Electro-Pop sound. Across 10 tracks, the music feels both familiar and fresh, with verses that are often darker and more intense, driven by heavy basslines, before transitioning into melodic, sometimes playful, choruses. Am Tierpark delivers what can be described as ‘dirty Electro-Pop’, a style I’ve come to appreciate. The album is filled with unmistakable 80s influences, noticeable in the typical effects, drum programming, and melodies. “In Dreams” stands out as one of the best Am Tierpark tracks I’ve heard, though the album is packed with other gems waiting to be discovered. (Rate:8).

Listen to “In Dreams”:

About Am Tierpark

Am Tierpark is the Danish synthpop and EBM duo of vocalist Claus Larsen, the man behind Leaether Strip, and programmer and keyboardist John R. Mirland, who also records solo as Mirland. The duo marked ten years of music-making in 2024 with the release of “Shameless”.

The project released a split 7-inch single with En Esch, “Do Me / No One Can Be Changed”, in 2016 on Distortion Productions. The albums followed on the Læbel imprint: “Uncaged” and “Trashy Luxury” in 2017, “Kings Of Failure” in 2019, and “Forevermore” in 2022. Mirland talked about his various projects in an earlier Side-Line interview.

“Shameless”, again released through Læbel as a digital and CD album, is the duo’s fifth full-length and the release reviewed here.

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

Belgian EBM act CauseNation is set to release “The Remix Collection” on September 6th, 2024. This new compilation, out via the Antwerp based DressCode Black label, features a lineup of remixes that re-imagine some of CauseNation’s tracks.

On remix duty we find Vomito Negro, Novakill, Darkvolt, First Aid 4 Souls, Nova State Machine, Enzo Kreft, Cirque d’Ess and VV303.

“The Remix Collection” is already available on Bandcamp and will be available on all major platforms, including Spotify, starting September 6th, 2024.

Tracklist:

1. Mark of Cain (Vomito Negro remix)
2. Hearts Beat Strong (Novakill remix)
3. Demons of the Night (Darkvolt remix)
4. Mark of Cain (First Aid 4 Souls remix)
5. The Things You Promise (Nova State Machine remix)
6. Hearts Beat Strong (Enzo Kreft remix)
7. Mark of Cain (Cirque d’Ess remix)
8. Hearts Beat Strong (Darkvolt remix)
9. Divided We Fall (First Aid 4 Souls remix)
10. The Things You Promise (VV303 remix)
11. Demons of the Night (First Aid 4 Souls remix)

CauseNation is based in Antwerp and was formed in 2015 by Vain Sacrosanct, Dries De Vreeze, and Jonas Herrnia. The band made its debut with the single “The Things You Promise” which was mixed and mastered by Claus Larsen.

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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Out now is a special live video performance of Lore with Claus Larsen of Leaether Strip bringing “Take Me Down Tonight (Leaether Strip remix)”. The video was shot during a Leaether Strip live show in Las Vegas, NV on January 25, 2024 where Lore joined Larsen on stage.

The original track is featured on the “Take Me Down Tonight” EP which was released on June 20, 2023. This live version however features music which is 100% different from the original song.

Below is the remix as it was released.

Lore has been featured on Side-Line in the past thanks to her work with London After Midnight, her own work, including her debut album “My Soul Speaks” which also featured Sean Brennan on the track “Haunting”. Later on she released “Deadly Sessions (Live)”, including 3 songs and videos which was self released on her own label, Into Bliss Music.

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

Eric and Jeremy Hanes set up Spankthenun in 2019. The duo released an impressive number of top notch singles, albums and remixes. Dealing with a powerful mix of EBM and Dark-Electro the Hanes-brothers never stopped improving their work. The last year self-released album “The Bunker Tapes Vol.III” was a new masterpiece driven by solid bass lines, icy sound treatments, danceable rhythms and harsh vocals. I asked a few questions to Eric Hanes to get a bit more details about Spankthenun.

(Courtesy by Inferno Sound Diaries)

Q: Let’s traditionally start by asking you about the background of Spankthenun? How did the project saw the daylight and what  brought you together?

Eric: Spankthenun began as an idea between my brother and I. We knew we wanted to do something with music but the original idea was more of a Love And Rockets meets Joy Division, with a full band. We experimented with that format for a while and had fun with it. We had trouble holding onto the guitar player and the drummer and stopped playing but kept writing. A number of years later I started experimenting with drum machines, DAWs and synths and started putting a new concept together. Writing a bunch of tracks, but with no plan for release. In 2019, I sent a few demos out to different producers looking for help with mixing and mastering… we ended up with a bunch of tracks, including a collab with Claus Larsen; he really helped us see the potential of what we had. He helped explain a few things to us that really set us on our journey. We worked with Scott Fox (iVardensphere) on mixing the album; he taught me the basics, and we pulled together the first album, which we released as Spankthenun.

Q: I think you set up Spankthenun in 2019 and already released an impressive number of works featuring three albums. How comes you’re that prolific and what means music vs. Spankthenun to you?

Eric:The first artist that agreed to work with us on a remix or production was Zoog Von Rock, he really gave us the confidence to push things forward and do it for real. Next, Claus Larsen agreed to work on “Rotting Meat” and took the time to help us understand songwriting better. We knew how to get what sounded good to us, but we didn’t really understand the concepts of melody and choruses and repeating what worked. Claus helped us understand that in a way that never made sense to us. The original “Rotting Meat” track we sent him did not have a chorus, he identified a hook in a random bridge we did and turned that into a chorus with a very strong hook that is powerful in the live shows and the club.

I also believe in being creative every day. As soon as I wake up I go into the studio and work for an hour on something new. I also like to end the day in the studio, especially if I am dead tired. I find that time to be a super creative time. I often create a complete track in an hour if I start on it at 2 am and in bed by 3 am. Other times, I get two or three good sketches down, and I forget about them until a few days or weeks later when I discover them again. There is something about being tired and being creative. I rarely get ‘writer’s block’. I subscribe to the David Lynch way of combating it. Keep your space you work in conducive to creativity and ideas. Have different things to work on when something isn’t working out. So, if I get stuck on a track or can’t come up with a good hook to get started. I’ll switch over to another artist’s track and remix, or I’ll switch over to the graphic side of things and design an album cover.

Q: Can you give us details about your perception of sound? Do you’ve a specific way of working together and references plus sources of inspiration when writing your music?

Eric: I have to have a hook in our songs; I put a hook in every song. Usually, it’s a bassline. Our basslines are often the melody of the track, too. I start with the bassline and kick and get a hook that works. if it works on that basic level, I keep working on it. I spend about 10 minutes doing that; if it doesn’t work in 10 minutes, I dump it and move on to a new one. Industrial music gives you some liberties to use more noise and unconventional sounds, so sometimes I like to take the bassline and transpose to a weird glitch or white noise or machine sample and bury the hook in there. 

My brother and I write many of the tracks independently; he will send me the tracks he is working on, and I will finish them. We can write separately but write tracks that still work together. I will create a set of sounds that we both use. I create a template with a kick and percussion, snares, a bass, and a lead sound. So we are working with the same template many times.

Q: Your newest album “The Bunker Tapes Vol.III” is the last part to a trilogy dealing about ‘a fictitious 30 year career of a band that never really existed, covering influences from 1994 – 2024.’ What is it all about and how did you transpose the concept of this trilogy into music?

Eric: I have a strong affinity for the 1994 Industrial club music, something about that era really speaks to me, but I also am really hooked on modern new music and pushing the boundaries on what is labeled Industrial or Dark-Electro music. We came up with the concept at the beginning of Covid in early 2020 right after we released our first album. My brother sent my 8 tracks in less than a week that nailed that 1994 sound. We had about 20 songs within a month and realized we needed to split these up. That is when it occurred to us not just to focus on 1994 but to make something that transcended eras and moved us into the modern world of Industrial-Bass, Cyber-Punk, and EDM.

Q: All songs from the new album have been first released as singles. What’s the idea behind it and how important is it today to releases singles versus albums? Do you’ve favorite songs and remixes from the new album?

Eric: In the scheme of things the ‘music industry’ has been around for the blink of an eye. Less than 100 years and even those 100 years we have seen it dramatically shift; the last big shift was with smartphones and putting any music we want to listen to at our fingertips. When our kids group up, they will never know about record stores and physical media; it won’t make sense why you would have those. In reality, those existed for a very short amount of time. But many people grew up with that and still want that, and it’s nostalgic, and it’s how they know things work. Streaming is here to stay, anyone can upload music. The reality is that 60% of uploaded music is never listened to. You still have to put in the work to get your music heard. We have opportunities to reach more people than ever before. Right now, releasing one track at a time makes the most sense. More people want a single bite than the whole album. Fewer people want 12 songs than 1 or 2 songs at a time. I am fascinated by the marketing side of things and enjoy solving that challenge.

When we switched from an album release strategy to a single release strategy, we went from less than 500 to 20,000 streams a month within three months. With singles, we get added to new playlists and saves every week; with an album, it’s one and done. The old release strategy doesn’t make sense to most new artists. We still do make physical media for the fans who really want it. With this album, we added some exclusive tracks to the physical media that are not on the digital stuff. This world we live in has always been an adapt-or-die world.

Q: I think the artwork must be very important as well. Tell us a bit more about this aspect and what did you want to express?

Eric: The artwork is also important to me; I like seeing that cool, dark, weird image pop up on the phone or the display in the car when listening to something new; it adds to the atmosphere of the track. Early on we worked with different artists on art concepts. We worked with a now very popular fantasy artist known for his work on Magic: The Gathering and D&D. Then we started seeking out more obscure artists that were just getting started. But the reality is we are finishing a new track every week, and we need so much art that it is just easier for me to do it most of the time. I do enjoy doing it and it gives me another way to explore the vibe of a track while I am working on it. Many artists I do remixes for will tell you I also do a remix of the artwork.

Q: I noticed you already announced new live dates in the US. What kind of live band is Spankthenun and how does a live performance looks like? 

Eric: We did some shows earlier this year and are locking in dates for the summer. We just played a show with LEATHER STRIP, which was something we have wanted to do for a long time. Bring things full circle for us. The crowd at that show was great and energetic. Our goal is to have fun, get the crowd shouting the lyrics back at us, jumping up and down, and going crazy. We are very interactive with the crowd. We bring a very high-energy show. We played a show with Piggy D (Rob Zombie, Manson Fame), and his crowd was made up of ROB ZOMBIE fans. When we walked out on stage, people were yelling, ‘Where are the guitars?!’ within 10 seconds of starting the show with our track “Dominate”, the crowd was moshing and dancing and completely forgot about us not having guitars.

Most of the crowds we play for have never heard of us, yet we get them chanting along the whole time. We pride ourselves on a high-quality professional show that sounds as best as it can at any venue.

Inferno Sound Diaries

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

www.side-line.com

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

Format: Digital, CD.

Background/Info: Mexican artist and label owner Dimitri Berzerk last year released his debut-album “Nineteen Eighty Four”. He previously released several noticeable EP’s featuring guest singers while he also got a name for the endless number of remixes he made.

Content: Several songs from the album were already released on EP but we get “Album Versions” instead. Dimitri Berzerk deals with an eclectic Electronic sound which is however strongly inspired by 80s Electro-Wave resulting in danceable and catchy Electro/Body-Pop cuts and other harder EBM-songs. Guest singers are Mario Monk, Sarmen Almond, Franco Doglioli, Isa Zurizi, Juan Contreras, Artur Mas and of course Claus Larsen singing on one of Berzerk’s biggest songs so far “Ctrl+Alt+Del”.

+ + + : I think it has been a good idea to bring some of Dimitri Berzerk’s EP-songs together on a full length format. I like the way he moves from Electro/Body-Pop to harder EBM. It all sounds like he adapts himself to the singers creating a true chemistry. “Ctrl+Alt+Del” remains a phenomenal piece of music but I also have to mention another familiar cut “My Love Is Electric” featuring Franco Doglioli, “The Great Winf Orchestra” and the darker, instrumental, EBM-like “Thirteen Steps”.

– – – : The main challenge for this artist is to get more recognition on the European continent but he definitely has a nose to compose alluring Electro.

Conclusion: If you don’t know the EP’s of Dimitri Berzerk this album will serve as a great introduction.

Best songs: Ctrl+Alt+Del – Album Version”, “My Love Is Electric – Album Version”, “The Great Wind Orchestra – Ava’s Version”, “Thirteen Steps”.

Rate: 8.

Artist: www.dimitriberzerk.com / www.facebook.com/dimitri.berzerk

Label: www.sector-industrial.com / www.facebook.com/sector.industrial.producciones

About Dimitri Berzerk

Dimitri Loyo, known as Dimitri Berzerk, is a Mexican DJ, producer, remixer and label owner. In 2016 he started the label Sector Industrial Producciones, which grew out of his radio program of the same name, active from 2008 to 2012. His own sound mixes electro-pop, dance-pop and EBM, and he has remixed a large number of artists, releasing several of those remixes as albums in his “Remixes Collection” series. His original material began with the single/EP “My Love Is Electric” featuring Franco Doglioli, followed by an EP featuring Leaether Strip’s Claus Larsen as guest singer. “Nineteen Eighty Four”, reviewed here, gathers several of those EP tracks as “Album Versions” for his debut full-length.

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

(Photo by Maf Lewis) On Friday, January 19, Austin (TX) based band SINE (the project by Rona Rougeheart) will release a new album entitled “Luxuria”. “Luxuria” was produced by Danish industrial artist and producer Claus Larsen from Leaether Strip. The album will be available on digital, CD, and vinyl formats, and pre-orders are already open on Bandcamp through eMERGENCY heARTS and Re:Mission Entertainment.

Here’s what Claus says about working on the album: “Working on these great songs was hyper-inspiring for me. It was such a pleasure to be let into her dark universe with its slow, captivating grooves. Rona (Rougeheart) has huge talent, and working with a fellow artist with such passion is an honor for me.”

Rona Rougeheart adds: “When I sent Claus my demos for the album, I didn’t have any particular direction in mind for him. I didn’t want to influence him. I wanted him to be inspired in the moment. The final production of the songs he sent back was everything I hoped for in our collaboration and more!”

Along with Larsen, hip hop producer AwareNess from Denver (CO) also contributed to the album with a song entitled ‘Dark Matters’. It was the last song added to the album, resulting from a collaboration between AwareNess and SINE.

Rona explains how the collaboration came about: “I had been discussing a potential collaboration with the artists Time and AwareNess (who have a project called calm.) for a while. It wasn’t until one day when AwareNess randomly sent me a music sample and asked for my thoughts. I liked it but suggested, “You can go darker…like, way darker”. He quickly returned with a sample of the darkest, sexiest soundtrack, which was incredible! It’s one of my favorites, and I can’t wait to do more with him!”

The album also saw additional production, mixing, and mastering by another Denver-based artist and producer, Chase Dobson. Dobson’s resume includes production work for Curse Mackey’s two solo albums, various solo endeavors, and live production with artists such as Kanye West, Rihanna, M83, Tycho, Rüfüs Du Sol, and Röyksopp.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: EBM.

Format: Digital, CD.

Background/Info: American brothers Eric and Jeremy Hanes are back on track unleashing the third installment of “The Bunkertapes”-series. This album features eleven songs plus eleven remixes.

Content: If you’re familiar with this formation you probably know what to expect. The work moves on where the previous album left off; elaborated EBM songs covered with cold, Klinik-al atmospheres, solid bass lines, Industrial sound treatments, and powerful vocals. Remixes have been accomplished by Mirland, Grendel, Ext!ze, Moris Blak, Blak Emoji, Mechanical Vein, Anthony [H], Batavia, Moaan Exis and Chris Vienna. The digital format is featuring 3 more remixes.

+ + + : Spankthenun is a band with its own approach although the sound might remind you of Leather Strip -and that’s not really a surprise as Claus Larsen was featured on their previous work. This is a familiar EBM format achieved with a true sound intelligence. There are several cool songs and also some exciting remixes. The remixes are adding a real bonus.

– – – : The songs are elaborated although the sound formula remains quite similar for all the songs. I think this band is even able to do better.

Conclusion: If you like well-crafted and powerful EBM and if  you have never heard of this band before, I can strongly recommend listening to Spankthenun.

Best songs: “Blot Out The Sun”, “Fuck The Apocalypse”, “Crushing Blow”, “Madman”, “On The Run”, “The Grind” + “Chrome – Ext!Ze Remix”, “No One Survives – Grendel Remix”, “Blak Out The Sun – Moris Blak Remix”.

Rate: 8½.

Artist: www.facebook.com/spankthenun

About Spankthenun

Spankthenun is a self-released project set up by American brothers Eric and Jeremy Hanes in 2019. The duo works in EBM and Dark-Electro, driven by solid bass lines, icy sound treatments, danceable rhythms and harsh vocals. The band released a trilogy of albums under the title “The Bunkertapes”, closing the series with “The Bunkertapes Vol.3”, which features eleven songs and eleven remixes contributed by artists including Mirland, Grendel, Ext!ze, Moris Blak, Blak Emoji, Mechanical Vein, Batavia and Moaan Exis.

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

Out now via Re:Mission Entertainment/ eMERGENCY heARTS is the all new single from the electro industrial act SINE, “From Beyond”. The release features Claus Larsen of Leaether Strip, on vocals.

“From Beyond” is the lead single to SINE’s forthcoming album, “Luxuria”, which is also produced by Claus Larsen.

Here’s what Claus says about working on the album: “Working on these great songs was hyper inspiring for me. It is such a pleasure to be let into her dark universe and slow captivating grooves. Rona has a huge talent, and working with a fellow artist with such a passion is an honor for me.”

SINE’s Rona adds: “When I sent Claus my demos for the album, all songs but one had lyrics and vocals, so I asked Claus if he would want to do a guest vocal on the track for fun. He agreed and said he was thinking the same thing! It was great! I did not coach him on what to do. I told him to go with his inspiration, and when he returned the track, I knew it had to be the first single! I love it!”

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

The Dallas, Texas-based dark electro act, SpankTheNun releases “The Bunker Tapes Vol. III”, thus bringing ‘The Bunker Tapes trilogy’ to its conclusion. The trilogy was – a quite interesting take on things – envisioned to represent a fictitious 30 year career of a band that never really existed, covering influences from 1994 – 2024.

Musically the trilogy see the start clearly rooted in early 90s Belgium and German EBM and dark electro with influences from Leather Strip, Skinny Puppy and Wumpscut. The second volume see’s that influence move towards the early 2000’s influences, adding in influences from new styles and sub-genre’s of industrial music. The final volume finds itself showcasing a more refined yet minimal sound, that is clearly influence by more modern approaches to dark dance music.

“The Bunker Tapes VOL III” covers themes of loss from the pandemic and real world virus that took millions of lives from us. The band envisioned a future where everything is destroyed and hundreds of years from now archeologists are digging in the dirt and find the ruins of Glitch Studios where SpankTheNun has recorded all of their work. They discover a long lost collection of digital audio tapes in this underground bunker and call them ‘The Bunker Tapes’.

For the first two ‘Bunker Tapes’ albums SpankTheNun enlisted Claus Larsen of Klute and Leather Strip. The third album the enlisted the talents of John Mirland to mix and master the new album.

Check out the trilogy 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: Electro-Pop, EBM

Format: Digital, CD.

Background/Info: Canadian Jonathan Kaplan is already active under the For All The Emptiness moniker for a while. After multiple self-releases he signed to Infacted Recordings. “Used And Violated” was released by the end of 2020. It was produced by Sebastian Komor while guest singers Claus Larsen (Leaether Strip), Computorgirl, Gabrielle Gustafson (Eva X) and Daniel Graves (Aesthetic Perfection) joined in.

Content: The EP rather looks like a mini-album featuring 5 different tracks. The songs are diversified, mixing breakbeats with Electro-Pop while there’s also a song with a menacing EBM bass line. It’s a powerful and catchy production with different singers.

+ + + : Jonathan Kaplan isn’t emulating Electro-Pop standards but simply brings different influences together. The way he mixed catchy Pop together with dynamic Breakbeats is a true original idea although still a challenge. I like challenges and especially when it resulted from a creative process -featuring inspired guests, resulting in alluring songs like the title track but also “Sell The Sins” featuring Claus Larsen and Daniel Graves. My personal favorite one however is the powerful and ultra-catchy “Dead Inside” featuring Computorgirl.

– – – : The last song is a poorly inspired cut which serves as the antithesis to the rest of the work.

Conclusion: “Used and Violated” is a creative Electro-Pop production which will get you into a frenetic dance.

Best songs: “Dead Inside”, “Sell The Sins”, “Used And Violated”.

Rate: 8.

Artist: www.facebook.com/foralltheemptiness

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

Listen to “Used And Violated”:

About For All The Emptiness

For All The Emptiness is a dark electro project from Toronto, Canada, started as an idea by vocalist and composer Jonathan Kaplan. The project released its debut album “Axioms” in 2011, produced by Yone of Decoded Feedback, followed by a 2012 remix version featuring contributions from Assemblage 23, Beborn Beton and Decoded Feedback. The band’s third release, the “mt” EP, was produced and mixed by Sebastian Komor of Icon of Coil in 2017. Komor also produced “Used And Violated”, released via Infacted Recordings on Bandcamp on December 9, 2022.

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

DI*ove is a Belgian EBM project set up and driven by Eric Manchiniste. He’s a great fan of Electronic music and  started composing music at the age of 12 by tinkering with his mother’s appliances. Later on he dreamed of having a synth rather than a moped like most of his friends. After his first fee as a singer in a Rock band he bought a drum machine and the adventure began… The band DI*ove is the inversion of E-void, a more Experimental project from the early 2000s. DI*ove’s first album “DI*ode” got released in 2013 by EK Product. Later on Eric started to self-release his works. The second album “DI*vided” was released in 2016 while several EP’s got released as well. The newest EP “DI*version/Phase I” is a great piece of music mixing traditional EBM influences together with Electroclash and Minimal-Electro. An introduction to DI*ove.(Picture credits by Valsdarkroom / Interview courtesy by Inferno Sound Diaries)

Q: DI*ove is already active for numerous years but don’t release new work at regular basis. How did it all started and what have been the main changes and evolutions throughout the years?

Eric: I thought DI*ove was releasing an album/EP on a regular basis (lol). For the past 13 years, the project has been releasing a record every 3/4 years except lately because of the pandemic.

In 2008, I had some instrumental recordings to work on. That’s when I met Lukk. As he had enjoyed a few tracks, I proposed him to add his voice. The result was very convincing. From there on was born the first EP released on Knovel Records.

Over the years I have enjoyed collaborating with other singers (Sacha, Nina) and from time to time I also stick to the exercise of placing my voice -a bit like Martin Gore on Depeche Mode albums (lol).

Q: I always experienced your sound as driven by good-old EBM influences but what are your sources of inspiration and possible bands/artists you see as true references? What does DI*ove stands for?

Eric: I grow up with the sound of the 80’s. Going from New-Romantic to New-Wave to EBM/Indus. In the 90’s, I also flirted with post New-Beat, House-Tech… I’m still interested in what’s currently being done musically. That’s why today I pick a little bit from everywhere. It is clear that the music of DI*ove is mainly driven by Dark-Electronic music like EBM but I also like to inject more contemporary sounds; not to remain only in the codes of the past.

Q: Your debut album “DI*ode” (2013) was released on EK Product while all productions after that debut were self-released. For most artists it all happens the other way round so what does this ‘do it yourself’ approach mean to you? And how do you manage all different aspects next to music, like promotion, distribution, management etc?

Eric: Let’s say that with age the desire for artistic freedom becomes greater. Then it happens that there is a big difference between what is written on a contract and the reality. Let’s add that ‘do it yourself’ is in fashion. Besides that, I’m the kind of artist who doesn’t fancy businessman’s tasks, but still has to achieve them. I’m used to manage the functions related to promotion, distribution, artwork, concert canvassing… But I must admit that my door remains open for external help. The call is launched.

Q: Tell us a bit more about your newest work “DI*version / Phase 1”. How did this EP –or is it a mini-album (?) saw the daylight? What did you try to express and what have been the main focus in the song writing?

Eric: “Di*version” was composed right after the lockdown. I was quite happy to see people again, to party again and especially to have perspectives like releasing an EP. Nina and I had gotten into the habit of having a drink on Friday nights while listening to vinyl records. One night she said to me: ‘what if we made music together?’ The next day I plugged in my machines again and took my pen.

We rethought all the Friday night conversation topics and put the most important ones back in writing. From the living room on Friday night, we moved to the home studio to record “DI*version”.

Q: You clearly seem to like working with guest artists/singers and you already collaborated with famous names like Claus Larsen, Plastic Noise Experience ao. How comes and what are the main criteria you use to work with other artists? How do these collaborations happened; I mean what’s the real impact and input of the guest artists/singers?

Eric: Indeed, I like to collaborate with other people. On the one hand it’s an opportunity to meet interesting people and on the other hand, a different approach to work. A formula that works very well for me.

I met Claus Kruse from PNE at the beginning of the Facebook era. He had liked our 2nd EP and especially a track he wanted to remix. I didn’t hesitate for a second, knowing Claus’ work. I accepted and agreed to propose the track for the compilation “Face The Beat Vol 1”. Then he sang on “Addictions” a track from our first album.

The other Claus Larsen from Leather Strip was pure luck. We were spending our vacations in the same city and we met in a bar that we used to visit for its special food (private joke!).

We talked about music, collaboration and insisted on keeping in touch after the vacations. That was it! I had a track ready and I sent it to him. Claus recorded the vocals to finalize the track “Fly Naked”.

I feel honored to have collaborated with these artists who are part of my musical library. The impact is also felt for DI*ove in terms of credibility and visibility. On a personal level, these meetings boost my satisfaction and my work in the future.

Q: Belgium remains a prolific ground for talented EBM artists, but it also is a country with a small scene for this music genre. How do you as an independent artist manage this important aspect and what brings the nearly future for DI*ove?

Eric: Belgium has very good press abroad. The actors of the scene are very enthusiastic when it comes to spreading our music. I also appreciate the complicity and the work of the people who still believe in this kind of music by putting it forward. I would like to mention JL Marchal (Synthpop80.com), Greg and Walter for their radio show “Sampler Et Sans Reproches”. Recently, I still thought that the language barrier in Belgium was a problem. None or few traces of our music in Flanders until I met the “Luminous Dash”-team.

DI*ove is actually finalizing “DI*version Phase 2” and is thinking more and more about getting back on stage.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: EBM.

Format: Digital, CD.

Background/Info: After having released two albums and a few EP’s Belgian EBM project DI*ove is back on track unleashing “DI*version”. The work features six songs and guest vocals by Nina & Sacha + Leather Strip.

Content: DI*ove moves on exploring the path of EBM. Belgium remains a prolific ground for talented EBM artists and Eric Manchiniste clearly appears to be one of the best students from the class. The songs are elaborated and achieved with precious details and effects, but still featuring a few extra influences like Electroclash and Minimal-Electro.

+ + + : If there’s a Belgian project you really need to discover it for sure is DI*ove. The songs are well-crafted, powerful, danceable and featuring great guest vocals. Claus Larsen is for sure a great name, but I even prefer the ‘sterile’ vocal’s production of Nina singing on two tracks. Sound-wise I like the retro-strings. “Liberty” sounds like a great opening piece, but I also have to mention “EBM – Old Brew Mix” for the cold female backings and male backing vocals.

– – – : There’s one instrumental song, which sounds cool, but it would have been even better with vocals on it. DI*ove maybe has to consider working with a full time band singer and Nina would be a right choice.

Conclusion: EBM made with intelligence and for the greatest satisfaction of the fans in this music genre.

Best songs: “EBM – Old Brew Mix”, “Liberty”, “CQ!”, “After 4 AM”.

Rate: 8.

Artist: www.facebook.com/diovepage Read the news on ‘DI*version’.

About DI*ove

DI*ove is a Belgian electro project of Eric Manchiniste, working in a minimalistic electro style focused on eighties synthpop. Before “DI*version”, reviewed here, the project had released two albums and several EPs. DI*ove went on to release the EP “DI*ldo” 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

Out on March 18th via the SwissDarkNights label, and ahead of their new album “Mission: Create”, is the all new The Spiritual Bat MCD “At the Edge of Life”.The release comes in a 4-panel clear tray digipak with all Lyrics included on the inner panel.

“At the Edge of Life” is another one in the series of limited EPs on SwissDarkNights and features all exclusive material, this time with a number of guests.

The opening track for instance was produced by Stephen Carey (This Burning Effigy, Adoration, The Eden House, ex-NFD) and features violin and viola player Shir-Ran Yinon, one of the two violinists in The Eden House, ex-Krayenzeit and also ex-violinist for New Model Army. The second track features Doc (Eric) Hammer, husband of Lisa Hammer and both of Requiem in White & Mors Syphilitica. “Lockdown” has Peter Bugg Rizzo of Gene Loves Jezebel as guest, who also mixed the track and the last track on the EP is a song from their 2017 Danse Macabre Album “Your own World-And the Vision of Sound”, remixed by Claus Larsen.

You can check out the Video for “Mission” 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!

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I discovered Danish musician/producer John R. Mirland by the IDM project Holm/Mirland. That was a way back and he never stopped getting involved with new- and very different projects. Together with Claus Larsen het set up the Electro-Pop formation AM Tierpark, but they’re also releasing productions as Mirland/Larsen and Gusten. Other projects like M73, Negant and Emergency Sequence are more into EBM. Eisenwolf is dealing with Metal and Bitter Distrust has something Punkish. This interview is more focalized on the last Mirland-album “Compromise Is Defeat”. The work sounds more Industrial-like while featuring Trance/Techno influences. The album has been released on Læbel, which is driven by John Mirland and Claus Larsen.

(Courtesy by Inferno Sound Diaries)

Q: Tell us a bit more about your music background and how did you finally start to compose your own music and getting involved with all different kinds of projects?

John: I grew up in a home where music was always playing and my parents spooned me everything from The Beatles to Pink Floyd over southern blues to classical masterpieces. So I was brought up with a very broad interest in music. However for many years I didn’t play an instrument myself since I wanted to be a painter or illustrator. In high school I began playing the drums.

In 1994 I met a guy called Zwoo who was part of the C64/Amiga demo scene. He was deep into sampling and sound design and he taught me a lot. We recorded for years as an experimental noise outfit called VHS and released a demo tape at some point.

Time moved on with more bands and in 2010 I finally pulled myself together and recorded my first mini-album “Cerebral Reducing Valve”. Shortly after that I met Kim Holm (currently of Crackdown) and we recorded a series of EPs and an album as Holm/Mirland.

Since then things have been going really fast working with my close friend Claus Larsen of Leæther Strip and a ton of other projects.

Q: How do you make the difference between the numerous projects/bands you’re involved with? And how do you explain your eclecticism, moving from Electro-Pop to IDM to EBM to Electro-Industrial to Metal to Punk…?

John: I’m no musical snob haha! If it moves me it moves me.

I compose in a lot of styles and genres because that’s how I’m programmed. I love obscure Underground-Metal as much as Space-Disco, Industrial-Techno, Psy-Trance or Classical. This is reflected in the music I compose for myself or others. If I feel there’s something I could express in a certain way outside of my ‘home’ genre then I’ll try it out. That’s why I even made a Black-Metal mini-album as Udpint last year. I had an idea and a guitar so why not? But as Mirland I’m mostly in the Rhyhtmic-Noise territory.

Q: What kind of musician/producer are you? Are there specific items in the writing- and production process you put the focus on? And do you have particular references and criteria when composing songs?

John: I’m a restless person and artist. I want to evolve and try new ideas and approaches. I get bored easily, don’t like staying in one place creatively and I’m not dogmatic.

These last 10-15 years I’ve written, produced or remixed more than 200 tracks of which at least 150 have been released. I don’t search for inspiration or wait for a divine intervention. I just sit down at the keyboard or with the guitar and compose a track. I don’t waste time trying to save a bad track since it’s much easier just to compose another one.

My focus is always on the energy within a track. It could be upfront Rhythmic-Noise blasting your ears off or it could be the repressed energy of a moody track slowly evolving. But I hate tracks without a theme, an interesting beat or production. There just need to be something dragging me into the track. A lot of commercial music seem to have forgotten the instrumental part and just focus on the vocals which is incredibly boring.

Q: I should think Mirland must be your most personal project to date. What does it stand for referring to sound & influences and the global evolution of the project?

John: mirland is uncompromising and where I experiment with sound design and different textures and structures. I never have an exact plan for a Mirland track but I know immediately when it is one. It needs to work without vocals and pound the listener into the ground at best. I guess that’s why Mirland is not pure ‘Techno’ but a rhythmic noise hybrid. It started out very minimal and moody but over the years evolved to this machine-like animal.

As for influences I guess that’s a bit hard to state ‘this and that’ but of course since I’ve listened to music for decades the inspiration will always be there as a foundation. I may however be equally inspired by Techno or Metal or even Classical.

Q:  What did you try to express by the title of the album “Compromise Is Defeat” and how did you transpose the ideas behind this title into music?

John:The phrase ‘compromise is defeat’ is both an artistic ideal and a provocative statement since nothing good comes from not being able to compromise. I do believe the artist must try to never compromise on the artistic product however some compromises are often needed to actually finish and move on. The phrase is also reflected in Læbel’s credo ‘Total freedom or fuck off’.

The album is my personal vision for a hybrid of Rhythmic-Noise fused with Dark-Trance that is uncompromisingly brutal in some parts while retaining the melodic qualities of Trance in other parts. In my live sets I’m live remixing and reconstructing my own tracks on stage and I discovered I was constantly using more and more percussion and heavy beats with the melodies from the different tracks.

I’m actually not a great fan of vocals especially not in the more brutal styles of Electronic music. Too many tracks are marred by lacklustre vocals with cringy lyrics and lack space in the composition. So as Mirland I don’t use vocals except a few samples here and there. In the future I might compose a track as Mirland with vocals but they would not be the focus of the track. It would still be the music and the beat.

I like my music to be inhuman and distanced. I don’t need a face or to be a character.

Q: Since the ongoing pandemic you have been more prolific and creative than ever before. In which way do the lockdowns have been a ‘bless’ for musicians to compose new music? And what’s the importance of composing- and listening to music  in times like these? What brings 2022? 

John: I don’t believe the lockdowns have been anything but a terrible mess for musicians and other artists.

It’s been made painfully clear that society views art as a commodity or even a personal luxury for supposedly maladjusted citizens. It says a lot about the lack of cultural understanding at the political level and it says a lot about the current values of society.

Fortunately for me I’ve always kept my daytime job since I believe that not being economically dependent of the music sets me free creatively. But my heart bleeds for those who’ve tried not to compromise.

You see? It’s all about this: to compromise or not and the understanding of the consequences.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: EBM.

Format: Digital, CD.

Background/Info: Spankthenun is an American duo set up in 2019 by Eric and Jeremy Hanes. The Hanes brothers seem to be prolific as they already released an impressive number of works in a rather short lapse of time. This new work features nine songs and four remixes. 

Content: The work takes off with a refreshing and powerful piece of EBM driven by guest singer Claus Larsen (Leather Strip). The album moves on revealing powerful songs built up with raw sound treatments, heavy blasts, some carrying choruses and EBM bass lines, which became more explicit during the work. 

Remixes have been done by Mirland (remixing the opening song with his good-old friend and partner in crime Claus Larsen), Nature Of Wires, Planet Damage and Psychosomatik. 

+ + + : The least I can say is that Spankthenun took me by surprise. This band deals with a mature and accomplished production. This is not just EBM, but an elaborated format with overwhelming, blasting sound treatments, menacing bass lines (especially during the second half of the album) and raw sound treatments. Claus Larsen is an extra element to pay attention to for this band, but the Danish Electro master seems to be very comfortable singing on “Off Beatings” –also released as a single. I don’t want to compare this band with Leather Strip, but I think they might catch the attention of the fans for their perfect mix between EBM and darker Electro elements. The song “Industrial Beats” is a great song and potential hit; powerful and driven by a vintage lead. Another amazing song is “The Smoking Gun”, which is driven by impressive, raw sound blasts. 

– – – : I can’t say that the remixes aren’t adding a bonus to the work, but the original versions are simply better. 

Conclusion: Spankthenun has the potential to become the next great surprise from the US. This is well-crafted EBM. 

Best songs: “Industrial Beats”, “The Smoking Gun”, “Off Beatings”, “Sick Pathos”, “I’m The Fire”. 

Rate: 8.

Artist: www.facebook.com/spankthenun 

About Spankthenun

Spankthenun is an industrial, EBM and electro darkwave band from Dallas, Texas, set up in 2019 by brothers Eric and Jeremy Hanes.

The duo self-released the EPs “Regression Complex” and “Spiderbaby [Construct V.01]” and the single “Slow Suicide” in 2019, followed by “Jingle Bells (A Slaying Song)” and “The Bunker Tapes Vol I.” in 2020, and the single “Dominate” in 2021. “The Bunker Tapes Vol II” appeared on CD the same year.

The series closed with “The Bunker Tapes III” in 2023. Spankthenun has also produced remixes for Psychosomatik, Blue Ant, Stahlschlag and Harsh R, and contributed to the 2024 Metropolis release “The Hush Of Cannons Cold” by Terminal.

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

After her work with Chiasm and John Fryer’s album ” Missed the Noise”, Emileigh Rohn has jumped right into her next adventure with Jean-Marc Lederman (The Weathermen / Fad Gadget / Front242 / Ghost & Writer with Frank Spinath from Seabound) to launch a new band: Rohn-Lederman.

Their first offering is an EP named “Watch Out!” Which comes in 4 reworked versions on the EP. Remixers on duty include Claus Larsen (Leaether Strip), Tom Shear (Assemblage 23), Mark Hockings (Mesh, Black Car Burning) and an own Rohn-Lederman remix. Also Krischan Jan-Eric Wesenberg (Rotersand) made a remix which will be released later this year.

Here’s the video for the remixed version of “Watch Out!”.

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

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

(Courtesy by Inferno Sound Diaries)

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

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

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

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

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

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

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

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

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

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

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

Dimitri:

‘-Quel est le privilège du mort?

-Ne plus mourir

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

-La poesie’

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

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

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

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

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

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

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

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

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

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

Inferno Sound Diaries

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: Dark-Wave, Electro-Wave.

Format: Digital, CD.

Background/Info: Causenation is a Belgian formation, which has already been active for a couple of years now. They self-released a few singles and EP’s –and didn’t spare any effort, asking Claus Larsen (Leather Strip) to mix and master some songs. They now joined hands together with Wool-E Discs unleashing this work featuring eight songs. This (mini)-album has been mixed and mastered by Gazdag István (First Aid 4 Souls) who previously remixed one of their songs.

Content: The main sources of inspiration are clearly revealing 80s Electro-Wave music. The first part of the album stands for good-old Electro, but also for the Belgian Electro; dark and somewhat tormented. Some of the songs have been achieved with guitar sounds. The vocals are somewhat tenebrous reinforcing the dark expression of the production. Previously released songs like “Things You Promise” and “Black Lust” have been featured as well.

+ + + : The first part of the album sounds very promising; I like the dark sphere supporting the production, which also creates a perfect balance with the way of singing. Nothing really new, but accomplished songs with “Fear The Future” and “Demons Of The Night” are the absolute highlights.

– – – : The last 3 songs of the album –featuring the previously released “Black Lust” are somewhat ruining the promising debut part. These songs are unaccomplished.

Conclusion: I have mixed feelings listening to this work; a promising debut followed by a disappointing final. But there clearly is potential in this band.

Best songs: “Fear The Future”, “Demons Of The Night”, “The Things You Promise”.

Rate: (7).

Artist: www.facebook.com/causenation1

Label: www.wool-e-discs.be / www.facebook.com/woolediscs

About Causenation

Causenation is a project from Antwerp, Belgium. Between 2018 and 2019 the act self-released a run of singles and EPs, among them “The Things You Promise”, “Black Lust” and “Demons Of The Night”, along with remix editions of those tracks. “Promises Of Hope And Fear”, released by Wool-E Discs in 2020, was mixed and mastered by Istvan Gazdag of First Aid 4 Souls. Causenation singer Vain Sacrosanct went on to feature on First Aid 4 Souls’ “Stainless Steel Eyes” album in 2021 and the “Laudator Temporis Acti” EP in 2023. Causenation itself returned in 2023 with the “Divided We Fall” EP and the single “Hearts Beat Strong”, followed by “The Remix Collection” on DressCode Black 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

Genre/Influences: EBM, Body-Pop.

Format: Digital, CD.

Background/Info: This EP is an addition to the “Resist”-EP by Dimitri Berzerk. “Resist” has been released in different formats, this extra EP bringing all different remixes together as a kind of compilation.

Content: The EP features a total amount of 20 songs including the 6 remixes from the download card, which was available together with the vinyl format. You’ll get 10 edits of the “Ctrl+Als+Del”-song, which clearly is the ‘hit’ of Dimitri Berzerk featuring Claus Larsen as the singer. The song remains driven by a solid EBM bass line and a catchy chorus with passionate vocals on top.

Remixes have been made by Neuvision, Die-Go, Hooverlordz, cid project, SFX DJ, Fire Walkers, Rebel Empire, Substaat, FortLeben (3x), Larva + JP90, Dramatic, Delectro, Judas 12, Eloquent, Rasec, Neroconcret, JP90 and Delete.

+ + + : It’s especially cool to get the remixes from the download card of the vinyl now released on CD. I still like the main song of the EP, which is a true sonic fusion between classical EBM and a catchy chorus. There’s real chemistry between Dimitri Berzerk and Claus Larsen. Among the different remixes I once again salute the great job done by Cid Project who injected a terrific extra sound to the song while the Cold-Wave and totally reworked edit by Dramatic is phenomenal.

– – – : I’m still not convinced by a few songs like the cover version of Nena and the song “Endurance” although there are worse B-sides.

Conclusion: “Resist” has been released in all imaginable formats –maybe except cassette, so time for another great work by Dimitri Berzerk!

Best songs: “Ctrl+Alt+Del – Cid Project Remix”, “Ctrl+Alt+Del – Dramatic Rework”,  “Ctrl+Alt+Del – Orange Sector Remix”, “Ctrl+Alt+Del – C-Lekktor Remix”, “Ctrl+Alt+Del – Neuvision Remix”.

Rate: (8).

Artist: www.facebook.com/dimitri.berzerk

Label: www.sector-industrial.com / www.facebook.com/sector.industrial.producciones

About Dimitri Berzerk

Dimitri Berzerk is a DJ, producer and remixer based in Mexico City, and the owner of the label Sector Industrial Producciones. He also works as a remixer under the name DMT Berzerk, crediting more than 100 remixes for other artists. His artist name references the classic Atari video game “Berzerk” and the band Apoptygma Berzerk.

Berzerk began releasing his own material with the single/EP “My Love Is Electric”, featuring Franco Doglioli, followed by the “Resist” EP with Claus Larsen of Leather Strip as guest vocalist. This EP, “Resist EP Remixes”, collects the remixes issued across the various physical and digital editions of “Resist”, with contributions from Cid Project, SFX DJ, Dramatic and others.

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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Genre/Influences: EBM, Body-Pop.

Format: Digital, CD, Vinyl.

Background/Info: We all know Dimitri Berzerk as a ‘remixer’ and also as a label owner. He recently also started releasing his own stuff, taking off with the single/EP “My Love Is Electric” featuring Franco Doglioli. He last year struck back with a new EP featuring Claus Larsen (Leather Strip) as a guest singer. “Resist” has been released in different formats and reveals some differences in the tracklists.

Content: “Resist” sounds much more EBM-driven than “My Love Is Electric”. Claus Larsen sings on two songs injecting his enraged way of singing on top of efficient EBM songs with some catchy choruses. Next to these songs you’ll hear more new songs including a surprising cover version of Nena’s “Just A Dream” featuring the childish-like vocals of Mexican guest singer Pamuk.

The EP also features remixes by Orange Sector, C-Lekktor, SFX DJ, Bishop UPG and Technomancer feat. Angst Pop. As bonus tracks we get more remixes by Cid Project, Substaat, Larva + JP90, Delectro, Dramatic and Fortleben.

+ + + : Dimitri Berzerk deals with a well-crafted and efficient EBM format; solid EBM bass lines and somewhat catchy choruses. Claus Larsen brings his great and passionate vocals giving an extra boost to the songs. Both songs featuring Claus Larsen are the best ones, but I also have to mention the powerful remix of Orange Sector and another one by C-Lekktor. Among the bonus remixes you’ll find at the CD and vinyl I especially recommend the divine remix of the title song by Cid Project. There’s an irresistible, blasting sound running through the remix. And there also is a surprising Cold-Wave styled remix by Dramatic with the input of another singer. Last, but not least I also want to say a word about the great digipak of the CD and the green picture disc of the vinyl format.

– – – : The cover version of Nena is an original, but not exactly the most convincing cut. Another song that couldn’t totally convince me is the somewhat electro-Punk driven “Endurance”, which is the other song with Claus Larsen singing.

Conclusion: “Resist” is definitely more convincing than the previous EP so I think this artist is progressively ready to release a full length album!

Best songs: “Ctrl+Alt+Del – Single Version feat. Claus Larsen”, “Ctrl+Alt+Del – Cid Project Remix”, “Ctrl+Alt+Del – Dramatic Rework”,  “Ctrl+Alt+Del – Orange Sector Remix”, “Ctrl+Alt+Del – C-Lekktor Remix”.

Rate: (8½).

Artist: www.facebook.com/dimitri.berzerk

Label: www.sector-industrial.com / www.facebook.com/sector.industrial.producciones

About Dimitri Berzerk

Dimitri Berzerk is a DJ, producer and remixer based in Mexico City, and the owner of the label Sector Industrial Producciones. He also works as a remixer under the name DMT Berzerk, crediting more than 100 remixes for other artists. His artist name references the classic Atari video game “Berzerk” and the band Apoptygma Berzerk.

Berzerk began releasing his own material with the single/EP “My Love Is Electric”, featuring Franco Doglioli. “Resist”, covered here, followed with Claus Larsen of Leather Strip as guest vocalist, and was later collected in remix form on “Resist EP Remixes” and reworked on the conceptual EP “A.I.C.Q.T.I.L.”

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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Cleopatra Records has announced the forthcoming release of “Leaether Strip: The Zoth Ommog Years 1989-1999”, a boxed set featuring 10 individually packaged CDs with original artwork and rare bonus material. This limited edition collection showcases the output of projects helmed by Claus Larsen when being signed to the German label Zoth Ommog with both Leaether Strip and Klutae.

This collection will hold 148 tracks along with a 16-page booklet filled with rare photos as well as liner notes by Athan Maroulis (Spahn Ranch, Executive Slacks, NØIR). The set will reach the shops on December 4th and will also be available via all digital and streaming platforms.

About Leaether Strip

The Danish musical project Leaether Strip was founded in January, 1988 by Claus Larsen. Its influence has been most felt in the electronic body music and electro-industrial genres.

Leæther Strip was one of the earliest and most prominent acts on Germany’s now defunct Zoth Ommog record label. For distribution outside of Europe, the music has been licensed to the U.S. labels Cleopatra Records and Metropolis Records.

After the demise of Zoth Ommog in 1999, Larsen signed to Bloodline Records, which only released a single before also going out of business. In 2005, Leæther Strip signed with the Belgian-based label Alfa Matrix until 2011.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: EBM, Body-Pop.

Format: Digital.

Background/Info: We all know Dimitri Berzerk as a ‘remixer’ and also as a label owner. But he last year also released a very own single/EP (cf. “My Love Is Electric”) featuring Franco Doglioli. He now strikes back with a new EP and invites Claus Larsen (Leather Strip) to sing.

Content: “Resist” sounds much more EBM-driven than the previous EP. Claus Larsen sings on two songs injecting his enraged way of singing on top of efficient EBM songs with some catchy choruses. Next to these songs you’ll find two more new cuts plus a cover version of Nena’s “Just A Dream” featuring the childish-like vocals of Pamuk.

The EP also features remixes by Orange Sector, C-Lekktor, DJ Sobrino + Scorpio 69, Bishop UPG and Technomancer feat. Angst Pop.

+ + + : Dimitri Berzerk deals with a well-crafted and efficient EBM format; solid bass lines and somewhat catchy choruses. Claus Larsen brings his great and passionate vocals giving an extra boost to the songs. Both songs featuring Claus Larsen are the best ones, but I also have to mention the powerful remix of Orange Sector and another one by C-Lekktor. Dimitri Berzerk sounds inspired by bands like Front 242 and And One. The least I can say is he made a very good mix of these influences together with a personal input.

– – – : The cover version of Nena is an original one, but not exactly the most convincing cut.

Conclusion: “Resist” is definitely more convincing than the previous EP so I think this artist is progressively ready to release a full length album!

Best songs: “Ctrl+Alt+Del – Single Version feat. Claus Larsen”, “Endurance feat. Claus Larsen”, “Ctrl+Alt+Del – Orange Sector Remix”, “Ctrl+Alt+Del – C-Lekktor Remix”.

Rate: (8).

Artist: www.facebook.com/dimitri.berzerk

Label: www.sector-industrial.com / www.facebook.com/sector.industrial.producciones

About Dimitri Berzerk

Dimitri Berzerk is the alias of Dimitri Loyo, a Mexican DJ, producer, remixer and label owner. The artist name draws on the 1980 Atari video game “Berzerk”, his first exposure to vocoder sound, and doubles as a nod to Apoptygma Berzerk. Dimitri Berzerk has worked as a DJ for more than 16 years and has taught DJ classes for around seven. His own releases appear on his label Sector Industrial Producciones, with “Resist” his latest EP.

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: Cinematographic, electro, wave-pop, experimental.

Format: Digital, 2CD.

Background/Info: After his last year released album “13 Ghost Stories” Jean-Marc Lederman strikes back with a somewhat similar concept album. He asked an impressive number of guest singers to write lyrics about the theme ‘letters to gods and fallen angels’. The ‘old’ Weathermen protagonist took care of the music composition and he also wrote a few lyrical parts. The double CD features twenty four songs while twenty two singers contributed to the album plus Jo Quail playing cello on one song.

Content: This album is quite diversified, mixing very different genres. Jean-Marc Lederman transforms himself into a sonic chameleon who now moved back to the 80s and next experimenting pure soundtrack music. But I also noticed a song with a jazzy-like atmosphere while others are more into a kind of dreamy pop music. I also noticed some electronic minimalism and even a very personal cover version of Nick Cave’s “Into My Arms”.

The real tour de force is the impressive list of singers featuring names such as Tom Shear, Mark Hockings, Rodney Orpheus, Elena Alice Fossi, Frank M. Spinath, Stefan Netschio, Claus Larsen, Mari Kattman ao. Most of the singers also wrote the lyrics for their song.

+ + + : I like conceptual albums, but I have to admit, this one by Jean-Marc Lederman is a true original idea. He once again brought an impressive number of great names together, and also a few unknown names. The album sounds as a compilation, but it first of all reveals a musician who feels comfortable dealing with very different music genres. I noticed several jazzy-driven cuts, but also cool ‘film-noir’ compositions. It’s hard to give a favorite song, but I’ll go for “Heaven” featuring Scottish artist Lucia Fairfull on vocals. It’s also quite surprising to hear Tom Shear (Assemblage 23) singing on “Answer Me” in a different way we’re used to hearing from this artist. By the way, this song could be the perfect EP-title track. The very personal interpretation of Nick Cave’s “Into My Arms” sung by American singer Jenna Fearon is also worthy of examination for its intimate mood. 

– – – : If there’s one single point you can discuss about is the feeling you might be listening to a compilation.

Conclusion: This album even touches me deeper than “13 Ghost Stories”; it’s not an album with ‘hits’, but simply a genius concept featuring a great and renowned musician joined by a great selection of singers. Respect for this work Mr. Lederman!

Best songs: “Letter from Lucia Fairfull: Heaven”, “Letter from Tom Shear: Answer Me”, “Letter From Mark Hockings: Don’t Collect Me”, “Letter from Emma Barson: Under A Glass Sky”, “Letter from Rodney Orpheus: Sophisiticated Evening”.

Rate: (9).

Artist: www.facebook.com/jeanmarc.lederman

Label: www.wool-e-discs.be / www.facebook.com/woolediscs Read the news on ‘Letters To Gods [And Fallen Angels]’.

About Jean-Marc Lederman Experience

The Jean-Marc Lederman Experience is the vehicle of Belgian musician and former Weathermen member Jean-Marc Lederman, built around rotating guest vocalists. The concept album “13 Ghost Stories” preceded “Letters To Gods [And Fallen Angels]” by a year; the newer double-CD again pairs Lederman’s own music and lyrics with contributions from twenty-two singers, including Tom Shear of Assemblage 23, plus cello from Jo Quail. Lederman signed to COP International later in 2020.

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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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Jean-Marc Lederman (The Weathermen, Fad Gadget, The The, Ghost & Writer, Lederman-Demeyer) has released a new release under the Jean-Marc Lederman Experience moniker. With this project he calls up singers from different niches and countries to write lyrics and sing them on a common theme. The end result is then being packaged in a 2CD 36 pages hardcover art book with artwork and pictures by Erica Hinyot.

2019 saw the release of “13 Ghost Stories”, and now he offers “Letters To Gods (and fallen angels)” including performances from 21 different singers, from the USA to Italy, Mexico or Wales. The concept this time is very topical in this strange reset time: “You can write a letter to a God, or a fallen angel. What do you say?”

This time, the artists are:

• Agi Taralas (Our Banshee, Greece)
• Emma Barson (Promenade Cinema, UK)
• Ghost & Writer with cello by Jo Quail (Germany/Belgium UK)
• Mari Kattman (Helix, USA)
• JP Aston with backing vocals by Julianne Regan (Gene Loves Jezebel/Wales All About Eve/UK
• Coline Wauters (Atome, Belgium)
• Christina Z (comics Witchblade writer, Magnesium Burn/USA)
• Das Vintage (Mexico)
• Lucia Fairfull (Lusca And The Best Boys/ Scotland)
• Stefan Netschio (Beborn Beton/Germany)
• Hunter S. Thompson (Writer, USA)
• Elena Alice Fossi (Kirlian Camera/Stalingrad Valkyrie Italy)
• Tom Shear (Assemblage 23/ Helix USA)
• Mark Hockings (MESH/ UK)
• Jenna Fearon (USA)
• Emileigh Rohn (Chiasm/USA)
• Miriam Christina (The Other Side Of Who, 580 Miles/ Germany)
• Haydn Park-Patterson (The Ninth Wave/ Scotland)
• Rodney Orpheus (The Cassandra Complex/ EU)
• Louise Fraser (USA)
• Lis van den Akker (Holland)
• Claus Larsen (Leaether Strip/ Denmark)
• Friedrich Nietzsche (Patrimonia Universal de la Humanidad)
• With 3 novels by:
• Christina Z. (comics Witchblade writer, Magnesium Burn/USA)
• Ceratomia (USA)
• Philippe Genion (à;GRUMH /Belgium)

Check the previews below. Read the review of ‘Letters To Gods [And Fallen Angels]’.

For more on Jean-Marc Lederman, see COP International has announced the signing to their artist roster of… on Side-Line.

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: Electro-pop.

Format: Digital, CD.

Background/Info: Claus Larsen (Leæther Strip, Klutae, Mirland/Larsen…) and John R. Mirland (Mirland, Negant, M73, Mirland/Larsen…) aren’t only running Læbel, they’re also sharing a common passion for electro-pop music, which they’ve transposed into Am Tierpark. This is already the Danish duo’s third full length, which was released in 2019.

Content: Am Tierpark remains faithful to their basic sound, which is definitely inspired by the 80s electro-pop/wave scene and mixed with a few harder and more personal elements. “Kings Of Failure” is an album carried by happy sounding embodies, which are sometimes reminding OMD me of (especially for “No More Chances”), but still featuring a few harder passages driven by EBM-sounding bass lines. I also noticed a few more melancholic passages.

+ + + : Am Tierpark is progressively evolving and clearly confirms this is much more than simply a side-project. The melodic aspect of the work is absolutely great –mainly at the beginning of the album. Melodies and choruses –featuring the emotional singing of Claus Larsen, together create an elevating effect on the best  cuts of the album. But what I like the most is the kind of ‘feel good’ sensation listening to “Kings Of Failure”.

– – – : I think it’s quite surprising, but the title song is absolutely not my favorite song and even one of the few I would not recommend.

Conclusion: Am Tierpark is slowly moving on, getting better on each new album.

Best songs: “No More Chances”, “Calling Your Name”, “Reach XTC”, “Are We Crashing”.

Rate: (8).

Artist: www.facebook.com/amtierparkofficial

Label: http://laebel–music.dk / www.facebook.com/laebelmusic

About Am Tierpark

Am Tierpark is the electro-pop duo of Danish musicians Claus Larsen (Leaether Strip, Klutae, Mirland/Larsen) and John R. Mirland (Mirland, Negant, M73, Mirland/Larsen), also the two men behind the label Laebel. “Kings Of Failure” arrived in 2019 as the duo’s third full-length. Am Tierpark returned with a fourth album, “Shameless”, in 2024, also released via Laebel.

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: Electro-industrial, EBM, IDM.

Format: Digital, CD.

Background/Info: John R. Mirland has been –and still is, involved with multiple music projects. I once discovered him with the electro-minimal project Holm/Mirland, but of course also together with Claus Larsen as Am Tierpark and Mirland/Larsen while he’s now also busy under the Negant moniker and the band Bitter Distrust. He also moved on releasing new productions under his own name, “Antagonist” having been released in 2018 (!). The work has been introduced as an EP while it rather looks as a good-old mini-album featuring six cuts.

Content: John R. Mirland is a musician with multiple ‘sonic faces’. He can write the finest pop melodies or experiment with pure electronic-minimalism, but he now again transposes himself into a kind of industrial ogre. “Antagonist” takes off with a subtle fusion between EBM bass lines and harder, industrial kicks, but quite progressively the work starts to become harsher and definitely electro-industrial like. The songs feature a few spoken samplings and electronic treatments like reminding us of the artist’s love for electronics;

+ + + : The opening song “Disappointment” is a brilliant piece of electro-industrial music carried by a solid bassline. I like the way this song evolves towards a harsher final. Quite progressively the songs get harder and more industrial wise. But there’s always a subtle touch to achieve the songs and that’s what I also like at the hard-banging “Cleanse” and “Antagonist”. The last cut is more experimental, but here again the final part of the song became harder and more industrial-driven.

– – – : “Antagonist” is a fully enjoyable release, but just missing an absolute hit!

Conclusion: Mirland confirms to feel comfortable with different genres, but the common point remains the electronic basis. “Antagonist” probably is one of the artist’s hardest productions ever released!

Best songs: “Disappointment”, “Cleanse”, “Antagonist”, “Guillotine”.

Rate: (8).

Artist: https://mirland.dk /

www.facebook.com/jrmirland 

Label: https://laebel–music.dk / www.facebook.com/laebelmusic

About Mirland

Mirland is the solo-name project of Danish musician John R. Mirland, also known for Am Tierpark (with Claus Larsen), Negant, M73, Mirland/Larsen and the electro-minimal project Holm/Mirland. “Antagonist” was released in 2018 as a six-track mini-album on Laebel. Mirland followed it with the album “Compromise Is Defeat” in 2022 and the single “Plasticity / So Cold” the same year, both on Je M’En Fish.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Industrial-metal, doom, crossover.

Background/Info: Controversial is a Belgian solo-project set up by Bart Coninckx. The guy has been involved in music for several years, but started with Controversial only a few years ago. This self-debut album featured thirteen songs plus two remixes.

Content: The influences and style of Controversial quickly comes through. Bart Coninckx is clearly driven by the sonic legacy of bands such as Ministry, KMFDM and Klute (to name a few). There’s a constant mix of industrial guitar riffs and electronics. From time to time a short guitar solo emerges from the repetitive loops. The tracks are also characterized by the use of spoken movie samplings while the vocals appear to be rudimentary.

Both last tracks are remixes by Die Krupps and Leather Strip.

+ + + : Controversial is not exactly innovating, but has accomplished an honest work. The industrial guitar riffs have been put into loops, creating a menacing sphere reinforced by a linear rhythms and achieved with electronics. I prefer the more elaborate songs where extra guitar and more explicit electro treatments have been added. Controversial didn’t spare any effort to catch the attention and I say this for the professional artwork of this digipak, and also for featuring Die Krupps and Leather strip as remixers. Claus Larsen did a great job although adding his own voice to the song, which more sounds like a remix by Klute instead of Leather Strip.  

– – – : A few songs could have been more worked out. The numerous samplings are cool, but a bit more vocals would be an interesting aspect to consider.

Conclusion: This album is an honest debut so let’s keep an eye on Controversial!

Best songs: “Take Command”, “Wolf Or Sheep”, “Suffering Unseen”, “Violence”, “Take Command – Leather Strip Remix”.

Rate: (7).

Artist: www.controversial.eu / www.facebook.com/bandcontroversial

About Controversial

Controversial is the solo-project of Belgian musician Bart Coninckx, who began recording under the name Pitch Black in 2001 before resurfacing under the Controversial name in 2014. Coninckx commented on the project’s aim in a later interview: “Controversial aims to create the music I always wanted to hear, but never came across.” This album was later reissued by Cleopatra Records, which in 2021 released a video for “Violence”, one of the tracks reviewed here.

Inferno Sound Diaries

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

www.side-line.com

Background/Info:

About The Stricken

The Stricken pairs Claus Larsen, the voice of Leather Strip, with producer Ian Donaldson, confirmed as the project’s two members. This self-titled album arrived through Læbel, the Danish label co-founded by Larsen himself and John R. Mirland in 2017.

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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Artist/DJ Rexx Arkana (FGFC820, Coldkill, Bruderschaft) and Luke Haughwot have launched a YouTube channel – called Statik Industrial TV – to spotlight the Industrial scene. Here’s what Rexx told us regarding the reason why he launched the channel: “Industrial music has never received the kind of attention other electronic music genres have. Our history runs deeper than many of those other sub-genres and I wanted to try to capture as much of that as possible in the time I have left.”

Statik Industrial TV will feature artists, events, and culture throughout the community and will be an ongoing web series.

The first episode features the Terminus Festival which takes place annually in Calgary, AB Canada. In it’s seventh year, the Terminus Festival took place July 27th-29th and features acclaimed Dark Electro artists from around the world. The episode features performances from some of the artists who played the festival as well as interviews with artists such as Claus Larsen (Leaether Strip), Yone Dudas (Decoded Feedback), Mesh, and many more.

The first episode can be seen 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: EBM.

Background/Info: German duo ‘Freund 424’ (music) and HanZ AciD (vocals) have released multiple albums in just a few years. “Body Music” is their latest creation –again featuring Claus Larsen (Leather strip) singing on multiple tracks. This album features a total of 36 tracks.

Content: If you’re already familiar with the work of Transponder you perfectly know what to expect. This band brings good-old EBM that will remind you of the golden decade of the 80s. But they also dare to inject a few other influences such as new-beat, electroclash, techno and even a song featuring rap vocals.

The album reveals multiple familiar- and new songs. Several tracks have been sung by Leather Strip, but you also will get tracks featuring Les Berrtas, Zynic, Engelsstaub and Human Nihil.

The vocals are pretty fun-like and even like promoting the Belgian W-festival (cf. “At The W-festival). This song is featuring samplings of the legendary new-beat project Tragic Error (which they already covered in the past).

+ + + : If you like the pure and authentic EBM, Transponder will fully satisfy you. The sound is simple, but the songs are efficient. The lyrics will rapidly push you to sing along. I also have to say that Claus Larsen’s enraged vocals are totally matching with the music. Transponder is fun, but also a great project, which I can imagine on stage leading body freaks into wild dancing. They have many potential hits and especially some of the familiar cuts will again bring you into action. The sound is driven by great bass lines, typical 4×4 rhythms, metallic percussion parts, cool (and hot) samplings and furious vocals.

– – – : You really have to like this band to enjoy both albums each featuring 18 songs. It might become a little bit repetitive after a while.

Conclusion: One of the most familiar EBM slogans makes sense again: ‘move your body’!

Best songs: “Totally Bass”, “When We Return To Bleiburg feat. Human Nihil & Leaether Strip”, “Bewegt euch feat. Leaether Strip”, “Lerchenzungen feat. Les Berrtas”, “Auf der Jagd feat. Zynik”, “At The W-Featival feat. evo-lution & Tragic Error”, “The Return Of The New Beat feat. Leaether Strip”.

Rate: (8).

Artist: www.transponder–music.de / www.facebook.com/transponder242

About Transponder

Transponder is the German duo of Hanz Acid, from Erbach, and Freund 424, from Kassel, according to Discogs. Side-Line previously reviewed the project’s digital album “The Strength Of My Fist” in 2016 and the double-CD “Hammer And Anvil”, released on ScentAir Records, in 2017.

Claus Larsen, who records as Leaether Strip, is among the featured vocalists on “Body 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

I last year discovered Damage Control by the successful debut full length “Ultranoia”, which is a real masterpiece revealing intelligent and sophisticated electronics. Set up by Australian core members Bill Barsby and Damian Davis they got joined by Markus App (Germany) and Jason Podmore (UK). “Ultranoia” became one of my personal favorite albums of 2017 so I get in touch with Bill and Damian to ask them a few questions. And they had a lot to say…

(Courtesy by Inferno Sound Diaries)

Q: I get the impression Damage Control is a project driven by a few core members joined by extra musicians who can join in and go whenever they want. Is that right and can you tell us a bit more about the background of Damage Control, the concept and the coordination?

Bill: At the project’s core at all times you will find Damian Davis and myself. Markus App has also been a part of the inner core of the band, he’s still involved, but more on a casual basis these days. I’m glad we did some music with Jason Podmore, an old friend of mine in the UK. New members are Richard Thacker and Craig Saunders. Richard has been involved with synth jams we had over the years and is a talented guitarist and sound designer. Craig joins us from Sydney industrial band Novakill. Craig is a great programmer and percussionist and is driven by similar influences to us with his approach to music production.

The core line up for the new album “Oblivion Grid” is now Bill, Damian, Richard and Craig. We also owe a lot to Craig Huxtable and Chris Peterson from Ohm along with Claus Larsen from Leather Strip. This collective effort and push to get things done helped get our debut release “Ultranoia” off the ground.

I’m always looking to forge new musical relationships with people on the same or a similar page to us. I can’t imagine any other people in the world I’d trust our mix and masters with than Chris and Greg Reely. It feels to me like Craig Huxtable and Chris are in the band too. We will always try to collaborate with them creatively on tracks as and when schedules allow. We collaborated with Ohm on a few tracks on “Ultranoia” and they have performed “City Of Ruins” in Germany and Canada in their live sets. I’m happy to have such a great team of talented and nice people around me (albeit dotted around the world).

I can reveal exclusively to Side Line a new Remix-EP of tracks from “Ultranoia” is well underway called “Hypernoia – The Remixes”. We are currently collaborating with Brian Bothwell of old-school industrial legends Manufacture on this project we are excited to confirm. This will be released later in the year.

An album of new material called “Oblivion Grid” which is half written and sounding epic to us so far is well underway, featuring the solid new line up. We expect to release that album in 2019. We have began collaborating with other artists in Germany, Slovakia and the US who are new to Damage Control. These guys have excellent track records for industrial music. Watch this space for more details on that. I’m excited that Chris Peterson and Greg Reely are on board for mixing and mastering on both “Hypernoia” and “Oblivion Grid”.

Please keep an eye on our website www.damagecontrolofficial.com and Facebook page www.facebook.com/damagecontrol for updates.

We are so very appreciative and thankful to all the cool folk around the world who have supported us with purchases of “Ultranoia” and the positive reviews we have received. Your support means a lot to us. It makes a huge difference to help kick start the next writing and recording project for Damage Control. We cannot thank Side-Line/inferno Sound Diaries enough for their excellent review of “Ultranoia” and it polling at number 13 in the top 25 reviewed releases of 2017 by Side Line Reviews! Thanks for your 9/10 review!!!

In regards to the concept and the co-ordination of the project, being a music technology, gear head, and huge music fan along with my fellow artists in this project, over the years we have always been determined to create something we like ourselves. We have tried various real-time recording technologies, but have found the perfect workflow for us is to simply use dropbox and exchange audio multi tracks (stems) and use a google calendar to help keep organized with who is working on what and when, and what the deadline is. This also of course addresses the time difference issue. I very much push this agenda from the ground up and start mini projects with each member, and collaborator and that can take on a life of its own and go in any direction without creative boundaries other than making sure we have a central vibe and sound people can identify with Damage Control’s music.

With a lot of material we can pick and choose what works together to make a cohesive sounding release. It’s very important to me that everyone is enjoying themselves when working on a record and that it does not feel like a chore or for anyone to feel trapped creatively at any point. We are pretty free form with how we work. This allows for great creative accidents and collaborations to mutate naturally. A collective pool of individual creative strengths working together to achieve something great is the goal. It’s also good to have disagreements in creative direction at times so the compromise can make for interesting results. This to me gives a certain kind of tension and unpredictability to the music in how it flows together and hopefully makes for an interesting and varied listen.

Knowing Chris Peterson will be producing us requires everyone to bring their A game so we are all of course motivated by that too. Chris helps us make important decisions in the writing process and we have a good laugh along the way with analogies of a track and its mix at times. It’s certainly not a project for the easily butt hurt! You have to have a good sense of humour with all this. I would like to mention how two talented friends of mine here in Melbourne have had an impact on the image of Damage Control’s “Ultranoia”. Adam Verspaget (Photography) and Roberto Massaglia (CD Design and artwork).

Q: I can imagine it’s not that easy to accomplish a full length album featuring multiple members. How did the writing and recording of “Ultranoia” happen and what has been the input of each member?

Bill: Well that was an interesting rollercoaster ride to get the thing off the ground! It was a struggle at times although it had its moments of excitement, fun skype conferences, and brainstorming. My challenge was to work with everyone individually to focus on their strengths and come up with solutions for the recording process and workflow, something Mitrefinch TMS helped us with. Dealing with different opinions on how things should be done, and finding a common ground and plan of action. The brief was to make something cool and then bring it all together through trial and error and finding the right creative path to tread and people to work with. What I love about working with a few like minded people is when you hit a brick wall with an idea, someone else picks up the ball and runs with it and then comes back to the with a fresh and new inspiring perspective on a track which reignites the creative process. This keeps things moving forward.

The standard has to be high or why bother is my motto. I think collectively we made something really cool that achieved its sound by our individual differences. That was an interesting point you picked up on in your review last year. The song lyrics themselves are often derived from Damian’s interpretation of my stories, fact or fiction and his. It’s always a fun part of it to brain storm the lyrical ideas and set the scene for the track. Damian is very talented in this area we feel. He usually hits the spot for what we had in mind for the vibe and the delivery. We focus on painful world affairs and the unpleasant realities of what’s going on in the world. I often come up with the concept and the idea and then we flesh it out until the song unfolds. Damian just goes for it with the lyrics and vocal delivery and I will edit the results until I’m happy and then go back to him with suggested fine tuning. Other times he just nails it straight away. It was awesome working with Craig Huxtable and Markus App on the tracks they sung on.

With us coming from different countries and cultures, it mixes things up nicely and keeps it interesting for us. In the spirit of keeping the international collaborative approach to how we make music, we are now working with other artists in other countries including Slovakia.

As far as the input of each member on “Ultranoia” goes, to highlight individual strengths and our approach with that project. I like to drum program and experiment with a lot of synths including the rare vintage collection at the Melbourne Electronic Sound Studio and to bring interesting rhythms, sounds and vibes to an idea, ambient drones and pads are also my thing. I’m fussy about the signal flow and sonic flavours different equipment brings. I often re-record other people in the band’s midi through high-end hardware synths like Moog, Doepfer and Oberheim, DSI etc.

Markus was always good at arranging and some of the melody along with great programming and sound design in the software world such as Omnisphere but I think it’s safe to say Damian is our melody man, vocal meister and bass are also strengths and atmospheric pads. He also collects hardware synths and vintage samplers like myself. Jason and I used to like messing around with weird samples and Damian too to try and have something sublime in there that might mess with your head when you’re listening in the dark by candle light.

Craig Huxtable I believe recorded his vocals for “City Of Ruins” in a van if my memory serves me correctly as not to upset his neighbours in Victoria, BC, Canada where he lives. I think he was able to record “Trauma” at home as that one’s a little less angry! Having Markus sing in German on the track “Angst” was also a highlight and with Ohm taking care of a lot of the music on that one. This was intended to be a remix so that was a happy accident how that one turned out.

Damian: Yes, I agree that accomplishing this album had challenges, having multiple members. It was a blessing as well as a trial. There was so much to gain from having a few extra sets of ears, which were willing to put their money where their mouth was. This is crucial this fact, because there is only so much external opinion and advice a musical outfit can tolerate and absorb. I often drew parallels to the trials and tribulations of The Beatles, where too many cooks could spoil the home-brew. But in the linear fashion of Exporting Stem tracks to each other, cyclically, the music could do round-robin and end up sounding soul-less, or it could build a serious shit-load of power. It was hit-and-miss really. But we could always revert to the original stem package at any stage of the way. Bill’s mastery at co-ordinating this, at certain times, ’world-circus’, was nothing to be envied, and yet totally astonished with.

Q: Right now you’re in between 2 albums so how do you look back at “Ultranoia” and what can you already reveal about “Oblivion Grid”? What will be the main differences and sound evolution?

Bill: It’s nice to reflect on “Ultranoia” being well received so far, the effort to create our debut and find our sound has been very rewarding on all fronts.

For “Oblivion Grid” Markus, Craig, Damian and myself have had a good push to write new material and it’s going well. Richard has started adding to our demos and we are reworking some older stuff we did not finish from years ago with the Oberheim Xpander classic old synth from the 80’s. You will also soon have a sneak preview of the new remixed version of “Ultranoia” we are calling “Hypernoia  The Remixes” which debut’s Craig Saunders and Richard Thacker to Damage Control. It’s great to have Craig and Richard on board who bring diverse skills with a common ground to what we are doing. I would say that so far, the new material for “Oblivion Grid” is sounding very much like a fine-tuned evolved version of us. There might be more guitars on this one and some new vocalist talent. We have some awesome new songs shaping up. The collaborations we currently have lined up with VIP remixers for this album, we are pretty excited about. We look forward to revealing more about that as it happens with the future releases.

Damian: Well, interestingly, I think that “Hypernoia”, our remix collection, is one way of us to reflect on our efforts with “Ultranoia” in a very hands-on way. We can see where things could easily travel in a direction that could lose the momentum and impact, that a brand new album would have. So “Hypernoia” is a release for us, that deals with this possible issue very elegantly. In the early days of Depeche Mode, sonic variation was critical from album to album, and a deep obsession with technical and musical change was vital for the band to move forward on. I feel that this may be a path we could travel, and it would be remiss of us to settle on a ‘winning formula’ if we refused to experiment with sound. “Oblivion Grid” shows such promise, and I’m sure the final sound will impress us, and all who hear it.

Q: On “Ultranoia” I felt a real strong concern about sound creation. Damage Control sounds not like a band using ‘cheap’ preset sounds, but musicians with a real quest to find unique sounds! What is the sound creation and -approach of Damage Control all about?

Bill: It’s great people have noticed this aspect of what we do. The band is made up of engineers as well as musicians, we believe in experimenting with many combinations of analogue and digital hardware vintage and current. I like nice pre amps and high-end effects. I am part of the team who represent MOOG, Novation, Teenage Engineering and Elektron in Australia.  I am lucky to have access to all of these wonderful synthesizers. We also dabble in a small amount of software we believe to be the best after a lot of trial and error. We generally find ourselves preferring to work with hardware synths again. The machines have a soul of their own. We are using a Kemper profiler on guitars for “Oblivion Grid” so going back to hardware again there too. An extremely cool and unique technology for guitar amp and effect solutions with all the realism you want from actual guitar amps as apposed to regular amp modelling in software. Software is however, awesome in context to certain things. I heard the excellent recent Gary Numan album “Savage” only uses software and I know Gary is a big fan of Omnisphere. It’s just a question of preference and what inspires you. The more sonic colours in the mixing pallet, the better as far as I’m concerned.

Between us we have a pretty large collection of gear and with access to the vintage rare collection of synths at The Melbourne Electronic Sound Studio, this gives us a point of difference. We make the effort to do something interesting rather than just reaching for a plug-in. We do that too, but usually to replay field recordings or sound libraries we have resampled into the computer from older samplers. Damian and I have both been enjoying the Emu Emulator V Sampler with the Z Plane filters from the 90’s in recent times. I grabbed a Proteus 2000 and Morpheus from eBay too for ‘Oblivion Grid’ sessions. I used the EMS VCS3 Putney on “Ultranoia” and a lot of my recordings of that old beast from 1969 are being used on “Oblivion Grid”. That synth is an important part of our sound. We have an interesting and very cool synth community in Australia with access to the M.E.S.S. as I mentioned. https://mess.foundation/

Damian: Yes, I’m amazed at how finely tuned ears, which are used to hearing a lot of this style of music, can aptly spot any differences in sound design (be it digital/analogue/found-sound/acoustic/preset/original). Whether this be true, or whether reviewers can sense that musicians are also in it for the sonic discovery, is a true talent. The one thing I can’t do without, is instant access to a device that samples your voice, and can do immediate manipulations, all without booting a computer. There is no creative killer worse than feeling compelled to check your emails, just as you get a musical idea in your head. Some bands who use laptops seem to be doing this onstage, and seriously, who could tell otherwise? Original sound creation is VITAL in this preset-soaked era. I would shudder and wince if I heard a preset on a recording, that I would possibly ever regret using. If the project called for that type of sound, yeah then great, but for this project, there is no compromise.

One great thing about some types of hardware, and outboard gear, is that they are either too rare to clone virtually or mass produce Behringer-style, or they can have presets made on them, that can’t be replicated easily any other way. I personally feel that the approach of Damage Control is a mix of discrete sonic-design, and blatant outright gear endorsements and plugging. You can’t maintain a mystique for too long, whereby people aren’t inquisitive about what you use to write your music. It’s electronic. We aren’t pioneers. There’s no hocus-pocus voodoo to that…lol. It’s about finding a combined spirit of adventure and a social, emotional, mental release of personal takes on world problems and issues.

Q: The mixing and mastering of an album is such an important aspect, which I think is sometimes neglected by bands. I can imagine that’s the reason why you worked with Chris Peterson and Greg Reely? Tell us a bit more about this aspect?

Bill: The huge difference it made to us having Chris Peterson on board as a producer. I thank Craig Huxtable for helping to make that happen and that also led to having Greg Reely involved with final sonic details. I have been a fan of Chris’s work as an artist and mixing engineer with Decree, Frontline Assembly, Noise Unit, Delerium, Equinox, Intermix, Ohm etc for decades so to be able to just say to him ‘please do your thing’ rather than to a different producer where we would be saying ‘please do it like this Chris Peterson guy does on these records’ that makes a massive difference to me. Chris doesn’t just mix and master Damage Control tracks, he pours his heart and soul into the project. As I’ve mentioned before, we consider him a member. I have a good rapport with Chris and we get along as friends, which makes it a fun project to work on for him as well as us. He takes our music where we need it to go.

It was also fantastic to collaborate with Claus Larsen from Leather Strip on the mixing of “Hate Crime” in which he added the samples to and nailed a fine remix of that track also. We have had success in clubs with “Hate Crime”. It’s been an awesome learning process for Damage Control and gotten the project off the ground. The album is a mixed bag of styles we like. To anyone reading this, please check us out if you have not already.

Damian: A big part of pursuing this project, was to encapsulate a particular sound that all of us pretty much grew up with. As Bill states, our relationship with Greg and Chris, extends to utilizing these guys as members of the band, as their fingerprint on the final sound is vital to our cause. Otherwise, we would have floundered along with leagues of other acts, who shun, or are ignorant to the power of experience provided by these geniuses, and other such super talents we collaborate with along our journey.

Q: You guys are experienced musicians who’re into music for years now so what does Damage Control mean to you and how do you see this project evolving during the next few years?

Bill: Well we know what we like and how we like it done. We also need to make sure everyone working on the project is having fun. To me Damage Control represents therapy using Cubase and creating an outlet for creativity and collaboration. To be releasing musical outcomes of sonic experiments and compositions that turn out good enough that we like it ourselves while keeping standards high. I know I can speak for all of us; we are long time fans of electronic music, industrial, goth and post punk kind of stuff and a bit eclectic across the board too. We hope to play some one off shows from time to time when possible. It would be nice to play WGT but for now we are a studio project. We will see what happens. Making good records and enjoying the process of making them is the number one priority for us.

Thank you for the interview and your support. It’s very much appreciated and we love Side-Line!

Damian: I want to get to the difficult third album stage, and destroy that cliché once and for all… Haha, but seriously, I believe that no matter what fate may bring to the Damage Control viking table, music will still exist in our hearts. I would love to perform live again, but we shall see what the future brings for us. Thank you for your amazing level of support for us, and I fully appreciate the time you have spent with us on this interview. Cheers.

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 1992 by Len Lemeire and Geert Machtelinck, Belgian Implant celebrated their 25^th anniversary in 2017 releasing their 10^th official studio album “Oxynoxe-X” on Alfa-Matrix. Geert Machtelinck left the band during the early millennium years and got replaced by Jan D’Hooghe (previously involved with Vive La Fête). The sound and influences of Implant remained pretty similar, always mixing different influences together. From EBM to techno to trance to electro-pop, the new work however appears to be an ode to pioneers of electronic music and is according to me one of the best Implant releases ever. Enough reasons for a chat with Len Lemeire.

(Courtesy by Inferno Sound Diaries)

Q: I noticed there’s a hiatus of four years between the past Implant albums. Len, you were definitely more prolific during the early  years so did you become a bit lazy or do you simply need more time and reflection after having released a new work?

Len: I think it’s a combination of things. Life has a way of interfering with the things you love. Over the past 4 years we bought a new house and totally innovated it. A lot has changed in my professional life, giving me way less time for music. The kids are getting older, and that is not making things simpler and I find it harder to come home and spend hours in a studio after a day of work. And I know that goes for Jan too.

One could say that music is a bit like sex in a long-term relationship. It’s still there; it’s most of the times even better then before. But there is no more sex on a daily basis (laugh).

All this also forces you to rethink things more. In a way we have become our own worst critics. Since we’re not releasing at the same tempo, we want these releases to be worth it. And that takes more time.

Q:  “Oxynoxe-X” is Implant’s 10^th official studio album, which is a real milestone in an artist’s career. Does it get you nostalgic or simply inspired to move on? Are there albums you would have accomplished another way today?

Len: Never look back in regret. 10 albums becomes a legacy. I was forced to change my car (after an accident) and the new one only has USB. So I filled a USB stick with a lot of music including all releases of Implant. At one point I played all, in one long go (over several drives). A lot of that time the kids were in the car, and discovered a big part of my releases (‘forced to listen to’ is a more accurate way of describing it). My son is 17 and very open minded in music. He was kind of impressed with the variety of things I did. I take that as a big compliment. Seems like Implant is accessible in a very alternative way (that were his words).

Would I have done things different? Sure, who wouldn’t? Music is a process of learning. It is the sum of your influences at that time. Struggling with your technological limitations and funds for instruments. That is how I see those 10 albums. One big process. And it was fun all the way.

And milestones. For me these are the people I met thanks to the music. Jan, Jean-Luc, Anne … etc. Those are the milestones for me. Sitting in a backstage with Claus Larsen and finding out he is a fan. Having Patrick Codenys come over to your studio to help you configure your new computer, while talking on how to make a baseline. But it’s also the friendship with people that started out being fans and ended up being friends. Those 10 albums enriched my life. And I have to thank music for that.

Q: “Oxynoxe-X” has been introduced as ‘a wink to one of the pioneers of electronica dance’. I think we all have understood who you’re referring about, but you also told me there’re more winks hidden behind the new work. What is it all about and why this ‘ode’?

Len: The concept of an ode came during the process of writing this album. Several times we asked ourselves, what made those classic ‘80’s albums so different?! And tried to take that legacy as part of composing a song. Resulting in some hidden winks to bands we both love. In the end, when we assembled an album out of the different studio sessions we both understood that this album reflected part of our love to electronic music.

This scene has changed dramatically over the years. Let’s face it, the cool kids are no longer attracted to this music. There is no real reason left to make this except for the love of this kind of music. This album is more of an album that will grow on you (or at least that is what we hope). Give it time to ripe. It became a passion thing. And I hope we figured a way to capture that feeling and share it.

And it’s a fun game too; you can try and find references some are obvious, others are more hidden. But admit, the lead on “Le Pouvoir” made you think of A Split Second.

Q: It might also explain the more experimental bonus disc, which sounds as Implant exploring the magic of analogue equipment, but it also became the most atypical Implant work ever. What can you reveal about the bonus disc “Oxynoxe-X²”?

Len: We are a bit fed up with releasing bonus disks filled with remixes. It’s a very simple way to release that little extra to have fans pay that little more for something they don’t really want. And it has become something nobody even questions. And as an artist it’s kind of a trap. You need 10 remixers, who will eventually ask for a remix for their own release. So you might as well write it yourself. On top I have to admit, I almost never play any of these 2^nd disk more then once.

Jan introduced me to the modular world. I was very reluctant in the beginning. Because this is a total different way of composing. The creation of sound with modular systems are endless. But there is a lot of room for error. Actually this modular world is all about sweet spots. If you find a sweet spot, things become real interesting. On disc one we tried a lot of stuff that resulted in very strange sounds and structures, but it was all a prolonging of the way we always composed. The difference was that we didn’t have to run through the sounds of synth for a new sound, but had to create the sounds themselves. We quickly understood that you could create sounds that had a life of their own. Adding layers of randomness. Resulting in very experimental stuff.

At that point the concept of this album being an ode to electronic music was a fact, and we realized that we didn’t ‘yet’ express our love to some of the real experimental music that was part of our youth. Bands like Coil, Throbbing Gristle, Klaus Schulze… ao.

A combination of these ideas led to composing disc 2. And I still think it’s way more interesting then yet another disc full of remixes. It was very time-consuming compared to sending out 10 mails to remixers. I hope people at least appreciate the idea.

Q: I like the sense of the title “I Sometimes Dream Of Imaginary Parties To Meat New People” featured at “Oxynoxe-X²”. What kind of parties and music do you have in mind and who are you dreaming of to meet?

Len: Haha, those titles are meant to be strange. But it has to be a party with long bearded woman and high-heeled men (laugh).

Q: “Oxynoxe-X” in a way clearly got inspired by a look back in the past, but what’s your perception about contemporary electronic music and all aspects related to a band, but maybe not relevant for artists such as social media, streaming platforms, image etc?

Len: It sure has changed a lot over the years. Net-presence seems to be more important then the actual music. Social media is a trap of likes. A study has proven that you judge people ‘more successful’ if they are your Facebook friends, but don’t really know them in real life. It’s fake! We only share what we think will look good on us. I think it has some good sides. Some bands are very creative with trying to get a Youtube presence. DIY clips are sometimes incredibly interesting. But far to often it’s not. And frankly, I hate people who mainly post with 15 hashtags in every sentence or every 2 words an emoji. Maybe I just have to admit I’m bad at this social media. I think it moved far away from the essence of making music.

Streaming platforms is something different. I do see the beauty of the availability of music. It’s an interesting platform to discover music. But as a service, it enhances the idea of music being a free commodity to people. And the business plan is mainly focused on maintaining the service, not the content. (the majority of the money is for an IT-center that makes it possible to actually stream music, only a small part is reserved for those that deliver content). I hear a lot of people comparing it to Netflix, but what people forget is that Netflix is also responsible for creating content. Comparing streaming to Netflix could result in a far more interesting experiment. Where streaming services had to sign artists to get content. I think music has lost a lot of filters these days. Everybody can upload a track and get some streams. I know, one might argue that the public is the ultimate democratic filter. Unfortunately democracy only works if everybody is capable of critical thinking.

But hey, just press ‘like’ on this interview, maybe press ‘play’ on my video or even press ‘like’ on Implant’s Facebook page. But most importantly keep scrolling; you never know what you might miss!

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: Dark-electro, experimental, EBM.

Background/Info: The Greek-American Droid Sector Decay is a pretty prolific formation, which has released numerous releases since 2009. “Posesión Satánica” was their latest release of 2017. Notice by the way this EP is also featured as a limited edition deluxe box set featuring a 7” vinyl, a tape and Two CD’s.

Content: The band claims on their Facebook-page ‘There are no boundaries…there are no limits… Welcome To Decay…Spread The Virus’. I think it’s fully representative for their state of mind and the sound they’re dealing with. This EP is much more electro & EBM orientated than its predecessor. The songs have been sung and are more into a dark and heavy, overwhelming EBM style. I also noticed some elements of horror symbolized by heavy screams.

+ + + : Droid Sector Decay doesn’t really deal with one specific music style. Every new release appears to be a sonic exorcism, which for “Posesión Satánica” is more reminding me  of EBM. The track “A Dark Deity Of Grotesque” even reminds me a bit of the rough and dark expression of Pouppée Fabrikk. The addition of vocals is a cool and essential bonus.

– – – : I’m missing some of the industrial elements from the previous EP while the EBM style could be more elaborated. I can’t get away from the feeling this band is missing a producer to bring their sound to a higher level. This is the kind of record I imagine being produced by Claus Larsen.

Conclusion: Don’t get me wrong, this is an interesting EP, but it feels a bit like there’s much more potential in this band than what came out in this EP.

Best songs: “A Dark deity Of Grotesque”.

Rate: (6½).

Band: www.facebook.com/DroidSectorDecayofficial

Label: www.facebook.com/UndergroundIndustrialRecordsofficial

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

Since 1989, Claus Larsen has been a very important artist in the industrial / electro music world influencing hundreds of young musicians and offering some of the best dark music out there. After all these years of great music, Claus now needs your help.

As many of you may know, Claus Larsen and his husband Kurt have been going through very hard times lately due the lengthy procedures and bills accompanying Kurt’s much needed kidney replacement surgery (luckily enough Claus is a perfect match for Kurt and will be donating a kidney). The lovely couple are currently facing the significant cost of dialysis treatments for Kurt to keep him healthy until the transplant can happen.

Now is the time to help them out. A GoFundMe campaign has been started to help out with the medical bills, you can donate right here, or you can of course buy some Leather Strip stuff directly from Bandcamp.

We wish Kurt a speedy (operation and) recovery. Kudos from Belgium!

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: New-wave.

Background/Info: Alex J Wise is an Australian artist operating from Sydney and who started composing music during the 90s. He made some remixes for artists like Angelspit, Tycho Brahe, Technoromance ao. This debut EP features 5 different cuts (reminding me the good-old mini-album format) and has been co-produced, mixed and mastered by Claus Larsen (Leather Strip, Klute, Am Tierpark).

Content: I can’t remember to have ever heard a song from The Process Void. I discovered a sound reminding me of the 80s new-wave movement. Electronics and guitar have been used while you also will notice the sound that will remind you of the good-old rhythm boxes. Some tracks and even vocal parts remind me of the great Belgian new-wave formations Red Zebra and Siglo XX.

+ + + : No doubt about it, The Process Void has found the secret formula to bring the 80s spirit back to life. I can imagine Claus Larsen (being a devoted 80s lover) probably accentuated this link with the past. The songs are easy listening pieces of darkness and melancholia while Alex J Wise has the right timbre of voice for this kind of music.

– – – : I can’t get away from the idea that the songs could have been a bit ‘harder’. I’m missing a truly climax and I can’t say to have found a potential hit on this EP.

Conclusion: “Dreams Of Departure” features a few cool ideas, which the artist now has to elaborate.

Best songs: “Konstellation”.

Rate: (6).

Band & Label: www.theprocessvoid.com / www.facebook.com/theprocessvoid

About The Process Void

The Process Void is the recording name of Sydney-based Australian artist Alex J Wise, active since the 1990s. Before “Dreams Of Departure”, Wise remixed artists including Krankhaus, Angelspit and Tycho Brahe, and contributed to compilations such as “Australian Independent Darkwave Vol. 2” (2006) and the Severed Heads tribute “Headspace” (2012).

Claus Larsen, who also records as Leather Strip, Klute and Am Tierpark, produced, mixed and mastered the EP.

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

“Glitches” is the brand new album by Neon Insect, and offers dark electro/electronica with a combination of fast vocal tracks and rather calm instrumentals.

Good to know, Claus Larsen (Leaether Strip) is featured on one of the album tracks, namely “L.L.t.Q.”. Also audible is that compared to its precursor “Abatron”, you’ll find a lot less guitars onb this album. Other featured artists are french composer Enlia (“The Council”) and Twill.Distilled (“To The Moon And Back”).

“Glitches” will hit the stores on February, 16th. Pre order starts on January, 15th. Along with the digital release, “Glitches” will also have a limited edition on tape for those who embrace the 90s.

You can preview the album 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

Background/Info:

Read the news on ‘Black Piranha’.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: EBM.

Background/Info: “Ultranoia” is the debut album of Damage Control. Set up by Australian artists Bill Barsby and Damian Davis plus Markus App (Germany) and Jason Podmore (UK), we might speak about an international collective. The album got mixed and mastered by Chris Peterson (FLA, Will, Noise Unit, Öhm, Decree ao).

Content: Damage Control sounds inspired by EBM. It’s not the hard-core EBM approach, but an intelligent and sophisticated composition, which might remind you of bands such as In Strict Confidence, Skinny Puppy and Portion Control. There’s a real fascinating mix, which is maybe due to the different origins of the band members.

“Ultranoia” is mixing danceable- and powerful cuts together with more evasive and somewhat soundtrack-orientated songs. The vocals are passionate and in total harmony with the dark sound creation.

The final song is a remix by Leather Strip.

+ + + : Damage Control didn’t spare any effort to accomplish a real masterpiece. The songs are intelligent and well-crafted, but still revealing a mature and outstanding production. The mixing of Chris Peterson is for an important aspect here. The songs mix power and a great sound creation plus appropriated vocals. But “Ultranoia” is not only a technically outstanding album, but also feature many terrific songs. The sound of Damage Control also inspired Claus Larsen who made a great remix of “Hate Crime”.

– – – : I don’t see any negative point! “Ultranoia” is maybe not the most accessible EBM format, but EBM is much more than simple 4×4 structures!

Conclusion: Damage Control took me by surprise. This band has accomplished a         real masterpiece, which will be for sure become one of my favorite EBM albums of 2017. Respect guys!

Best songs: “Reasons”, “Hate Crime”, “Ruined”, “World In Decline”, “Trauma”, “Hate Crime – Leather Strip Remix”.

Rate: (9).

Band: www.damagecontrolofficial.com / www.facebook.com/damagecontrol

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: EBM.

Background/Info: Transponder is ‘Freund 242’ aka Stefan Rukavina (also known from Rhesus Factor and the industrial formation Bleiburg) plus ‘Hanz Acid’ (Werksfront). The band released an impressive number of productions in a rather short lapse of time while featuring Claus Larsen (Leather Strip, Klute) as guest singer on multiple songs. Notice by the way this album has been released already a few months ago now.

Content: The first disc features cover versions from Tragic Error, Depeche Mode, Front 242, Hubert Kah, 2 Live Crew and Leather Strip plus collaborations with Les Berrtas, Zynik 14 and Engelsstaub. All songs remain driven by good-old EBM power reminding to DAF, Pouppée Fabrikk ao. But there still is a solid flavor of minimalism recovering the composition plus some new-beat elements (and not even on the cover version of “Tanzen” by Tragic Error). The song “Good-Bye” reminds me a bit of early Praga Khan.

Lyrically Transponder mixes explicit lyrics with funny themes and even a somewhat cynical view on politics.

The second disc is mainly featuring Claus Larsen as the vocalist. We here get a kind of ‘best of’ from Transponder singles. Claus Larsen already collaborated with Freund 242 for Rhesus Factor. And here again the music remains driven by retro-inspired EBM. It remains pretty minimal-like and sometimes as a wink to new-beat. You’ll also discover remixes by Sixth Comm, Parralox and Bleiburg.

+ + + : Transponder probably is an EBM project deserving a wider recognition. It’s good-old EBM with a very personal approach resulting in great minimalism. But I also like the somewhat new-beat inspiration as well. The sound formula is pretty simple, but damned efficient. The lyrics also have this magical effect to get listeners singing. Just pay attention for songs such as “Bewegt Euch” or “Stomp The Cybers” and you’ll understand what I mean. Some of the cover versions on the first disc have been pretty well reworked into the Transponder EBM mould, but I especially recommend the collaborations with Les Berrtas and Zynik. Claus Larsen also feels really comfortable singing on Transponder. And here again you’ll discover many great songs!

– – – : I sometimes get the impression that Transponder is just a ‘fun’ band. It doesn’t always sound that serious and I refer to some of the cover versions, but at the other side I’ve to admit that this kind of EBM is really efficient.

Conclusion: Transponder is not reinventing the receipt of electronic body music, but it definitely is a great and contemporary ambassador of this music genre. This work is a must have for all EBM freaks!

Best songs: “Lerchenzungen feat. Les Berrtas”, “Auf Der Jagd feat. Zynik”, “Photographic – Original by Depeche Mode”, “When We Return To Bleiburg feat. Human Nihil & Leather Strip” + “Bewegt Euch feat. Leather Strip”, “Stomp The Cybers feat. Leather Strip”, “The Return Of The New Beat feat. Leather Strip”, “The Return Of The New Beat feat. Leather Strip – Remix by Parralox”, “Man Zane Iraniam”.

Rate: (8½).

Band: www.transponder–music.de / www.facebook.com/transponder242

Label: www.scent–air.com / www.facebook.com/ScentairRecords

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: EBM.

Background/Info: Set up in the late 80s by German duo Michael Friedrich – Marko Hein, Frame Of Mind was featured on a few noticeable samplers while the debut album they were working never got released. Infacted Recordings finally released this ‘early’ stuff on their famous “Classics Series” (2017). The duo is alive and kicking! They finally reactivated Frame Of Mind and this opus is the result.

Content: You rapidly get the impression that this album is a new release from older tracks. But “Resurrected” is a ‘new’ album, but simply composed the ‘old’ way. It sounds like a move back to the late 80s and 90s, a bit like the offspring between X Marks The Pedwalk, Skinny Puppy and even Leather Strip. I guess it’s not entirely of a coincidence Claus Larsen got invited to sing on one of the tracks. “Resurrected” smells like good-old, but still intelligent EBM.

+ + + : “Resurrected” feels a bit like a search or maybe a quest for good-old EBM. This work is totally free of modern influences like techno elements. This is 100% EBM in the darkest vein of aforementioned bands, but you have to agree that X Marks The Pedwalk and Skinny Puppy are much more than simply references.

This album is not into speed cadences, but all the power emerges from the dark spheres and the intelligence of the sound treatments. You sometimes might notice a little poppy touch running through a song, but it’s just a kind of melodic element adding some harmony to the album. I also enjoyed the typical, spooky way of singing.

– – – : This is the kind of work that would have become instantly successful during the 90s! It’s now more a kind of old-school opus for nostalgic EBM lovers although I think this is the kind of music some people are still waiting for! It’s not that really an original work, but damned efficient!

Conclusion: If you’re into old-school EBM, this is definitely a production that will catch your attention. This vintage sound formula still works and even delivers a few great cuts!

Best songs: “System Overload” “Is Love? (2016 Version)”, “The Heist”, “Dance With The Lions”, “We’re Not Alone feat. Leather Strip”.

Rate: (8).

Band: www.facebook.com/frameofmindband

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

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

1. The Wire & The Cuffs
2. Submission
3. Insect King
4. Bombs

1. Panic is Bliss
2. Romania
3. Wake Up The Punks
4. Belly-Up

1. To Be
2. We Breed
3. O.H.C.Y.S.P
4. Fucking Parasite

1. Gaytruckerlovemeatbellyrubnonstop
2. Breathe My Dust
3. Draped despairs
4. The hurt has begun

Read the review of ‘Black Piranha’.

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

Read the review of ‘Trashy Luxury’.

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

(This interview is a collaboration between Alfa Matrix – Side Line Music Magazine & Inferno Sound Diaries)

Officially out tomorrow, but already available now for free is the 4-track “50 Shades of Gay” download EP by Junksista. The EP is being released via Bandcamp to celebrate the international day against homophobia and transphobia. We interviewed a long range of artists involved on this free EP.

For the EP they collaborated with Valkyrie Beestings (The Priscillas,Lene Lovich Band), who you might remember from the Junksista track “Likeyourshoes”. And that’s not all,  2 other legendary figures from the electronic scene also joined the cause: Claus Larsen of Leaether Strip and Claus Kruse of Gaytron/Plastic Noise Experience. Both gay musicians delivered their very own, dancefloor-compatible versions of „50 Shades Of Gay“.

Also included is a collaboration with the American dancer Gezelle Za Belle (see picture above) who is featured in a smashing (probably NSFW) video for the track which you can view below.

And here is the video!

We decided to also interview the involved artists in this great collaboration project: Junksista, Claus Larsen, Seba Dolimont, Claus Kruse, and more!

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

Tragic Impulse is a rather new EBM-minded solo-project set up and driven by Paul M. Graham. The second album “Devil On Your Shoulder” released on Distortion Productions will be for sure an opportunity to discover this American artist dealing with a dark EBM format.

(by Inferno Sound Diaries)

Q: Tell us a bit more about your artistic background and activities, which finally brought you to set up Tragic Impulse?

Paul: I started experimenting with electronic music in the early-mid 2000’s and to be honest, I was pretty bad at. I remember getting a remix kit for one of Informatik’s songs and I gave up on it pretty quickly because I just didn’t have the skills to pull it off. I kept working at it though and in 2012 I submitted the song “Apocalyptic Visions” to the “Electronic Saviors 2”-compilation under the project name Eisengeist. The song had no lyrics/vocals and it was pretty raw from a production standpoint, but it got accepted and appeared on the bonus track section of the compilation.

Gaining confidence from the Eisengeist track, I decided to put more time and energy into making electronic music. However, I wanted to go in a different direction musically so Tragic Impulse was born.

Q: I guess you must notice a serious move in sound, writing and global production from “Machine Parts” (debut album released in 2014) towards the new work “Devil On Your Shoulder”?

Paul: I do feel that “Devil On Your Shoulder” represents a degree of maturation in my overall sound, writing and production. When I was working on “Devil On Your Shoulder”, I remember being very critical of the production value on “Machine Parts” because it felt so inferior to me at the time (still does). I think the biggest reason for this is that between albums I continue to get better at translating my ideas into finished and more refined products. New synthesizers, studio gear, and equipment upgrades always has some impact on this as well. I’ve already started working on the next album and feel that the sound, writing, and production is superior to “Devil On Your Shoulder” as well. I’m excited about it! I see all this as growth so it’s a good thing.

As far as sound goes, I dabbled with things like pitch-shifted vocals on “Machine Parts” (cf. “I’ll Be Your God” & “I Hear Footsteps”) but none of that appears on “Devil On Your Shoulder”. That’s something I probably won’t go back to but you never know. “Devil On Your Shoulder” is more representative of the vocal style/feel I’ll be using going forward. I do love a good vocoder though so that’s not going anywhere LOL.

Q: Tell us a bit more about the new work and especially the kind of album you’d in mind?

Paul: I originally considered making “Devil On Your Shoulder” a concept-album but it never really materialized. Although not electronic, I always loved Queensryche’s concept-album “Operation Mindcrime” and wanted to do something in that vein lyrically (I still might).

Beyond that, I really just wanted to make an album that had good dancefloor appeal. I love knocking back a pint or two at the local goth club to loud stompy music and Tragic Impulse I think reflects that. Otherwise, I tend to mix things up from song to song thematically.

Q: What’s the deeper meaning of the title “Devil On Your Shoulder” and what’s the importance of the lyrical content of your songs?

Paul: The song “Devil On Your Shoulder” is largely about temptation and schadenfreude. People do some horrible things at the expense of their fellow humans and the song explores that metaphorically. As for the title, I like albums with a title/track relationship and I thought “Devil On Your Shoulder” stood out so I went with it.

The rest of the album covers a lot of ground lyrically and thematically. “Flesh And Blood” is about how being different is OK. “Evolution Revolution” is about reinventing yourself  and “Lightstpeed” is about the vastness and wonderment of our universe. Ultimately though, the songs are about whatever the listener wants them to be and I have to say nothing feels better than when a fan tells you a song resonated with them on a personal level. That’s happened more than I expected on this album and it’s always a delight to hear.

Q: Do you have some referential musicians, bands, producers… and what make them ‘special’ to you?

Paul: There’s so many artists and people who have influenced me that it’s a hard question to answer in this limited space. To pick a few though, I would say that Project Pitchfork – particularly their early works – has had a big influence on me. From the music to the lyrics to their live shows, everything that band does just resonates with me. I also love the way Daniel Graves (Aesthetic Perfection) works a stage. I’ve seen him play to both small and large crowds and he brings the same amazing energy and intensity each time. Claus Larsen is also a big influence. One of the highlights of my burgeoning musical career has been sharing a stage with him. He’s an incredible artist and an even better person.

I’d be remiss if I didn’t mention Jim Semonik (Distortion Productions/Red Lokust) as a big influence as well. I don’t think I’ve met a person with as much perseverance, passion, and dedication to the EBM/Industrial scene as him. I feel pretty lucky to have him as a friend as well.

Q: Referring to live performances, Tragic Impulse doesn’t have a real live experience so far. How comes and what kind of show might the audience expect during the next months? How do you transpose the studio work on stage and will you get some help from extra members?

Paul: Although it’s taken a while to get going, the live show is actually up and running. Over the last year I’ve shared the stage with Leaether Strip, Ludovico Technique, and Kite to name a few. The response so far has been overwhelmingly positive and future live performances, such as a “Distortion Prod”-tour in Summer and “Danse Macabre 2” in Pittsburgh around Halloween, are being planned.

The big reason the live show took a while to get going is that I wanted finished music I could put into the hands of people who wanted it after a live performance. I know a lot of bands get started doing live music before moving on to recording but I’ve always found this counter-intuitive. I’ve had people buy my music after every gig I’ve done so I think the strategy works. Another reason the live show took a while to get going was just translating the studio work to the stage. I had to invest in new portable gear and this took some time and money to sort out. It was time well spent however and I’m pretty happy with the results.

I’m definitely looking to add more people for live performances. At a minimum, I’d like to have someone on keys and maybe add a drummer for bigger gigs. I’ve talked to a few people about that so we’ll see how it goes. Other than that, I’d love to catch on with a festival or two as well. I went to WGT in Germany for the first time last year and all I could think about – other than Schwarzbier and bratwurst (yum!) – was how awesome it would be to perform there.

Courtesy by Inferno Sound Diaries

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro-pop.

Background/Info: Am Tierpark is back on track with a surprising EP, which has been released on the brand-new label ‘Læbel’ set up by John Mirland and Claus Larsen.

Content: “April Fool’s” was logically released on the first of April and features 5 surprising cover versions. It’s interesting to know that the first songs Am Tierpark ever worked on were cover songs. Mirland and Larsen have covered songs from David Bowie, Pet Shop Boys, Judas Priest, Billy Idol and The Cult.

It’s a fascinating and especially creative approach to rework original rock songs like these from Bowie, Judas Priest, Billy Idol and the new-wave cult-hit from The Cult into the electro-pop style of Am Tierpark. It remains a minimal and somewhat vintage experience.

+ + + : Covering songs from a totally different music genre is more than a challenge and a real creative work. Am Tierpark did it with a somewhat surprising elegance and efficiency. It feels like the songs were originally written by themselves and I’m especially referring to “Turbo Lover” from Judas Priest and “She Sells Sanctuary” from The Cult. It even sounds –apart from their “Cherry Blossom” masterpiece, as their most accomplished work to date. Claus Larsen is once more singing a great way on this pop-electronic production.

– – – : I can imagine the fans of Bowie, Judas Priest and even The Cult will be somewhat shocked hearing this kind of cover concept, but speaking for myself I think a cover version is a way to reach a different audience like giving a second life to a song.

Conclusion: I didn’t laugh with the “April Fool’s” from Am Tierpark, I simply enjoyed the work.

Best songs: “She Sells Sanctuary”, “Turbo Lover”.

Rate: (8).

Band: www.facebook.com/pg/amtierparkofficial

Label: www.facebook.com/laebelmusic

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: Dark-electro, industrial.

Background/Info: American formation Contaminated Intelligence has already been active for a few years now. “Status Control” is meant as an appetizer to their upcoming full length. Next to the title song and two remixes we also get two more tracks.

Content: The title song is one of the real highlights of the EP. This song is a rather complex dark-electro/industrial composition, which might appeal to fans of early Skinny Puppy. It sounds rough and somewhat unpolished, which still a characteristic of the vocals.

The remix of the title song doesn’t really bring a bonus while there also is a noticeable remix by Leather Strip. Both new songs left are less convincing and more a kind of typical B-side cuts.

+ + + : “Status Control” is a well-crafted and sophisticated piece of dark-electronics. The link with early Skinny Puppy and related bands will for sure catch the attention of numerous music lovers. Both remixes are not exceptional although still cool. The remix of Claus Larsen will for sure catch a wider audience.

– – – : The title song makes sense while both other ‘new’ tracks left sound more like poorly inspired EP fillers. I can’t imagine both songs will be put on their new full length. I also think that the global sound production could have been more polished and powerful.

Conclusion: “Status Control” is a cool title track while the remix by Leather strip is an excellent way to catch a wider dark-electro audience, but I already heard more convincing EP’s preceding a new album. I’m however curious to discover this new opus.

Best songs: “Status Control”, “Status Control – Leather Strip Remix”.

Rate: (6).

Band: www.facebook.com/ContamInatedIntelligence

Label: www.twogods.co.uk / www.facebook.com/TwoGods

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: Electro-pop.

Background/Info: After the promising debut album “Uncaged” (2015) Danish duo Claus Larsen (Leaether Strip, Klutae, Sequential Access)  and John Mirland (Mirland, Holm/Mirland) strike back with this 12” vinyl with 4 new songs. The work of Am Tierpark is clearly inspired by good-old electro-pop music.

Content: Next to a solid electro-pop basis the work of Am Tierpark sounds a bit minimal-like. It’s not the usual synth-pop music although it’s inspired by vintage sounds. Carried by dark and solid bass lines and somewhat evasive atmospheres you’ll also notice cool sound treatments, which sometimes vaguely remind me of Kraftwerk.

The title song and “I Can’t Stop” both reveal great choruses, which you’ll easily keep in mind. The title song is for sure a great piece of music and definitely the best Am Tierpark so far.

+ + + : I already mentioned “Cherry Blossom”, which has this little touch of magic transforming a song into a hit. This song also reveals the essence of the Am Tierpark sound, which is rather simple, but composed with great sound sculptures and the charismatic vocals of Claus Larsen. “I Can’t Stop” is a bit comparable in sound formula, but sounds ‘happier’. I here especially like the little space bleeps.

– – – : There’s just one single piece that can’t convince me on this 12”. “The Hunt” is what I would call the only B-side song of the EP. It’s not that bad, but this song is missing a climax.

Conclusion: There definitely is chemistry between Claus Larsen and John Mirland. They both are passionate musicians inspired by the 80s electro-pop, which they’ve adapted into thier very own and minimal contemporary and refreshing style.

Best songs: “Cherry Blossom”, “I Can’t Stop”.

Rate: (7½).

Band: www.facebook.com/amtierparkofficial

Label: www.distortionprod.com / www.facebook.com/distortionproductions

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

Leæther Strip belongs to the collective memory of all EBM fans. After nearly 30 years of existence, multiple hits and referential albums this Danish band set up an driven by Claus Larsen hits already back with a new album entitled “Spæctator”. The new work has been released on Rustblade and appears to be one of the best productions from late Leæther Strip work.

You can order all of his material right here. and a lot of his material can be downloaded right here from Bandcamp (use the code january50432 to get 50% off)

(by Inferno Sound Diaries)

Q: After years of commitment and an impressive discography what does the new work “Spæctator” means to you?

Claus: Yeah 2018 will make it 30 years since my first release as Leæther Strip. Releasing a new album has, since my first album, always been a personal landmark for me. I am very blessed to have been able to do this for so long and still have listeners. There is not a day that I don’t feel grateful.

Q: I got the feeling “Spæctator” is a real intimate album because of some recent tragic events you went through. What is it really all about and does music has this kind of magic power to heal wounds?

Claus: Yes, I lost my mother 2 years ago. Some very serious and suppressed events, and thoughts mainly from my childhood and teens, needed to be dealt with. Stuff that I should have handled many years ago, or events where people didn’t believe me. But I guess we all push stuff like that in the background because some things are just too painful. Most of my songs are very personal and kind of a diary of my life and what was going on around me, near and far. Composing songs has been my way of dealing with life events and also an escape from myself and my dark clouds. The best weapon for me against the dark clouds is being creative.

Q: One of my favorite cuts “Luc Van Acker” sounds less intimate, but what’s the story behind this song?

Claus: That song is the album’s ‘fun’ song. Back in ‘91 Leæther Strip opened up for the Revolting Cocks, and all I can say is that is sure wasn’t boring backstage. I cherish that gig so much and it’s one that stands out as one of the most fun gigs I played. I don’t think I’ve ever seen a band having so much fun both backstage and on stage. They were all super nice to us. I got kind permission from Luc and Chris to use that iconic ‘Luuuc Vaaaan Ackerrrrr’ shout from the Cocks’ love album in the song. I will be adding the song to my live set soon so I bet that will be fun.

Q: I already mentioned your impressive discography, but do you see one or more releases, which have been more important than others?

Claus:  For me they are all very special of course, and sure there are some more successful than others, and yes I do know that album like “Solitary Confinement”, “Self Inflicted” and “Legacy Of Hate And Lust” stand out in many of my listeners minds. These albums are still opening doors for me. I learn a lot doing each new song, so for me the old albums have their own life bringing back memories of good or bad times in people’s minds. I know that, because people write to me about what certain songs mean to them personally. I love getting these messages.  It’s what it’s all about. The power of music is so very strong, and it’s my therapy too.

Q: During the past few years you’ve released an impressive number of (mainly digital) cover songs from 80s formations like Simple Minds, Front 242, Skinny Puppy, Talk Talk, Yazoo, Depeche Mode ao. What do these covers mean to you and what do you precisely try to inject in a cover version?

Claus: Doing cover version of my favorite songs is kind of my hobby, and also a way to train my skills as a musician. I’ve done it for many years. I am a self taught musician and I do it all by ear, so diving into someone else’s song is good training and very inspiring. I mostly only cover songs that has had a special meaning for me and I am not trying to make the original better, as some think, I do it all with love and respect and I hope it might spark some new life into the songs and maybe make some new listeners check the original band out, in case they haven’t discovered them yet.

My cover album “Æppreciation”, which I released on Emmo.biz Records and on my Bandcamp site a few years ago is one of my most successful albums to date. Love doing them, so that won’t stop.

Q: I also noticed several songs composed for your husband Kurt. How is he doing and what’s the importance of your beloved –especially in your artistic activities?

Claus: Yes, his medicine costs are sky high and we’re struggling to make it work financially, so instead of doing a ‘go fund me’ or something like that to help him. I wrote some songs so people could support him, and us that way. All income from Bandcamp sales goes directly to his medicine account. People have been so very kind and many have been very supportive. We are still waiting for a kidney transplant, from me to him, but the doctors still do not want to do it. This sadly also means that Kurt can’t perform with me outside the EU, because he can’t get travel health insurance. It’s very hard for us, but it would be too risky to travel without insurance sadly.

It’s hard for us both being apart in this situation, but I need to make a living supporting us both. Right now he is stable, but that can change very fast, but we live one day at a time, with our heads held high. We got a live full of love and people who care about us all over the world. As long as we get each other and our friends support, nothing can beat us.

Q: What are the further plans for some of your side-projects like Am Tierpark, Klutæ and the (digital) label Body Music Records.?

Claus: I’ll soon starting to work on a new Klutæ album. It’s going to be a ‘back to the roots’-album, heavy and aggressive. That’s the plan.

With Am Tierpark, John and I just released a new EP titled “Cherry Blossom” on limited edition vinyl and digital. The next Am Tierpark is also composed and ready, so we are hoping it will be out soon too. We also hope to get some concert jobs with Am Tierpark during new year. We have had so much positive response so it’s time we take it to the stage.

With Body Music Records we have lots of exciting releases out and more to come in the next months.

As for Leæther Strip, the songs for the next album has also been composed and the tour will soon continue with shows in Madrid, Poland, Mexico, Germany, USA and many more booked. And in planning. So 2017 is going to be a busy year too. 2016 has been the best concert year for Leæther Strip ever, playing all over the world has been yet another dream come true. Thanks to my supporters I am still living my teenage dream still after almost 30 years.

Courtesy by Inferno Sound Diaries

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-electro, EBM, dark body-pop.

Background/Info: Claus Larsen is back on track unleashing his newest full length and the first album released on Rustblade. Leæther Strip remains one of the absolute leading 90s EBM formations, but remains very hot since his comeback in 2006. “Spæctator” has been introduced as a very special album, which took 2-3 years to achieve and meant as a mental exorcise after the loss of Claus’ mother and severe health problems of his husband.

Content: “Spæctator” reveals 10 new songs plus 2 remixes. The opening song reveals a typical EBM bass line, which reminds me a bit to Front 242, but rapidly moves into the typical Leæther Strip sound formula. The sound remains carried by hard, danceable kicks and these typical dark and bombastic bass lines. All Leæther Strip albums since the comeback of the band don’t feature the aggressive taste of the Zoth Ommog years although it remains a dark and exciting experience in sound. It’s quite similar for the vocals, which are no longer enraged, but definitely charismatic and spooky-like.

You’ll notice some songs with a kind of melodic and even dark-pop flavor on top while other passages are pure vintage-like. Claus Larsen also knows the right formula to compose carrying choruses, which remains an essential element in his work.

You’ll also feel some drama running through the work, which finally ends with a crazy song entitled “Luc Van Acker” featuring explicit samplings.

Next to the regular edition of this new opus there also is a box featuring a vinyl, an extra disc entitled “Yes I’m Limited VIII” plus the regular CD with 2 extra remixes by Retrogramme and Digital Anodyne.

+ + + : What I’ve always liked in Leæther Strip is the very own and recognizable sound-DNA created by Claus Larsen. You directly recognize the bass lines and the kicks while there also is this kind of unique arrangements on top plus Larsen’s very unique timbre of voice.

“Spæctator” sounds like a successful return revealing an elaborate album mixing different dark electro elements. There are a few potential hits featured, but I’ve a little preference for “Luc Van Acker” and the dirty samplings running through the song.

– – – : I can’t say that Leæther Strip innovates, but just holds on a successful sound formula that has been improved all over the years. Both remixes don’t exactly add a bonus to the album.

Conclusion: Claus Larsen is an EBM veteran who hasn’t lost his initial magic. The work became less aggressive and in a way somewhat inspired by 80s pops elements, but it still has this irresistible power to make people dance!

Best songs: “Luc Van Acker”, “Same Old Shit”, “So Beautiful”, “Obligate”, “Victorious”.

Rate: (8).

Band: www.leaether–strip.com / www.facebook.com/LeaetherStrip

Label: www.rustblade.com / www.facebook.com/rustbladerecords

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

In January the Norwegian dark electro duo Kant Kino will see its long awaited new album “Kopfkino” released. But before that, they have prepared a special Christmas freebie, namely a cover of the Motorhead track “We Are The Roadcrew (Robots)”.

Here’s what the band says about the track: “While we are no big fans, at least one of us enjoy some of their tracks, and we do have respect for the recent loss of their founding member Lemmy. And they have the most wicked album presentation in the history of the music industry (yeah, the colored vinyls by DM are awesome, but the leather sleeve of “No Remorse” is beyond…). The track is called “We are the road crew”, hard hitting and not a single guitar in sight, and you might recognise that it’s mixed with a riff from a more electronic oriented band you might know:-). Don’t think that crossover has ever been done before!”

The track is available for free from the band’s newly launched Bandcamp site. You can check the track below. Eventual donations will go to Claus and Kurt of Leaether Strip to help with their medical expenses. “But, this is only optional, don’t feel obliged to make a donation to get the track”, says the band.

Here’s already a preview of the band’s upcoming album which will be released as a CD/2CD and download.

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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