Clock DVA – SIDE-LINE https://www.side-line.com Industrial, electro, EBM, post-punk, darkwave news Sat, 31 Oct 2026 14:39:54 +0000 en-US hourly 1 https://wordpress.org/?v=7.1.4 https://www.side-line.com/wp-content/uploads/2021/10/cropped-side-line-logo-png-32x32.png Clock DVA – SIDE-LINE https://www.side-line.com 32 32 Clock DVA release 45th-anniversary remaster of ‘Thirst’ on The Grey Area of Mute https://www.side-line.com/clock-dva-thirst-reissue/ Sat, 06 Jun 2026 09:46:42 +0000 https://www.side-line.com/?p=87290 Clock DVA reissue "Thirst" as a 45th-anniversary remaster on The Grey Area of Mute, out 5 June 2026 on double thirst-red 2LP, CD and digital with bonus tracks.]]>

Clock DVA has released a 45th-anniversary remastered reissue of “Thirst” through The Grey Area of Mute. The Clock DVA “Thirst” reissue is the second instalment in Mute’s campaign to reissue the Sheffield industrial and post-punk group’s catalogue, following the 2025 remaster of “White Souls in Black Suits”. The reissue appears on double thirst-red 2LP, CD and digital.

“Thirst” was first issued in 1981 on Fetish Records . It was Clock DVA’s second album, following the 1980 debut “White Souls in Black Suits”, and marked the band’s move from the improvised, tape-driven approach of that debut into a sharper, song-based framework.

What the Clock DVA ‘Thirst’ reissue includes

The 2026 edition was cut from the original tapes with input from surviving members and carries the original sleeve notes by Genesis P-Orridge. It expands the original nine-track album with live recordings, the original single mixes of “4 Hours” and “Sensorium”, and two newly recorded DVATION 2026 versions by the current line-up. Side-Line previously reported on the remastered “Sensorium” two-track single issued ahead of the album.

Clock DVA – “Thirst” 2026 tracklist

  1. “Uncertain”
  2. “Sensorium”
  3. “White Cell”
  4. “Piano Pain”
  5. “Blue Tone”
  6. “North Loop”
  7. “4 Hours”
  8. “Moments”
  9. “Impressions of African Winter”
  10. “The Opening (Live at The Lyceum)”
  11. “Remain Remain (Live at The Lyceum)”
  12. “4 Hours (Single Mix)”
  13. “Sensorium (Single Mix)”
  14. “4 Hours (DVATION 2026 Version)”
  15. “Sensorium (DVATION 2026 Version)”

The vinyl edition is a double thirst-red 2LP set, issued in a standard pressing and a signed art-card edition, while the CD comes in an eco card sleeve. The reissue is also available digitally and can be streamed and ordered via the official “Thirst” 2026 remaster page.

The original recordings feature Adi Newton (voice, clarinet, manipulated tapes, piano, modified guitar, EMS Synthi E), Steven J. Turner (bass and treatments), Charlie Collins (saxophones, African flute, African thumb piano), Paul Widger (guitar) and Roger Quail (drums). The album was recorded at Jacobs Studio in Surrey and produced and engineered by Ken Thomas with the band, with artwork by designer Neville Brody.

About Clock DVA

Clock DVA are an industrial, post-punk and electronic group from Sheffield, formed in 1978 by Adi Newton and Steven “Judd” Turner. The name pairs Anthony Burgess’ Nadsat slang from “A Clockwork Orange” with the Slavic word for “two”. The band worked early on with treated tape loops and EMS Synthi E electronics, releasing cassette material before the 1980 debut “White Souls in Black Suits” on Industrial Records; that debut returned in a remastered edition on The Grey Area of Mute in 2025, when Side-Line covered the single “Brigade”.

“Thirst” followed in 1981 on Fetish Records and reached the top of the UK indie charts. Newton later steered the project toward a more electronic direction, signing to Polydor for “Advantage” (1983) before moving into sample-based and cybernetic work on releases including “Buried Dreams” (1989) and into the early 1990s.

Newton also ran The Anti Group Communications (T.A.G.C.) as a separate research vehicle; Side-Line reported on the vinyl reissue of its 1994 album “Iso-Erotic Calibration”. The band reactivated in 2008 with a new line-up and has since revisited its catalogue, including the vinyl release of rare tracks on “Re-Konstructed”. The 45th-anniversary “Thirst” reissue continues this chronological re-presentation of the group’s early work.

]]> Clock DVA share new and remastered ‘Sensorium’ as a 2-track single ahead of the 45th anniversary ‘Thirst’ reissue https://www.side-line.com/clock-dva-sensorium-thirst-reissue/ Thu, 09 Apr 2026 17:45:10 +0000 https://www.side-line.com/?p=85508 Clock DVA, the Sheffield post-punk / industrial group, have shared both the DVATION 2026 version...]]>

Clock DVA, the Sheffield post-punk / industrial group, have shared both the DVATION 2026 version and the remastered version of “Sensorium” ahead of the 45th anniversary reissue of “Thirst“, due on June 5, 2026 via The Grey Area of Mute. The reissue is set for limited double thirst-red vinyl, CD and digital release.

Adi Newton says the move from “White Souls in Black Suits” to “Thirst” also coincided with a line-up change: “Between White Souls and Thirst, the guitarist changed from David Hammond to Paul Widger.” And he adds that the material had become “more structured and exact than the improvised works on White Souls.”

The “Thirst” line-up featured Adi Newton, Steven James Turner, Roger Quail, Paul Widger and Charlie Collins. The album was recorded at Jacobs Studios in Surrey and produced by Newton and Ken Thomas, while Neville Brody handled the sleeve design.

Originally released through Fetish on January 24, 1981, “Thirst” was Clock DVA’s second studio album. The 2026 edition expands the original nine-track album with two live recordings from The Lyceum, the single mixes of “4 Hours” and “Sensorium”, and new 2026 versions of both tracks. The reissue was expanded and remastered from the original tapes with input from the surviving Clock DVA members.

Below are the two videos for the previous double tracker “4 Hours”.

‘Thirst’ tracklist

  1. “Uncertain”
  2. “Sensorium”
  3. “White Cell”
  4. “Piano Pain”
  5. “Blue Tone”
  6. “North Loop”
  7. “4 Hours”
  8. “Moments”
  9. “Impressions of African Winter”
  10. “The Opening (Live At The Lyceum)”
  11. “Remain Remain (Live At The Lyceum)”
  12. “4 Hours (Single Mix)”
  13. “Sensorium (Single Mix)”
  14. “4 Hours (DVATION 2026 version)”
  15. “Sensorium (DVATION 2026 version)”

About Clock DVA

Clock DVA formed in Sheffield in 1978. Adi Newton and bassist Steven “Judd” Turner put together the first line-up with David J. Hammond, Roger Quail and Charlie Collins after Newton’s earlier involvement with The Studs and The Future. The group first issued “White Souls in Black Suits” in 1980 on Industrial Records, then followed it with “Thirst” in 1981.

The 1981 album “Thirst” ran to nine tracks, including “Sensorium” and “4 Hours”. After this album, the band split, while Quail, Collins and Widger later went on to form The Box. Turner died in September 1981.

Newton revived Clock DVA in 1982 with a new line-up that included John Valentine Carruthers, leading to “Advantage” in 1983. He reactivated the project again in 1987, after work with The Anti-Group, and that resulted in “Buried Dreams” (1989), “Man-Amplified” and “Digital Soundtracks” in 1992, and “Sign” in 1993. A further reactivation took place in 2008. In 2024, we covered the “Re-Konstructed (Atom & Scanner remixes)” and the limited vinyl issue of “Re-Konstructed“. We later also covered the T.A.G.C. reissue “Iso-Erotic Calibration” in December 2024, and the 2025 Grey Area of Mute reissue of “White Souls in Black Suits“.

]]> Clock DVA Archives - SIDE-LINE nonadult Clock DVA mark 45th anniversary of “Thirst” with expanded remaster on The Grey Area of Mute https://www.side-line.com/clock-dva-thirst-45th-anniversary-reissue/ Tue, 03 Feb 2026 17:00:19 +0000 https://www.side-line.com/?p=83680 Clock DVA will release a 45th anniversary remastered reissue of their second album “Thirst” on...]]>

Clock DVA will release a 45th anniversary remastered reissue of their second album “Thirst” on 5 June 2026 via The Grey Area of Mute. The “Clock DVA Thirst reissue” arrives on double thirst-red vinyl, CD and digital formats as the second instalment in Mute’s ongoing campaign to reissue the group’s catalogue following the 2025 remaster of “White Souls in Black Suits“.

The new edition expands the original 1981 album with single mixes of “4 Hours” and “Sensorium” plus two newly recorded DVATION 2026 versions by the current line-up. “4 Hours” was originally the sole single from “Thirst” and has been reissued ahead of the album as a digital track, with the 2026 version and remaster now streaming on major platforms and on YouTube.

“Thirst”, first released in 1981 on Fetish Records, captured the band as they shifted from the more improvised, tape-driven approach of their debut into a sharper, song-based framework.

Adi Newton explains in the accompanying notes that the material on “Thirst” emerged from a deliberate move toward more structured pieces, following the personnel change from David Hammond to Paul Widger on guitar. The record balances jazz-inflected saxophone work from Charlie Collins with rigid rhythm section patterns and Newton’s characteristic vocals.

The 2026 remaster has been cut from the original tapes with input from surviving members and comes with the original sleeve notes by Genesis P-Orridge. The vinyl edition appears as a double thirst-red 2LP set, with a standard pressing and a signed art-card edition, while the CD comes in an eco card sleeve.

Clock DVA – “Thirst” 2026 tracklist

The expanded “Thirst” set includes the original album, live recordings, single mixes and new 2026 versions:

  1. “Uncertain”
  2. “Sensorium”
  3. “White Cell”
  4. “Piano Pain”
  5. “Blue Tone”
  6. “North Loop”
  7. “4 Hours”
  8. “Moments”
  9. “Impressions of African Winter”
  10. “The Opening (Live at The Lyceum)”
  11. “Remain Remain (Live at The Lyceum)”
  12. “4 Hours (Single Mix)”
  13. “Sensorium (Single Mix)”
  14. “4 Hours (DVATION 2026 Version)”
  15. “Sensorium (DVATION 2026 Version)”

The recordings feature Adi Newton (voice, clarinet, manipulated tapes, piano, modified guitar, EMS Synthi E), Steven J Turner (bass/treatments), Charlie Collins (saxophones, African flute, African thumb piano), Paul Widger (guitar) and Roger Quail (drums). The album was recorded at Jacobs Studio in Surrey and produced/engineered by Ken Thomas together with the band, with artwork by designer Neville Brody.

About Clock DVA

Clock DVA are an industrial/post-punk/EBM group from Sheffield, formed in 1978 by Adi Newton (Adolphus Newton) and Steven “Judd” Turner. The name combines Anthony Burgess’ Nadsat slang from A Clockwork Orange with the Slavic word for “two”.

In their early phase, the band worked with treated tape loops, EMS Synthi E electronics and improvised structures, releasing cassette-only material before issuing the debut album “White Souls in Black Suits” in 1980 on Industrial Records. This debut, recorded at Cabaret Voltaire’s Western Works studio, later returned in a remastered double grey-vinyl and CD edition on The Grey Area of Mute in December 2025, extended with four contemporaneous tracks.

“Thirst”, issued in 1981 on Fetish Records, followed as their first fully studio-based LP and reached the top of the UK indie charts. After this period, Newton steered the project toward a more electronic direction, signing to Polydor for “Advantage” (1983) before moving further into sample-based and cybernetic themes on late-80s and early-90s releases such as “Buried Dreams” (1989), “Transitional Voices” (1990), “Man-Amplified” (1991) and “Digital Soundtracks” (1992), culminating in “Sign” (1993).

Parallel to the main band, Newton launched The Anti Group Communications (T.A.G.C.) as a vehicle for psycho-acoustic and multimedia research. We previously covered the Cold Spring reissue of the 1994 album “Iso-Erotic Calibration” by this project.

Clock DVA entered a long hiatus after the mid-1990s, with Newton concentrating on T.A.G.C. and archival work, before reactivating the band in 2008 with a new line-up that has since performed at festivals and produced new material under the Anterior Research banner. Recent years have seen the catalogue systematically revisited: the “Horology” box sets compiled early recordings, “White Souls in Black Suits” returned in 2025 via The Grey Area of Mute, and the upcoming “Thirst” reissue continues this chronological re-presentation of the group’s early work.

]]> Clock DVA share ‘Brigade’ from remastered ‘White Souls in Black Suits’ – The first official edition in 35 years (out 7 November 2025 via The Grey Area of Mute) https://www.side-line.com/clock-dva-brigade-white-souls-in-black-suits/ Wed, 01 Oct 2025 18:55:49 +0000 https://www.side-line.com/?p=80339 Clock DVA, the Sheffield industrial/post-punk group led by Adi Newton, have shared the remastered bonus...]]>

Clock DVA, the Sheffield industrial/post-punk group led by Adi Newton, have shared the remastered bonus track “Brigade,” taken from the long-awaited reissue of their 1980 debut “White Souls in Black Suits” as we reported earlier. The new edition is out on 7 November 2025 on The Grey Area of Mute. It marks the first official physical edition in over three decades.

The 2025 edition appears as a strictly limited double grey vinyl with booklet and on CD, and is also available digitally. It adds four contemporaneous recordings, including “Brigade”, featuring early member Simon M. Elliot-Kemp. The album was originally issued as a C60 cassette on Industrial Records in December 1980. You can pre-order it via Bandcamp.

Tracklist (2025 remaster / expanded):

  1. Consent
  2. Discontentment
  3. Discontentment 2
  4. Still/Silent
  5. Non
  6. Relentless
  7. Contradict
  8. Film Soundtrack (Keyboards Assemble Themselves At Dawn)
  9. Anti-Chance (feat. Cabaret Voltaire)
  10. Brigade (bonus)
  11. Cage (bonus)
  12. No. 2 (bonus)
  13. You’re Without Sound (bonus)

“We set out to form a new sound combination,” Adi Newton stated, describing an approach merging acoustics and electronics, early German waves, the edge of The Stooges, GRM musique concrète, and the audio-visual impetus of The Velvet Underground. Drummer Roger Quail commented that the album – often mythologised as a 16-hour improvisation – was “closer to 8 hours,” tracked in a single day at Cabaret Voltaire’s Western Works studio.

The reissue coincides with North American dates including New York’s Le Poisson Rouge on 1 October 2025, with UK shows announced for late November, opening at Signature Brew Blackhorse Road (London) on 28 November.

About Clock DVA

Clock DVA formed in Sheffield, England, in 1978, initially around Adi Newton and Steven “Judd” Turner, with early members including David J. Hammond, Roger Quail and Charlie Collins.

Their first release, “White Souls in Black Suits,” appeared in 1980 on Industrial Records (cassette). “Thirst” followed on Fetish in 1981. The group then signed to Polydor for “Advantage” (1983).

After a hiatus, Newton reactivated Clock DVA for an electro-industrial/EBM phase: “Buried Dreams” (1989), “Transitional Voices” (1990), “Man-Amplified” (1991) and “Digital Soundtracks” (1992), before “Sign” (1993).

Through the 2010s and 2020s, Newton led further archival and live activity, including the “Horology” series. Today the project is led by Adi Newton.

]]> Clock DVA Archives - SIDE-LINE nonadult Clock DVA set remastered reissue of ‘White Souls in Black Suits’ for November 7 on The Grey Area of Mute; US tour runs September–October https://www.side-line.com/clock-dva-white-souls-in-black-suits-mute/ Wed, 27 Aug 2025 14:48:33 +0000 https://www.side-line.com/?p=79458 Clock DVA, the Sheffield industrial/post-punk group led by Adi Newton, will reissue their debut album...]]>

Clock DVA, the Sheffield industrial/post-punk group led by Adi Newton, will reissue their debut album “White Souls in Black Suits” in a newly remastered edition on November 7, 2025 via The Grey Area of Mute. Originally issued as a cassette on Throbbing Gristle’s Industrial Records in December 1980, the album returns on grey 2×LP and CD, expanded with four bonus tracks from the same era. The band will tour the United States in September and October.

“We set out to form a new sound combination,” says Adi Newton. “To combine acoustics and electronics, merging the German electronic wave with the edge of The Stooges, the avant-garde of the French GRM Musique Concrète, and the pioneering audio-visual creativity of The Velvet Underground. To create a harder form of electronic music with real energy.” Drummer Roger Quail adds that the album, often mythologized as 16 hours of improvisation, was “closer to 8 hours,” recorded in a single day.

Recorded at Cabaret Voltaire’s Western Works studio with a line-up including Newton (voice, synth, clarinet, bowed electric guitar, tape treatment), Steven James Turner (bass treatment), David J. Hammond (guitar treatment), Charlie Collins (saxophone, flute, percussion), Roger Quail (percussion) and Simon M. Elliott-Kemp (synth), the sessions captured the band’s early tape and improvisation methods. “Anti-Chance”, featured here, directly involved Cabaret Voltaire materials in a Burroughs/Gysin-style tape cut-up.

Clock DVA US tour — September–October 2025

Clock DVA will join dates around Cold Waves’ Industrial Nation 2025 routing.

  • Sep 11 — DNA Lounge, San Francisco, CA
  • Sep 12 — The Mayan, Los Angeles, CA
  • Sep 13 — Music Box, San Diego, CA
  • Sep 14 — Star Theater, Portland, OR
  • Sep 16 — El Corazon, Seattle, WA
  • Sep 18 — Granada Theater, Dallas, TX
  • Sep 19 — Cold Waves Austin 2025, Austin, TX
  • Sep 21 — The Orpheum, Tampa, FL
  • Sep 23 — Baltimore Soundstage, Baltimore, MD
  • Sep 24 — The Masquerade, Atlanta, GA
  • Sep 26 — Metro Chicago, Chicago, IL
  • Sep 27 — Oriental Theater, Denver, CO
  • Oct 1 — Le Poisson Rouge, New York, NY
  • Oct 2 — Sonia, Boston, MA
  • Oct 3 — Water Street Music Hall, Rochester, NY
  • Oct 4 — Mercury Music Lounge, Cleveland, OH
  • Oct 5 — The Magic Bag, Ferndale, MI

About Clock DVA

Clock DVA formed in Sheffield, England, in 1978, initially centered on Adi Newton and Steven “Judd” Turner with early members David J. Hammond, Roger Quail, and Charlie Collins.

Their first release, “White Souls in Black Suits”, appeared in 1980 on Industrial Records in a cassette format, aligning the group with the UK’s first wave of industrial and post-punk experimentation and the Cabaret Voltaire/Throbbing Gristle milieu. The album was later reissued on LP (Italy) and CD.

A year later the band issued “Thirst” on Fetish (1981) before signing to Polydor for “Advantage” (1983). After a hiatus, Newton reactivated Clock DVA for an EBM/electro-industrial phase, releasing “Buried Dreams” (1989; Wax Trax!/Interfisch), “Transitional Voices” (1990), “Man-Amplified” (1991), “Digital Soundtracks” (1992) and “Sign” (1993). Anthologies and archival sets followed, including the “Horology” series, with live activity resuming in the 2010s.

Today the project is led by Adi Newton.

]]> T.A.G.C. (Clock DVA member) reissues ‘Iso-Erotic Calibration’ for the first time on vinyl in 2025 – Pre-order now https://www.side-line.com/t-a-g-c-clock-dva-member-reissues-iso-erotic-calibration-for-the-first-time-on-vinyl-in-2025-pre-order-now/ Mon, 23 Dec 2024 15:30:21 +0000 https://www.side-line.com/?p=72889 Out 17th January 2025 via Cold Spring is the T.A.G.C. (The Anti Group Communications) reissue...]]>
T.A.G.C.

Out 17th January 2025 via Cold Spring is the T.A.G.C. (The Anti Group Communications) reissue of the 1994 album “Iso-Erotic Calibration” on vinyl for the first time. This occult electronics / industrial / dark ambient release is the work of founder Adi Newton (Clock DVA) who uses The Anti Group as an outlet for his research in psycho-acoustic music.

The material for “Iso-Erotic Calibration” was recorded over a period of three years and was originally released via Side Effects, the label of Lustmord, Musica Maxima Magnetica, and Adi’s own Anterior Research Recordings. Not only is it the first time this release is available on vinyl, it is also the first official CD reissue including four bonus tracks: two were bonus digital-only tracks (2013); one track is taken from the soundtrack to the 2011 T.A.G.C. film “Given”; one is a remix of the title track.

The CD comes as a 6-panel digipak while the vinyl is available in two different formats.

The bonus CD-only tracks are: “Iso-Erotic Calibration (After Glow Mix)”, “Adonne”, “Phantom Frequencies” and “Hommage Dr Jekyll Et Les Femmes” (6:50)”.

About The Anti Group Communications

The Anti Group Communications (T.A.G.C.), commonly known as The Anti Group, is an avant-garde art and music project from Sheffield, England. Founded in 1978 by Adi Newton and Steven Turner, it serves as a spin-off from the industrial band Clock DVA.

T.A.G.C. operates as an open-membership collaborative, focusing on research and development across various media, including sound, film, video, and performance. Their work delves into psychoacoustics and philosophical concepts, often accompanied by extensive liner notes that explain the theoretical foundations of their recordings. This approach positions T.A.G.C. as a project dedicated to acoustic research rather than conventional music.

The group’s discography includes releases such as “The Delivery” (1985), “Digitaria” (1986), and “Burning Water” (1994). After disbanding in 1996, Adi Newton revived the project in 2009, continuing with new releases and live performances.

]]> Voltage Control period 1990-1992 compiled on vinyl https://www.side-line.com/voltage-control-period-1990-1992-compiled-on-vinyl/ Tue, 14 May 2024 18:37:28 +0000 https://www.side-line.com/?p=49643 Out via Mannequin Records on vinyl on July 5th is “Voltage Control (1990-1992)”, a compilation...]]>

Out via Mannequin Records on vinyl on July 5th is “Voltage Control (1990-1992)”, a compilation of the Dutch EBM-Techno pioneers Voltage Control aka Arno Peeters & Tibor Fülöp. The compilation comes with a selection of their dancefloor tracks originally released on the legendary Belgian label Antler Subway.

The duo was inspired by Front 242, Skinny Puppy and Clock DVA and both Arno and Tibor were fellow students at the Centre of Electronic Music (CEM) in Arnhem/NL during the mid 80’s. After getting a record deal with Antler Subway, they started producing their first EP while acid house hit Europe. As a result they incorporated some of those influences in their first record, “Force d’Inquisition” released in 1990.

The compilation includes also the legendary “Apocalypse”, which was quite a hit at the time both in the EBM and acid scene. Arno Peeters was later part of Random XS and Urban Electro on Djax-Up-Beats. The release is dedicated to Tibor Fülöp, who died in 2010.

]]> Clock DVA sees rare ‘memory stick’ tracks out on vinyl: ‘Re​-​Konstructed’ https://www.side-line.com/clock-dva-sees-rare-memory-stick-tracks-out-on-vinyl-re-konstructed/ Tue, 14 May 2024 18:26:54 +0000 https://www.side-line.com/?p=49641 Out via Frigio Records on May 24 is the Clock DVA vinyl “Re​-​Konstructed”, which comes...]]>

Out via Frigio Records on May 24 is the Clock DVA vinyl “Re​-​Konstructed”, which comes in a limited and numbered edition of strictly 350 copies on heavy 180g vinyl. We already reported about it, but this is a release that will be very rare, so get your hands on it as soon as you can.

The vinyl comes as a single-sided (music) vinyl, while the B-side contains an etching. It contains two remixes of tracks, originally released on a limited memory stick under the name ‘Clock 2’ in 2014.

The remixes were executed by Atom™ (aka Uwe Schmidt aka Atomheart aka Lassigue Bendthaus) and Scanner aka Robin Rimbaud.

About Clock DVA

Clock DVA was formed in 1978 by Adi Newton (born Gary Coates) and Steven “Judd” Turner. Nowadays the band consists of Adi Newton and Maurizio Martinucci. The early years of Clock DVA (1978–1981) were marked by the release of “White Souls in Black Suits” and “Thirst”, projects that saw the band dabbling in experimental electronic music. Utilizing treated tape loops and synthesizers, their sound was a novel contribution to the industrial music landscape.

The tragic death of Turner in 1981 due to an accidental drug overdose led to a brief dissolution of the band, highlighting a tumultuous period in their journey. The era between 1982 and 1984 saw Newton reforming Clock DVA with new members, including John Valentine Carruthers. During this period the band created a fusion of intense dance rhythms with experimental sounds.

However, internal conflicts led to another split, with Newton subsequently founding The Anti-Group to continue his experimental endeavors.

Resurgence came in 1987 as Newton reformed Clock DVA, leading to the release of “Buried Dreams” and “Man-Amplified”, albums that delved deeper into cybernetic themes and sampling techniques. Despite facing challenges with record labels and a hiatus that lasted until the late 2000s, Newton’s disruptive vision for Clock DVA actually never changed.

The reactivation of Clock DVA in 2008 alongside creative partner Jane Radion Newton marked a new chapter for the band with a lineup that included Maurizio “TeZ” Martinucci and Shara Vasilenko.

]]> Clock DVA announces new EP: ‘Re-Konstructed (Atom & Scanner remixes)’ https://www.side-line.com/clock-dva-announces-new-ep-re-konstructed-atom-scanner-remixes/ Tue, 19 Mar 2024 12:03:55 +0000 https://www.side-line.com/?p=48753 The Sheffield based industrial cult act Clock DVA is back with a new EP on...]]>

The Sheffield based industrial cult act Clock DVA is back with a new EP on April 30 via the Spanish label Frigio Records: “Re-Konstructed (Atom & Scanner remixes)”. The release comes as a 180g heavy black vinyl with an etched side with DVA’s logo. Atom™ delivers his re-imagining of “De-Konstructor” while Scanner took care of “Rayonist Refraction #1”.

Clock DVA was formed in 1978 by Adi Newton (born Gary Coates) and Steven “Judd” Turner. Nowadays the band consists of Adi Newton and Maurizio Martinucci.

The early years of Clock DVA (1978–1981) were marked by the release of “White Souls in Black Suits” and “Thirst”, projects that saw the band dabbling in experimental electronic music. Utilizing treated tape loops and synthesizers, their sound was a novel contribution to the industrial music landscape. The tragic death of Turner in 1981 due to an accidental drug overdose led to a brief dissolution of the band, highlighting a tumultuous period in their journey.

The era between 1982 and 1984 saw Newton reforming Clock DVA with new members, including John Valentine Carruthers. During this period the band created a fusion of intense dance rhythms with experimental sounds. However, internal conflicts led to another split, with Newton subsequently founding The Anti-Group to continue his experimental endeavors.

Resurgence came in 1987 as Newton reformed Clock DVA, leading to the release of “Buried Dreams” and “Man-Amplified”, albums that delved deeper into cybernetic themes and sampling techniques. Despite facing challenges with record labels and a hiatus that lasted until the late 2000s, Newton’s disruptive vision for Clock DVA actually never changed.

The reactivation of Clock DVA in 2008 alongside creative partner Jane Radion Newton marked a new chapter for the band with a lineup that included Maurizio “TeZ” Martinucci and Shara Vasilenko.

]]> Italian distributor Audioglobe celebrates it’s 30th anniversary today – Happy Birthday! https://www.side-line.com/italian-distributor-audioglobe-celebrates-its-30th-anniversary-today-happy-birthday/ Wed, 06 Dec 2023 09:55:33 +0000 https://www.side-line.com/?p=47308 (Pictures via Audioglobe) Today marks the 30th anniversary of the Italian distributor Audioglobe. Audioglobe played...]]>
Italian distributor Audioglobe celebrates it’s 30th anniversary today

(Pictures via Audioglobe) Today marks the 30th anniversary of the Italian distributor Audioglobe. Audioglobe played and still plays a significant role in distributing niche genres, including goth, electro, and darkwave. By providing a platform for these genres and offering a worldwide distribution, they have helped keeping this scene, its labels and bands staying afloat whereas other distributors came and disappeared.

Audioglobe also plays a significant at Side-Line as the distributor is one of our most trusted sources to find out about new upcoming releases.

Before Audioglobe there was Contempo Records

Before starting Audioglobe, four of its five founders worked at Contempo Records, a famous music store in Florence, Italy, since the early 80s. Contempo was also a leading independent label and distributor in Italy from the mid/late 80s. They had contracts with artists like Clock DVA, Lassigue Bendthaus, Pankow, and others, and released albums by bands like Suicide and The Rose of Avalanche. They also distributed many albums for 4AD (and even manufactured the albums under license), featuring artists like Clan of Xymox and Dead Can Dance.

Audioglobe Left to right: Mauro, Enrico, Nicola, Sebastian, Simone
Audioglobe left to right: Mauro, Enrico, Nicola, Sebastian, Simone

In 1993, a couple of Contempo employees, Nicola Vannini and another, noticed some serious problems at Contempo. They left to start a new music business venture: Audioglobe. Officially founded on December 6, 1993, in a small office on the outskirts of Florence, the team initially consisted of five people, including three founders and two employees. Two more ex-Contempo employees joined in 1994, just as Contempo closed down.

Audioglobe experienced 14 incredible years from 1993 to 2007, faced some tough times, and since 2020, “things have been great again!” So Sebastian Koch confirms in a mail sent out this morning.

Congratulations to the whole Audioglobe team!

]]> Mike Erkau (The_Empath) click interview: ‘My Master Is The Universe’ https://www.side-line.com/click-interview-with-the-_empath-my-master-is-the-universe/ Sat, 11 Nov 2023 18:00:00 +0000 https://www.side-line.com/?p=46660 German musician Mike Erkau started making music forty years ago now! He got involved with...]]>

German musician Mike Erkau started making music forty years ago now! He got involved with multiple projects like Trackologists, Cosmic Noise Crew, Stimulus Response and his own sonic alter-ego The_Empath. Earlier this year Mike Erkau stroke back with the first new studio-album in eight years. “Black Holes” also is the first album released by Audiophob. This opus is a genius composition which is mixing good-old Ambient-Electro together with a more contemporary IDM touch; a kind of retro-futuristic voyage which might appeal for fans of Tangerine Dream and clock dva. I talked with Mike about this The_Empath masterpiece which took some time to get accomplished. This is without a shadow of a doubt one of the best albums from the year.

(Courtesy by Inferno Sound Diaries)

Q: I noticed you started dealing with Electronic music in 1993. What did you keep in mind from your early experiments and compositions and what remains today from the musician you were at that time?

Mike: It is a great challenge to consistently follow your path, to find your own style and to remain true to yourself. Not to lose sight of the big picture. To keep your heart and your antennae open for new things. Curiosity.

To think outside the box. To be inspired across all genre boundaries. It’s like picking flowers away from the mainstream. Searching for sounds and musical structures that touch something somewhere deep inside yourself. Playing around, recreating, adapting, taking apart, picking apart, recombining to find out what it does to you, and what it might do to others. To share with soulmates and walk a path together. Taking perspectives, approaches into your own toolbox. Learning and getting better. That’s exciting.

I see music as the perfect catalyst for any emotion, both positive and negative. In doing so, the balance should always point in the positive direction, because that generates the necessary energy for my musical journey. It’s an ongoing process.

Q: I read your newest The_Empath album “Black Hole” took you a while to achieve. Can you give us more details about the concept and composition of the album? What did you try to express?

Mike: The original idea for “Black Hole” came up back in 2016. At various festivals I heard some musicians whose music appealed to me a lot, and I felt like trying out collaborations with them.

Originally, it was supposed to be 6 sound structures of 12 minutes each, the theme was already called “Black Hole”, in the astronomical sense. The desire was to find out how something like that could sound. So I had 12-minute sound collages sent to me, which I wanted to use as a basis for adapting, refining and expanding them. A perfect playground, so far, so good.

A couple of massive impacts in the private sphere and the events that overruled everything valid until then  in the years 2020 to 2022 threw me completely off track and pulled me emotionally into a deep black hole.

The rat race was stopped, no one could tell where it was going, unforeseeable consequences. Omnipresent powerlessness and ambivalence. Social, ethical and moral upheavals and everywhere only masked insecure, dissatisfied, annoyed and angry people.

The mourning for the many dead, while others stuffed their pockets. The emotional hell for empathic people. “Lost Your Cygnal”, “Ergosphere” and “Supermassiph” are the most impressive sound documents for it. Luckily I always had the Cosmic Noise Crew around me at that time, and we used the lockdowns to revise the concept for the album in the studio, to explore sounds and to bring everything down to a good denominator.
That helped me a lot to get out of that black hole and not lose sight of the stars. To think positively. Examples of this are “Utopia”, “Star Cradle”, “Hypernova” and “Southern Hemisphere”.

Q: The concept of black holes seems to be a perfect source of inspiration for Ambient music but how did you proceed to transpose the concept into sounds, noises and finally songs? And can you tell us a bit more about the equipment you used?

Mike: I experimented with my hardware synths for a while in the beginning, but somehow it all sounded too ‘earthly’, too limited. In 2016, I only had a very small home studio due to lack of space. So I started chopping up the source collages, looking for loops and micro events on a granular level and creating iterations of them with effects. At the time I was collecting freeware VST’s – and experimenting my way through over 1000 plugins. Along the way I browsed the internet for sound samples -there are quite a few sound documents that have been made available to the public by NASA. Among them are recordings of the Cassini probes and radio wave emissions from supermassive black holes, e.g. TON 618, a distant, bright quasar in the constellation of the hunting dogs, or the black hole in the Perseus galaxy cluster. These cosmic sound machines can be experienced by human hearing through translation.

In 2019 I had begun to build a sound spaceship into my apartment, just as I had always wanted since 1993. Stuffed with hardware sound generators covering a spectrum of synthesis types as wide as possible. Just like in a spaceship cockpit.

In recent years, a lot of good hardware has come on the market, which is above all also affordable, as well as tons of ingenious VST plugins. I use these depending on my mood, controlled by a Novation KS5 as a master keyboard. As a mixer I use a Behringer X32Rack + S16, for the USB stuff a Swissonic 1916 with Sub Hub’s. It really wasn’t until 2020 that I had all the technical requirements in place to be able to use all these options at will. And that without hitting technical limits during every studio session.

The following hardware sound generators were used on the album, among others: Access Virus Indigo, Clavia Nordlead 2, Korg MS20 mini, Novation KS5, Arturia Microbrute + Microfreak, Waldorf Blofeld + Streichfett, Doepfer MS404, Roland GAIA, Behringer Neutron + Pro-1. VST plugins: Sonic Charge, GForce, NI Absynth(!) + Reaktor, Spire, Sylenth, Valhalla, Arturia V-Collection etc.

When I look back to 1993 – oh man. With my beloved Amiga500 with 1MB RAM and Clarity Sampler, Doepfer MS404, Novation Bass-Station Rack and Korg DW8000 with the most rickety keyboard I’ve ever experienced -without the possibilities of any audio warping and DAW controllers, let alone boundlessly huge sample libraries and tons of VST’s. You had to be inventive and willing to experiment and have fun doing it. At that time, you couldn’t buy creativity, and you still can’t.

Q: You invited a few guest artists to collaborate on three tracks from the album. I’m especially wondered how the track together with Heimstatt Yipotash happened as both of you are still involved in Trackologists? What made this collaboration different? And do you still have further plans with Trackologists?

Mike: At that time I was already on the road for a while as a VJ with the guys from Heimstatt Yipotash and we hatched the idea for a joint music project on a trip to a gig. When I started with “Black Hole”, the first Trackologists album  (cf. “No Surrender, No Retreat”) was just finished, and while rummaging through the huge collection of material, I stumbled across leftovers, field recordings and experiments, a few tracks played several times slower and so on. I then processed them further, added more layers to them and expanded them. I simply wanted to have these sounds on “Black Hole”. The special thing about our collaboration was and is that we first and foremost understand and complement each other super humanly and musically and always have a good time together.

YES, there are further plans with Trackologists. After the whole difficult time, which has more or less burdened everyone in all areas, we have resumed the common track. At the moment we are working on a come-back EP and structuring sketches and ideas for a second album, whose theme and name is already fixed. It will follow the first album musically and in terms of content, with more lyrics and a musically more homogeneous concept. This will hopefully be followed, desirably, by a series of gigs where we can really let off steam for ourselves and the audience.

Q: Next to music you also have a true passion and fascination for visual creation. You already did numerous live shows for other artists. Tell us a bit more about this other aspect of your art and do you’ve plans about any kind of imagery for the The_Empath album “Black Hole” (think about live shows, clips…)?

Mike: My fascination for visual design has resulted from the desire to see another media layer at live gigs, complementing and enriching the music, performance and light show. Not necessarily just a flickering background wallpaper, but matching the music, reacting to the music. So to speak an amplifier for the message and thus for the transported emotion.

I started doing that during my studies, for my own tracks and every now and then at parties as a VJ. From 2005 to 2015 I was often on the road with XABEC and learned and got to know immensely. The absolute highlight from this time is still for me the gig at the Maschinenfest 2008 in Krefeld, from which a DVD was created afterwards. I am very grateful for this time. It resulted in many contacts, and when I was up for a festival, I asked friends: ‘hey, can I make a video for you’ and was in the middle of it instead of just being there. Give and take. There were also facade projections for multimedia festivals and a trailer for Tzolk’in.

Working with these techniques is no less complex than creative work with audio, unfortunately at least as time-consuming and was/is often put on the back of the line for cost reasons. I still enjoy producing videos because I like the aesthetics and the interplay. At the moment, however, I’m concentrating more on my own projects.

For “Black Hole” there are no promising ideas for live shows and clips yet due to time constraints.
A dream would be to play the album in planetariums on 3D audio systems. If it comes so far I am then quite fast with the thing.

Q: You already mentioned Cosmic Noise Crew which is another project you’re involved with. I think it sounds  even more Ambient-driven than The_Empath but what makes the difference to you between all of your projects? And do you’ve specific references and/of ‘masters’ when it comes to this kind of music?

Mike: The difference between the projects is primarily the subject matter and secondarily the intensity of the emotions that are processed with it. For a long time I resisted opening up different pigeonholes and sorting my emotions into them. However, it became increasingly difficult for me to bring all this into one mould, and for the listeners it was certainly not easy to classify it. Mixing my musical preferences for aesthetic soothing sounds alternately with brute beats and noises, I was fortunately able to get away from this by splitting up into different projects. Cosmic Noise Crew clearly has Ambient, healing musical structures and sounds as its goal, where inspiration and the musical socialization of several players come into play and complement each other. With Trackologists it’s more forward, also sometimes straight in your face -full speed ahead. Here we act out, with a view to content and sound aesthetics, but without destroying. We put in the texts many clues between the lines for the people who are looking for it. To hold up the mirror, but not only to others, but starting with ourselves.

The_Empath I need as an island for myself, but on which everyone is welcome at any time, who is able to enrich this project with positive energy.

References and masters, a tricky question to finish. I can only answer for myself. I would say to be a reference deserves everything that combines the attributes honest, technically brilliant, creative, surprising, expanding the horizon, rousing and emotional. The list is endless, and it never stops growing. My master is the universe.

]]> ‘Click Interview’ with The Seven Whores Of The Apocalypse: ‘The Name Is A Nod To All The Faux Religious Trappings Of 80s Goth Bands’ https://www.side-line.com/click-interview-with-the-seven-whores-of-the-apocalypse-the-name-is-a-nod-to-all-the-faux-religious-trappings-of-80s-goth-bands/ Sat, 23 Sep 2023 17:00:00 +0000 https://www.side-line.com/?p=44828 The Seven Whores Of The Apocalypse is an American music band operating from the Twin...]]>

The Seven Whores Of The Apocalypse is an American music band operating from the Twin Cities, Minnesota. Chris (samples, sounds, cover art, video art), Tom (vocals, sounds, songwriting), and Jason (vocals, sounds, songwriting, production) last year signed to European label Scanner / Dark Dimensions. After the promising EP “Wicked Hands” released in 2022 they this year unleashed the official debut album “All Through The Waste”. It’s a powerful piece of EBM; a bit  atypical and characterized by accomplished, dynamic, and elaborated songs. This is a surprising production for demanding EBM lovers. I asked a few questions to Jason and Tom.

(Courtesy by Inferno Sound Diaries)

Q: I noticed you guys have been all involved -and still are, with other projects before setting up The Seven Whores Of The Apocalypse. What brought you together to set up an EBM-driven band and where does the band name -which doesn’t sound that Electronic, come from? 

Jason: We found each other on Bandcamp in 2019. We all have a background in Experimental Noise and Dark-Ambient, and right away we decided to work together on a project in that vein. We released an album in early 2020 under the name Thrill Behind Barks (with another to follow in 2024). We each have our own individual projects as well. Chris has The Creeping Man (Dark-Ambient), Tom has The Angler King (Experimental Ambient-Noise), and I record under the names Timewitch (Experimental Occult-Synth) and Perfect Female Type (Synth-Wave Pop).

The Seven Whores Of The Apocalypse was born of our shared love of 80s Electro-Industrial music, particularly bands like Clock DVA and Skinny Puppy, but also certainly more mainstream artists like Depeche Mode and New Order. I laid down a quick idea for a song that paid homage to the songs of that era and asked the guys if they’d be interested in doing something a little more structured. Tom offered to do the vocals and our first single “Parasite” was born. We were all like, oh damn, this could be a thing!

The name is a nod to all the faux religious trappings of 80s Goth bands like Sisters Of Mercy and Depeche Mode. Plus it sounds badass and it’s hard to forget once you hear it!

Tom: Jason came up with the name. I remember him telling me where exactly it came from, but that story escapes me. I do however have a very solid memory of me reciting my interpretation of its origins, and the meaning that it has to us. I got very complex with all of these biblical and religious allusions, and how they relate to the name ultimately making fun of misogynists, and it’s connection to feminist lyrics in some of our songs.

I got done telling Jason and Chris my moderately pretentious analysis, only to have Jason say something along the lines of ‘Wow, that’s a really interesting take. I just thought it was a cool name though.’

I got a pretty hefty laugh out of that. Sometimes things are the way they are just because they sound cool. I tend to write lyrics like a James Joyce-wannabe experimenting with refrigerator poetry, so it was nice to be brought back down to earth with a jolt that “not everything is drowning in symbolism”.

Q: Do you have specific sources of inspiration and/or references when it comes to composition? 

Jason: I think the biggest inspiration for us when we started the project was a 1989 album called “Buried Dreams” by Clock DVA. Something about it just captured our imagination, and we wanted to do something super dark and hushed and almost Coil-like at the beginning. As we moved through a number of singles it became clear that we were moving in a more aggressive direction. Our songs got more and more up-front and assertive while still maintaining elements of hushed experimental electronica.

A big source of inspiration for us now is the kind of music we hear at local Industrial clubs. It’s a mix of Dark-Techno, Industrial, and EBM. There’s so many artists out there, and we try to learn as much as we can from these other acts. Recent influences include Black Nail Cabaret, Gesaffelstein, and Ultra Sunn. There’s a list of artists we love —both in and out of the music world — on our website sevenwhoresoftheapocalypse.com.

Tom: Clock DVA was the big one that we were inspired by with at first. We heard “Buried Dreams” and it was like turning on a light switch. However, we all have some pretty big influences in Experimental, Industrial, Dance music, and Rock, so it was only a matter of time before it changed into something like our other influences. Our more recent tracks have been more along the lines of Skinny Puppy, Thrill Kill, Nitzer Ebb, Lords Of Acid, Alien Sex Fiend, and similar groups.

Q: Tell us a bit more about the content and concept of the debut album “All through The Waste”? How did the album saw the daylight and what did you experience as the main challenges, difficulties and points of satisfaction? 

Jason: The songs are presented pretty much in the order that we recorded them. We wanted to maintain similar themes as before but also broaden our perspective to include more cosmic themes of the afterlife and alien civilizations. We started recording in the summer of 2022. The first track, “The Gods Are Angry”, took almost two months to produce, which is way too long! The second track, “Slow Riot”, was kicked out in just a few days. The rest of the songs were recorded into the fall and early winter, and actually moved fairly quickly once we got past that first nightmare song.

One of my favorite things about “All Through The Waste” is how collaborative it was. Each of us contributed foundational sounds and textures to the album which I think gives it a cohesive, holistic sound. For me the biggest feeling of satisfaction came when we finished the last track! I’m incredibly happy to be working with such talented bandmates.

Tom: The content has a pretty hefty range. I like to think of the album as a string of connected concepts concerning our worldview at the time, as opposed to being a solid concept album with a primary jumping off point or narrative. Just on my part, the lyrics I contributed had to do with mental illness, physical isolation, surreal nightmares, mysticism, and other topics.

Q: What’s the input of each member in the writing/production process and what makes the chemistry of the band? 

Jason: Tom and I both do vocals, although Tom does the lion’s share of the lyrical and vocal work. All three of us contribute various sounds and samples from our own respective studios. Chris handles the cover art and music videos and I do the composition and production.

The chemistry has been an interesting evolution because we all met right before the Covid lockdowns started, so all of our early collaborations had to be virtual. Now we hang out a few times a year to have a meal and catch up, but almost all of our collaborative work is done online. We send files back and forth and chat and send funny pictures around. So there’s a bit of distance there, but somehow it all works.

Tom: I don’t think that it’s ever been the same on a single track. The amount of contribution changes gradually with each release. However, the primary roles that have stayed consistent is usually Chris handling samples, production, and videos, Jason handling primary production duties as well as vocals and lyrics, and me almost exclusively doing vocals and lyrics.

Q: I noticed an impressive evolution in production and power from your self-released (debut) singles towards the songs featured at “All Through The Waste”. How do you perceive the evolution of the band? What has changed? What’s new? And what do want to achieve on further songs?

Jason: Oh thanks, that’s really nice to hear! I think the biggest contributor to the evolution of our sound and production quality is practice and experience. There’s really no better teacher. In 2020 I returned to DAW-based music after a long break, so I had to re-learn everything over from scratch. No matter the medium, all three of us are prolific artists in our own right, and that experience makes us stronger.

I’m very happy with and excited about the evolution of our band. I think the biggest change we’ve experienced is moving from moody, Ambient Electronica to a more aggressive Techno-Industrial stance. I think that stems from the influences we expose ourselves to as well as just being a little more aggressively experimental in the studio.

Having said all that, I think there’s a very good chance we could return to that hushed, dark sound of late-80s Clock DVA in a future release.

Tom: I honestly wish that I had an answer for you, but I’m not really sure. Whatever the progression has been, it feels organic, like we’re just working out the kinks and moving closer to a more solid image of what we want to do, like any group continually honing their process in whatever medium they choose. I don’t really know what’s next, and what’s after that, but I do know that I’m excited for the journey.

Q: Do you’ve new things -like live shows, tours, remixes, clips etc.. in the pipeline?

Jason: Yes, in fact we’re featured on a new remix-EP called “Pretty In Pink (Isn’t He)” by PROBE 7. One of the DJs at a local Industrial club turned us on to their work and mentioned they were looking for artists to remix their re-imagining of the classic Psychedelic Furs-song. Plus we won a remix competition last year for the Feardemic horror gaming platform, which was a huge boost.

We’d love to start doing live shows at some point, but there’s nothing on the calendar yet. Otherwise we’re back in the studio working on new material, and excited to collaborate with other artists whenever we can!

Speaking of which, I’d like to give a quick shout out to a band that caught our attention recently, one we’d love to work with soon, a band is called Thy Seven Synth. I came across their new single “A Ring To Behold” while scrolling through Reddit, and I literally had to stop what I was doing. I listen to a lot of new music this way, usually on Reddit and various Facebook groups, and most of the songs are very amateurish and unrefined. Not these guys. I can’t remember the last time I was this excited about an up-and-coming band. I reached and they were very sweet and engaged, so hopefully there’s some future collaborations there. Our names even match!

Tom: Live shows have been the most recent thing that’s coming up more often in conversations. There’s a pretty decent Industrial/EBM scene near us, so I think it would be feasible to book a show of some type.

Whether we’re playing to four waiters and a guy passed out at the bar, or opening for NIN, that remains to be seen. I think that we’ll be much closer to the former, but who cares? I’m here to have fun with my friends, and if people happen to enjoy the music along the way, then I’m ecstatic. I can only hope that we do this well into our 90s. This is by far the most fun creative project I’ve ever been involved with, and I don’t see that changing anytime soon.

]]> Working with Fad Gadget and Daniel Miller was an exciting treat says Jean-Marc Lederman https://www.side-line.com/fad-gadget-mute-daniel-miller-and-jean-marc-lederman-i-saw-the-animal-in-frank/ Wed, 06 Sep 2023 08:41:10 +0000 https://www.side-line.com/?p=44693 (Photos from the personal archives of Jean-Marc Lederman) This article draws from various updates posted...]]>
Fad Gadget, Mute, Daniel Miller and Jean-Marc Lederman: 'I saw the animal in Frank'

(Photos from the personal archives of Jean-Marc Lederman) This article draws from various updates posted by Jean-Marc Lederman (The Weathermen, Kid Montana, Jules et Jim, Ghost & Writer, Lederman / De Meyer, Rohn-Lederman…) on his Facebook profile, which we’ve consolidated into a comprehensive piece. This compilation offers a profound understanding of the workings of the indie music industry during its ‘golden era’. Additionally, it provides specific insights into Mute Records, the label of Daniel Miller, as numerous individuals, including Fad Gadget, mentioned in this article have significant associations with the iconic UK label.

Digital Dance (1978-1979) / Daniel Miller

The year was 1979 and I had just quit, well I was sacked tbh, from Digital Dance , the first band I was in.

We were doing post punk/cold wave/new wave stuff and it was really exciting. I started doing bass with them on a..ARP 2600 whci I had bought working on building sites, yeah, far too much of an overkill I agree. We were rehearsing here and there but did a time at the famous Plan K where we supported Joy Division. Actually, that day I went to pick up Ian and Bernard Summers at the very seedy hotel they were in and I drove them to the gig.

They were laughing like kids, you know, young musicians being happy to play abroad. It was such a cold day, everyone was freezing and Ian even came close to Stefan Barbery (Digital Dance guitar player) who was close to an electric heater to tell him “Well, I guess this is why they call it Cold Wave…”

Archive magazine photo of a band featuring Frank Tovey (Fad Gadget) on the 'Digital Dance' set

We also opened to Magazine and Fisher-Z and it was becoming too much of a routine for me: the Brussels band that does all the new wave support slots but hasn’t even got a decent recording contract…

Oh, we had one, and they made us record our very fast cover version of Kraftwerk’s “RadioActivity”. At the end of the session, they made me do some terrible sound effects, hoping to catch on the fad of the moment, and it just ruined the whole song. Tells you that if a thing sounds bad and contrived and cheesy on monday, still sounds the same the day after and 40 years later. Sorry Stefan, my fault.

Then Phil Wauquaire (whom I had met from Streets, the punk band he was in and I actually played with them live on a couple of songs with a…AKS, another overkill) joined us and I played synth with a Korg MS20 then with a Yamaha CS50M who weighted like half an olifant after a drinking binge.

Archive live photo of the band performing with keyboards on stage

Anyway, after a couple of gigs with Digital Dance at the Gibus in Paris, i was let go (which was fine, really). Two days later, I call Daniel Miller whom I had met in London a few months ago. Digital Dance had been foolish and crazy enough to believe that if you go to London you can pretty much be sure you’ll find a gig. All we did was rehearsing (below Beggar’s Banquet where I met Peter Kent from the future 4AD label) and waiting in our hotel off Kings Road. Anyway, we were trying to get Geoff Travis from Rough Trade to listen to our demo and he stopped it 20 seconds in and tell us: if you go to “Better Badges” now, you’ll see a man called Daniel Miller (from label MUTE RECORDS) and maybe he’ll like your stuff….

So, off we went to Better Badges and there we met Daniel, with a green basket full of The Normal badges.

Daniel and I hit directly like if it was an “International Conference Of Synths Fanatics”. I mean: synths weren’t as known or popular then as they were then. It was still a relatively rare sight on stage or in gigs or in bands that weren’t poppy or progrock. No, we’re talking new industrial scene in the UK: noisy and determined, not minimoogs played by long haired musos…

So, Daniel and I exchanged phone numbers and we traded letters and phone calls here and there. So, remember, I’m sacked from Digital Dance and I then realize that if I wanted to really go anywhere in music, Brussels isn’t the place to be and I must move to where things are happening. At that time, London was THE center of music in Europe and I decide that I want to try my luck and the two major chords I know there. I pick up the phone and call Daniel, asking him if he knew any musician that would be interested in moi ?

Yeah, I know someone, he’s on my label now, he’s looking for musicians, call him… His name is Frank Tovey….

Frank Tovey / Fad Gadget #1 (part 1)

The audition was simple: we didn’t even play a note or try to do a song, we just sat and drank coffee and laughed a lot. But there was no try-out, no keyboard or synths tickering… And that’s how Philippe Wauquaire and I became members of Fad Gadget #1 for a few months in 1980: a simple coffee cup meeting and an unmistakable good chemical feeling between us. Frank had played a few gigs on his own but wanted musicians around him so he could concentrate a bit more on being a little bit less concentrated if you know what I mean.

There was Frank: clever, astute, open, funny, with a lot of wit doubled with a good dose of sarcasm: totally my alley. But he knew what he wanted musically, there was no doubt about what he wanted to sound like. The plan was: rehearse at my place in Brussels, a first gig here, then play a few gigs as support for Deutsche Amerikanische Freundschaft in Germany and going to tour the UK as support for The Monochrome Set.

So, we start rehearsing in my attic: Frank on vocals, Pearl Syncussion and distorted electric piano, Phil on Fender bass and Korg MS 20 and myself on handling the cassette player (each song had its drums/rhythmic parts on a single cassette and I would feed the machine with a new cassette every song) and my 4 notes polyphonic, Yamaha CS 50M. Again, an overkill.

After a few hours of rehearsals, we have our first gig: support-act for Orchestral Manoeuvres In The Dark. We are all extremely nervous but the gig goes well: Frank doesn’t go into the mad behaviours he’s known for yet but you can see he’s holding up something big inside, something is boiling there. After the gig, we proceed to the German border and sleep in a motel there. In the morning, I’m being handed an envelope with my per diem (every day allowance a musician gets when on tour): it is the first time someone hands me money for doing something I love doing: playing music. I couldn’t believe it and I took a second piece of bacon and refilled my coffee cup. We are about to go to Dusseldorf to play The Ratinger Off as support for Deutsche Amerikanische Freundschaft.

Concert poster for Orchestral Manoeuvres in the Dark and Fad Gadget at Klacik, Uccle

Something started to happen at the Ratinger Hof: maybe it was the roughness of the place, the German lager (naaaaah) or the history of the place but this thing Frank had inside him but it slightly came out at that gig. See, there was an animal inside Frank, and that animal was as extrovert as Frank was introvert: Frank was then frontal and loud and, yes, obnoxious but in a gentle and friendly way but he wasn’t the shy Frank. In response to Frank’s changing live attitudes, Phil and I started to play loser and noisier and wilder (and there were far more bump notes on my part) but the band started to make sense.

The crowd wasn’t there for us, they were there for what would later become DAF, but the reaction was good and people liked us. I recall Frank and I going out in front of the place and that guy comes out dressed as a mod, full parka mode with a patch “Remember Brighton” which made Frank laughed a lot, people were out there with their beer and… Omg what am I saying: IT JUST FELT GREAT.

Deutsche Amerikanische Freundschaft at the time was a five piece band and they were fun and chaotic. You couldn’t miss Chris Haas, the synth guy, who was classy and special. He had a very specific body language when playing live: he would stand back, have a smile and just come here and there to play a few notes…He is the real grandfather of EBM as he introduced the famous 1/16th bass line (Korg MS 20 and SQ 10 sequencer) that will be the bone of so many records later on.

The morning after, we went out to the next gig. Daniel, Phil, Chris and myself embarked in my mum’s yellow Civic and we went down the motorway, singing loudly “Fahn Fahn Fahn Auf Der Autobahn” laughing and laughing… I guess Chris must have done that thousand of times before but, for Daniel, Phil and I it meant something different: we were doing it. We were travelling in Kraftwerk’s motherland and going to play electronic music there: it was immense.

We only played one more gig in Germany and then the whole tour was somehow cancelled… Roland Beelen: I saw the animal in Frank I guess a few months later at the Paasfestival in Koninfshooikt (organized by my friend Guy Vanwoensel) I was a stagehand there. Frank smashed a crucifix that was hanging above stage in the hall (parochiezaal)with his magic stick. The whole village was in shock when the news spread the next morning. The vicar organized a special service the next day to please the smashed fallen Christ ! they say he resurrected a few weeks later! All end, good end !

Frank Tovey / Fad Gadget 1980 (part 2)

Something had clicked in Frank after a few gigs: it’s like he had been showed by practice that it could work, that the songs were good, the voice was good but even more than that his FG personnae and ideas had an impact on the crowd. He would go out, do his thing, see people respond to his songs, lyrics and theatrics and then he would retrieve after the gig in the gentle and shy Frank Tovey. Phil and I were providing a background that wasn’t perfect but for Frank it was a great practice for FG future.

When we toured as support for The Monochrome Set, we were sometimes in fire and I could really feel people’s amazement at that born-to-be showman. He would play with the crowd and slowly take them into the show. Our sound might not have been very sophisticated but with Frank’s distorted piano, the CS50 brutal in and out sounds, Phil’s impeccable swirling bass, we were like The Stooges with synths and Frank was a perfect bionic Iggy Pop….I began to be very proud of us, we were quite something indeed and I was going on stage with a mission: to show people the songs and to let them fall in Frank’s performance.

I also remember that after the last show of the tour, possibly at the YMCA gig, one of the roadie came at the CS 50 and started to play some Bach’s prelude. I was stunned and shameful of the snobiness i may have shown the roadies on that tour, or before tbh. I learned a lesson that night and never again would I be feeling above anyone on a stage, or in studio, be them multiple charts success artists or simple roadie.

Something wild happened after our gig at the 100 club. Jock Mac Donalds (from the future Bollock Brothers) was very drunk and he started to look for a fight with us and being extremely aggressive, a bottle in his hand, waving it at us. Phil, FG’s bass player, was a karate black belt and he was looking very calm, coming closer to Jock inch by inch. Suddenly he jumped at Jock, put two fingers on his Adam’s apple and said with a slow voice: “OK, let’s kill”, his eyes deep into Mac Donald’s eyes.

The bottle instantly fell on the ground and the guy just ran out the club swearing loud and clear… Phil and I were sleeping at Daniel’s mom place for a few days and we were making music late at night. One of these nights, Daniel was on Phil’s MS 20, I was trying Daniel’s infamous Korg 700S (the one that was on TVOD and Warm Leatherette) and Phil was on the CS 50M but it was visibly too loud and too late as Daniel’s mum came down and asked us to PLEASE STOP !

Next gig to come was going to be the Clarendon, but we were told this would be our last gig with Frank as he wanted a full band behind him to totally free him from any other duties but vocals. I was devastated…

Frank Tovey / Fad Gadget #1 (part 3)

Poster for Stevo's Electronic Party featuring D.A.F. and Fad Gadget at the Clarendon Hotel, Hammersmith

So, we were invited to headline Stevo’s kinda festival at the Clarendon, on June 27 1980. Stevo was a very colourful character who will make himself known later when managing bands like Soft Cell and The The. The bill was very symptomatic of the time: DAF, Naked Lunch, B.Movie, Vice Versa, Clock DVA,…

So, Fad Gadget #1 had started touring as a relative unknown a few months ago and we were by now talk of the town and headline this festival. It felt good and it felt also important and I was nervous. Everybody was. Frank had a song by Georges Folmby playing before we would go on. Folmby was a Lancarshire working class comedian and he was famous for playing double entendre ukulélé songs. It was a known and safe thing for British people and Frank used it as contrast as chaos would start when we would cut Folmby and go straight into “State Of The Nation” and follow that with most of what is on the album Fireside Favourites.

Handwritten setlist and equipment notes referencing Jean-Marc Lederman
  • State Of The Nation
  • Back To Nature
  • The Box
  • Fireside Favourite
  • Newsreel
  • Pedestrian
  • Coitus Interruptus
  • Ricky’s Hand
  • Back To Nature

Yes, Frank wanted shock and chaos, and he got that except that at the Clarendon it went a bit further than expected. During one of the early songs, Fad had already taken over Frank, he smashed up his face with one of the two Syncussion drums and it started pouring blood. Phil and I looked at him and he made us understand it was fine and let’s continue…So we continued until someone took Frank off stage as it was just like a fountain of blood by now. The gig was stopped.

We went backstage and Frank was adamant he was fine but Babra (his wife) disinfected the wound and placed a cloth on it. We went back on stage.

The crowd went MAD. Frank was standing there, his white clothes with red blood all over it, singing to the public that was all won. It was an incredible sight, and being on stage, playing the songs with a singer that went beyond the call of duty was something unexplainable. After the gig, we had to take the 5 am ferry. I was sitting on the stairs of the Clarendon and, yes, I was crying, letting all the tension, the fears of the gig off my system but also the sadness I felt after having lived some incredible times with
Frank, as synth player in Fad Gadget. I saw Frank playing with Fad Gadget #2 a few months later and he invited me to play in the encore: we were cool.

Still, I wasn’t done with London and would come back later…

Side-Line also covered Jean-Marc Lederman’s ‘Sci-Fi Revisited’.

About Fad Gadget

Frank Tovey (8 September 1956 – 3 April 2002), an English electronic musician and performance artist, recorded as Fad Gadget, becoming the first artist signed to Daniel Miller’s Mute Records after the two met at the Rough Trade shop in London. His recorded work combined synthesizers with found-object sounds and dark, comic lyrics. Studio albums as Fad Gadget include “Fireside Favourites” (1980), “Incontinent” (1981), “Under the Flag” (1982) and “Gag” (1984), after which he continued recording under his own name, releasing six further albums on Mute between 1985 and 1992. He died of a heart attack at his London home in 2002.

Belgian musician Jean-Marc Lederman played with Fad Gadget in the band’s touring lineup during the early-to-mid 1980s and has recounted memories of touring with Tovey, Daniel Miller and DAF’s Chrislo Haas in interviews, describing Tovey as bringing something unheard in electronic music at the time. Lederman has credited Daniel Miller and Fad Gadget’s early-1980s touring band, including Chrislo Haas of DAF, as formative to his own career.

]]> V/A Industrial Sounds From Underground (Album – Aliens Production) https://www.side-line.com/v-a-industrial-sounds-from-underground-album-aliens-production/ Thu, 10 Aug 2023 07:00:00 +0000 https://www.side-line.com/?p=44186 Genre/Influences: IDM, EBM, Experimental, Ambient. Format: Digital, CD.   Background/Info: This compilation is an opportunity to...]]>

Genre/Influences: IDM, EBM, Experimental, Ambient.

Format: Digital, CD.  

Background/Info: This compilation is an opportunity to discover the music universe of Aliens Production; a label run by Slovakian Peter Rybar (Disharmony) and active since the late 90s. This compilation features 16 artists -while you get 2 more at the digital edit.

Artists: Triode, AKMD, Calm-T feat. Mortum, Holon, Jash Teua, Niadragea, Morbid Fance, Disharmony, Mortal Constraint, Human Vault, Tokke, Kryotronic, Bieker, Synta[XE[rror, KIFOTH, Drifting In Silence.

Content: You’ll discover a fine selection of ‘old’ label servants next to ‘younger’ projects while there’s also a noticeable feature by legendary Mortal Constraint and Morbid Fancy. This album covers different styles from IDM to sophisticated EBM and from Electro-Experimental to Cinematic music.

+ + + : The compilation reveals a fine selection of great artists which all have composed an exclusive track for this compilation. That makes the compilation really interesting and even essential. Mortal Constraint delivered an intelligent piece of music and remains a project I’m missing in this scene. Morbid Fancy is another project that was active during the 90s. I’m not sure they made a come-back for this sampler but probably deliver a previously unreleased song from the past which sounds as intelligent EBM. Disharmony stands for pure IDM appealing to fans of Clock DVA. I also have to mention a great and atmospheric cut by AKMD, the haunting EBM from KIFOTH and the IDM-driven songs from Synta[XE]rror and Kryotronic.

– – – : I’m still perplex why this label never got more recognition.

Conclusion: The perfect work to get contaminated by the unique sound universe of Alien Productions.

Best bands: Morbid Fancy, Disharmony, Mortal Constraint, KIFOTH, Kryotronic, Synta[XE]rror, Tokee, AKMD.

Rate: 8.

Label: www.label.aliens.sk / www.facebook.com/pages/Aliens-production-label/200028820052578

About Aliens Production

Aliens Production is a Slovakian record label run by Peter Rybar, also known for his own project Disharmony, active since the late 1990s. The label has released material from acts including Disharmony, Fractal, Human Vault, KIFOTH and Morbid Fancy. This compilation gathers sixteen Aliens Production artists on one release, each contributing an exclusive track.

]]> The_Empath – Black Hole (Album – Audiophob) https://www.side-line.com/the_empath-black-hole-album-audiophob/ Thu, 20 Jul 2023 07:00:00 +0000 https://www.side-line.com/?p=43860 Genre/Influences: Ambient-Electro, IDM,Experimental. Format: Digital, CD. Background/Info: Mike Erkau started dealing with Electronic music in...]]>

Genre/Influences: Ambient-Electro, IDM,Experimental.

Format: Digital, CD.

Background/Info: Mike Erkau started dealing with Electronic music in 1993. Thirty years later he can look back at different productions and now strikes back with his first new studio album since 2015. “Black Hole” also is his debut album on Audiophob. As the title might indicate it’s a conceptual work which took many years for the artist to achieve.

Content: The_Empath invites the listener to a ‘retro-futuristic’ Electronic travel. The Ambient-Electro side is the guiding line through the album which has been mixed with contemporary IDM influences. More than once I got the sensation listening to the fictive mix of Tangerine Dream and Clock DVA. The work is however driven through an impressive astral dimension reinforcing the concept of the ‘black hole’. Heimstatt Yipotash, =mp45= and Mortaja contributed each to 1 track.

+ + + : This album sounds as an impressive come back. It took years for The_Empath to achieve this work but it sounds as a true accomplishment. The tracks are characterized by total sound intelligence; the mix of vintage sound treatments reinforcing the ‘astral’ dimension of the work and IDM parts. The work sounds complex and yet easily accessible. The addition of rhythms even bring some tracks into dance. The work reveals different great songs but you can’t get away from “Lost Your Cygnal” and “Hypernova”.Last but not least I also want to say a word about the artistic digipak (DVD format).

– – – : I don’t see true minus points here.

Conclusion: The concept of this album remains a true mystery which never stops fascinating scientists. This feeling has been perfectly adapted into great music. 

Best songs: “Lost Your Cygnal”, “Hypernova”, “Southern, Hemisphere”, “Utopia with =Mp45=,” “Ergosphere – with Mortaja”.

Rate: 9.

Artist: www.subroom.com / www.facebook.com/the.empath.music

Label: www.audiophob.de / www.facebook.com/audiophob

About The_Empath

The_Empath is a solo project of German musician Mike Erkau, who started making electronic music in 1993. He is also involved with the projects Trackologists, Cosmic Noise Crew and Stimulus Response, and worked as a VJ with XABEC between 2005 and 2015, including a performance at Maschinenfest 2008 in Krefeld.

“Black Hole” is The_Empath’s first new studio album in eight years. In a Side-Line interview, Erkau said the concept originated in 2016 from collaborations with musicians he met at festivals, and that the album’s darker material, including “Lost Your Cygnal” and “Ergosphere,” was shaped by personal events between 2020 and 2022. “Black Hole” is his debut release on Audiophob.

]]> Frontier Guards – Colony (Album – Aliens Production) https://www.side-line.com/frontier-guards-colony-album-aliens-production/ Fri, 26 May 2023 07:00:00 +0000 https://www.side-line.com/?p=43120 Genre/Influences: Ambient-Electro, IDM. Format: Digital, CD. Background/Info: Czech artist Martin Pavlik strikes back with the...]]>

Genre/Influences: Ambient-Electro, IDM.

Format: Digital, CD.

Background/Info: Czech artist Martin Pavlik strikes back with the seventh full length album of his sonic brainchild Frontier Guards. He got help from Patrick Lev (Cydonia 2056) while a female singer ‘Mia Bohemia’ sings on one track.

Content: “Colony” has been announced as a ‘new sound and concept’ and that’s true. You immediately notice a very explicit space-like sound atmosphere which is reminding me of Ambient pioneers but Frontier Guards also holds on its very own sound identity. So in the end you get a fascinating mix between Tangerine Dream and Clock DVA. Evasive passages have been driven by slow, sophisticated, rhythms while other passages are more into bombast and Industrial sound treatments featuring icy, menacing, elements. Both last tracks are remixes featuring one by Pyrroline.

+ + + : Seven is the final state of accomplishment in alchemy… and this is exactly how I would define the seventh album by Frontier Guards. I’ve always supported this project from the very first work and each new album revealed new discoveries. But I now get the feeling the project’s Pandora’s box has been really opened, creating new sonic paths while holding on to the intelligent Electronics from the past. A deeply, astral, sonic travel created by outstanding sound treatments and arrangements mixing bombast and refinement. The way the composition has been accomplished makes me think of an imaginary sonic surgery; meticulous and precise.

– – – : Both remixes are great but just a level below the original tracks; no reason to complaining!

Conclusion: Frontier Guards has already accomplished great works but “Colony” might be considered as one of the absolute references. It’s just a pity this project never got more recognition!

Best songs: “Moon Landing”, “Phobos”, “Space Race”, “Cydonia 2056”, “Artefact”.

Rate: 9.

Artist: www.frontierguards.eu / www.facebook.com/frontierguardscz

Label: www.label.aliens.sk / www.facebook.com/pages/Aliens-production-label/200028820052578

About Frontier Guards

Frontier Guards is the electronic project of Czech musician Martin Pavlik, known for a sound blending ambient-electro, IDM and industrial elements. Pavlik has released albums via Aliens Production, UTSC and Advoxya Records, returning to Aliens Production for his fifth album “#You#” in 2019 and continuing the partnership since. “Colony” is his seventh full-length under the Frontier Guards name, again released via Aliens Production, and features a collaboration with Patrick Lev on the track “Cydonia 2056” and a guest vocal from Mia Bohemia.

]]> Disharmony – Mindhunter (EP – Aliens Production) https://www.side-line.com/disharmony-mindhunter-ep-aliens-production/ Mon, 13 Mar 2023 08:00:00 +0000 https://www.side-line.com/?p=41716 Genre/Influences: Experimental, IDM, EBM. Format: Digital. Background/Info: Slovakian duo Peter Rybar (Oxyd, Triode and label...]]>

Genre/Influences: Experimental, IDM, EBM.

Format: Digital.

Background/Info: Slovakian duo Peter Rybar (Oxyd, Triode and label owner) – Robert Gajdos (Headdreamer) released this new EP by the end of 2022.

Content: Those who’re familiar with the sophisticated sound of Disharmony will rapidly recognize the band’s sound trademark. The EP features 2 main tracks mixing elements of IDM together with EBM. It sometimes reminds me of a sonic hybrid between Clock DVA (for the sound intelligence) and Yelworc (for the dark spheres). There are also 2 other tracks which are more a kind of experimental interlude.

+ + + : Both main songs but especially the title track is a great piece of music. Intelligent, dark, underground Electronics with an unpolished production but maximum sound efficiency featuring haunting vocals on top.

– – – : Both tracks left don’t bring any bonus and rather sound as demos.

Conclusion: Disharmony in a way stands for the sound of Aliens Production; intelligent and sophisticated music for Electronic gourmets.

Best songs: “Mindhunter”, “Dune”.

Date: 8.

Artist: www.facebook.com/dISHARMONY.Offical

Label: www.label.aliens.sk / www.facebook.com/pages/Aliens-production-label/200028820052578

About Disharmony

Disharmony was set up in the early 2000s by Slovakian musicians Robert Gajdos, also known as Lord Sauron, and Peter Rybar, also known as Ryby. The duo released three albums on Tympanik Audio before that label closed, followed by “Fragments Of Time” in late 2016 on Aliens Production, the label Rybar runs himself. Gajdos also records as Headdreamer, while Rybar is behind the projects Oxyd and Triode. The “Mindhunter” EP followed by the end of 2022.

]]> Fractal – Last Day On Earth (Album – Aliens Production) https://www.side-line.com/fractal-last-day-on-earth-album-aliens-production/ Mon, 20 Feb 2023 08:00:00 +0000 https://www.side-line.com/?p=41370 Genre/Influences: EBM, Minimal-Electro. Format: Digital. Background/Info: Polish Tomasz Łukowicz active as Fractal has released an...]]>

Genre/Influences: EBM, Minimal-Electro.

Format: Digital.

Background/Info: Polish Tomasz Łukowicz active as Fractal has released an impressive number of productions during the past few years. “Last Day On Earth'” brings us back to the early days of his Fractal sonic project. Seven songs originally written in 2007 but released in 2022.

Content: You clearly recognize the minimal- but sophisticated sound approach this artist would later on develop. It clearly appeals for lovers of Clock DVA and related bands. It’s a dark approach of Minimal-Electro mixing sung- and instrumental songs.

+ + + : I salute the maturity of these tracks which were originally written in the early days of Fractal. I like this sound intelligence, the artist having a nose for small, sonic, details.

– – – : It’s not the best Fractal work but I think those who know the later work will be ravished to hear how it all started.

Conclusion: This is not the most accessible or successful side of Electronic music but it’s one for fine tasters.

Best songs: “New Hope”, “Contact”.

Rate: 7½.

Artist: www.facebook.com/tomasz.lukowicz.1

Label: www.label.aliens.sk / www.facebook.com/pages/Aliens-production-label/200028820052578

About Fractal

Fractal is the dark electronic project of Polish-born musician Tomasz Lukowicz, based in Chester, England, since 2004, releasing primarily through the Slovak label Aliens Production. Fractal debuted in mid-2021 with the albums “Human Error” and “A Unique Hybrid”, followed later that year by “Equilibrium”, released 1 October 2021, and “Access Denied”, which collected material originally written and recorded in 2015. On 21 March 2022 Fractal issued the 14-track album “Hologram”, with artwork by Ryby and mastering by Anatoly “TOKEE” Grinberg.

“Last Day On Earth”, the subject of this review, gathers seven tracks Lukowicz originally wrote in 2007. Fractal went on to release “Solar System” and the digipack CD “Antidote” later in 2023, followed by the four-track “Network” EP, and issued “Overload” as a digital and CD album on 18 April 2024.

]]> Ex-The Human League founders see early British Electric Foundation material reissued including early version ‘Groove Thang’ https://www.side-line.com/ex-the-human-league-founders-see-early-british-electric-foundation-material-reissued-including-early-version-groove-thang/ Mon, 06 Feb 2023 16:47:00 +0000 https://www.side-line.com/?p=41124 Out on April 21st via Cold Spring on CD and vinyl LP is the reissue...]]>
Ex-The Human League founders see early British Electric Foundation material reissued including early version 'Groove Thang'

Out on April 21st via Cold Spring on CD and vinyl LP is the reissue of some of the earliest material written by Martyn Ware and Ian Craig Marsh for their post-The Human league project British Electric Foundation (B.E.F.), the tape “Music for Stowaways”.

Following two groundbreaking albums (“Reproduction” and “Travelogue”), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company – British Electric Foundation – and signed a deal with Virgin to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory.

B.E.F. would also release their own material, commencing with a limited edition numbered eight song cassette entitled “Music for Stowaways”, with “Stowaways” being a reference to the original name for the then-new Sony portable cassette player – later renamed the Walkman – which allowed owners to “design a soundtrack for your everyday life for the first time and have it playing while you walked around.”

“[That] became the theory behind [Music for Stowaways],” explains Ware. “It was about how you could play your music and change your mood wherever you were. Basically, the Walkman liberated music. And there we were at the sharp end with this cassette-only release.”

The cassette was followed by a seven song LP, “Music For Listening To”, which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17.

This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as “Groove Thang” – an instrumental version of the debut single by Heaven 17 released on the same day as the cassette – and “The Old At Rest”, which derived from a version of “Wichita Lineman” by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.’s “Music of Quality and Distinction, Volume One” covers album in 1982.

Supporting musicians on “Music For Stowaways” included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track “Uptown Apocalyse”, with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on “Groove Thang”.

Note that the following tracks on this release either never were on the original 1981 cassette or were uncredited bringing the total to 12 tracks.

  • B.E.F. Ident *
  • A Baby Called Billy *
  • Honeymoon In New York *
  • B.E.F. Ident **

*not on 1981 cassette release
** uncredited on 1981 cassette release

]]> Click Interview with Gin Devo: ‘Who Wants To Create Music In Front Of A Computer Screen?’ https://www.side-line.com/click-interview-with-gin-devo-who-wants-to-create-music-in-front-of-a-computer-screen/ Wed, 25 Jan 2023 18:00:00 +0000 https://www.side-line.com/?p=40903 Dark-Electro heads know Gino Devos aka ‘Gin Devo’ as core member of Vomito Negro. The...]]>

Dark-Electro heads know Gino Devos aka ‘Gin Devo’ as core member of Vomito Negro. The Belgian musician also started to compose music under his own name and released a few noticeable productions. Gin Devo sounds more ‘free-styled’ and as Gino explains in the interview this project gives him more ‘freedom’. The newest album “The Garden Of Evil” released last year on Scanner / Dark Dimensions features extremely dark and tormented atmospheres with great Minimal-Electro compositions.

(Courtesy by Inferno Sound Diaries)

Q: You don’t exactly release new work at regular basis as Gin Devo but what means this solo-project to you and especially in comparison with Vomito Negro?

Gin: The musical direction from Vomito Negro over the years almost never changed. Vomito Negro’s style  is still the same as in the 80s; it is impossible to change a musical direction from a band who is busy so long time.

Vomito Negro took another approach in the past with “Fireball” and this turned out very bad for the band.

With Gin Devo I have more freedom, every solo album takes a different starting point or style, for me this is very important because I like to experiment and start again where other bands stopped in the 80s or 90s.

Q: What are the main differences between both projects when it comes to influences, sound approach & -research, production, concept?

Gin: With Gin Devo and “The Garden of Evil” I started to work the way we did in the early 90s. The early 90s where very bad for our style of Electronic music because House music started to dominate the scene, so lots of Electro bands quit or started to make Dance music, what sounded pathetic.

So for me the 90s are musically incomplete, and this is a gift for me because I own the know-how and instruments to complete that decade.

Q: Tell us a bit more about “The Garden Of Evil”? What have been the triggers and influences to compose this work and what does the title refer to?

Gin: Years ago I was listening to Clock DVA’s “Buried Dreams”, and asked myself why isn’t there a successor for that album or musical style, and I came with the same answer… the scene was dying.

So this triggered me to start with “The Garden Of Evil”.

No musician is working in that 90s style anymore, so I’m the only one who dares to pick up the thread again.

So I produced this album completely in the way we did in the early 90s.

Q: Listening to productions of Vomito Negro and Gin Devo I’m always fascinated by the overwhelming darkness running through your work. Where does this dark side comes from and in which way is it a mirror to your soul?

Gin: I grew up in the 80s, that was not a very happy period, we listened a lot to dark music styles and started to compose music ourselves. The 80s were very grey, buildings where dirty from exhaust gasses, there was a lot of un-employment.

There are people who fight against darkness, and there are others who use the darkness to create stuff… music, art etc… that’s me.

Q: You’re definitely fascinated by good-old analogue and modular equipment which is a totally different way of working than composing music with digital- and software synths. Tell us a bit more about your studio equipment, favorite tools and your perception of ‘artists’ working with software synths?

Gin: I bought lots of vintage analog gear 20 years ago, nobody wanted those dinosaurs anymore, so they were very cheap. The same with the early 90s digital synths, they collected dust and people sold them for peanuts. So I own lots of them, my studio is packed with gear from the 70s 80s 90s. Those old instruments have a distinctive sound and beautiful control boards, they invite you to explore them and create sounds and music.

Maybe plug-ins work good too, but who wants to create music in front of a computer screen? It’s boring and contra-artistic, you have to touch your instruments, feel them… not only hear them.

Q: You’ve been involved with music since the early 80s so how do you see the evolution of Electronic music generally speaking and how do you expect things evolving the next years? And how would be your life without music?

Gin: With modern Electro I think they sometimes  make it too complex or too distorted. So I’m very selective in the albums I listen to. I think small electro bands are always better to innovate, and larger bands steal from them.

I couldn’t imagine a life without music, I hope my ears, brain and hands keep working for a long time.

]]> RetCon – EP.01 (EP – Retcon) https://www.side-line.com/retcon-ep-01-ep-retcon/ Fri, 09 Dec 2022 08:00:00 +0000 https://www.side-line.com/?p=40041 Genre/Influences: IDM, EBM. Format: Digital. Background/Info: Jason Hollis is already active for a while. The...]]>

Genre/Influences: IDM, EBM.

Format: Digital.

Background/Info: Jason Hollis is already active for a while. The American this year released this debut-EP featuring four songs.

Content: RetCon stands for sophisticated Electronics which is taking us back in time. The approach reminds me of Clock DVA but also to sound treatments of bands like Front 242 and Cabaret Voltaire. The vocals have been produced in a spooky way.

+ + + : I never heard of RetCon before but I can assure you it’s a name I’ll keep in mind. I’m fond of Hollis’ sound treatments creating a true intelligent Electronic format. Subtle bleeps and retro Electronics evoke to me famous pioneers in Electronic underground music. The ghost-like vocals are totally matching with the sound. All songs are worthy of examination but especially the opening track “New Days” and “First Light” are impressive and reveal the maturity and genius of the project.

– – – : I regret this is just an EP. I want to hear more from RetCon.

Conclusion: RetCon sounds to me like the Clock DVA of modern times.

Best songs: “New Day”, “First Light”, “Xcommunication”.

Rate: 8½.

Artist: www.retcon.info / www.facebook.com/endif Read the news on ‘EP.01’.

About RetCon

RetCon is a solo project of Minneapolis, USA-based electronic musician Jason Hollis, who also performs as Endif. Hollis co-founded Manual Control Records, a Minneapolis electronic label, and works across ambient, techno, EBM, goth, industrial, and IDM styles. “EP.01” is RetCon’s debut EP, reviewed by Side-Line in December 2022, three months after its release was announced.

]]> Gin Devo – The Garden Of Evil (Album – Scanner / Dark Dimensions) https://www.side-line.com/gin-devo-the-garden-of-evil-album-scanner-dark-dimensions/ Wed, 07 Dec 2022 08:00:00 +0000 https://www.side-line.com/?p=40029 Genre/Influences: Dark-Electro, Minimal-Electro, Experimental. Format: Digital, CD, Vinyl. Background/Info: Vomito Negro core member Gino De...]]>

Genre/Influences: Dark-Electro, Minimal-Electro, Experimental.

Format: Digital, CD, Vinyl.

Background/Info: Vomito Negro core member Gino De Vos aka ‘Gin Devo’ started releasing solo-production in 2012 (cf. “Errata” and “Surface”). His new work (cf. “Electroteque”) was released in 2017. This new opus is the fourth full length by the Belgian legend of underground Electronics.

Content: Gin Devo remains faithful to his ultra-dark sound treatments and -atmospheres. The work sounds pretty retro-like, the global atmosphere emerging of the tracks being more important than power. The songs are carried by repetitive loops and accentuated by obscure bass lines, strings, spoken samplings and Gino’s ghost-like vocals on top.

+ + + : I’ve always liked the sound universe of Gin Devo. You really get the illusion entering into an evil, dark, cave so the title of the work totally fits with the sound atmosphere. This is an extreme format of darkness but it also is a captivating production for its minimalism. The songs have been composed with vintage gear injecting an ‘authentic’ touch to the production while Gin Devo remains for sure a little genius when it comes to icy sound treatments. The work features multiple cool songs but I want to mention “Bitter Tears” for its sound intelligence reminding me of the Clock DVA universe. The opening piece “Dark Frequencies” is another essential track.

– – – : The very last song “Son Of Sam” sounds like pure Experimentalism and a rather anticlimax compared to the rest of the tracklist.

Conclusion: The work reflects an endless state of darkness which could be a perfect sonic metaphor to the work we’re living in.

Best songs: “Bitter Tears”, “Dark Frequencies”, “Amend”, “Only For Moments”.

Rate: 8.

Artist: www.facebook.com/Gindevo

Label: www.darkdimensions.de /  www.facebook.com/pages/Dark-Dimensions-Label-Group/486014725206

About Gin Devo

Gin Devo is the solo project of Belgian musician Gino De Vos, also known as a member of Vomito Negro, the EBM and electro-industrial band formed in Belgium in 1983. De Vos began releasing solo material as Gin Devo in 2012 with “Errata” and “Surface”, followed by “Electrotheque” in 2017. “The Garden Of Evil”, his fourth full-length album, followed via Scanner/Dark Dimensions in 2022.

]]> ‘Click Interview’ with Tragic Impulse: ‘I’ll Never Consider Myself A Finished Product’ https://www.side-line.com/click-interview-with-tragic-impulse-ill-never-consider-myself-a-finished-product/ Sat, 10 Sep 2022 17:00:00 +0000 https://www.side-line.com/?p=38585 American  Paul M. Graham this year unleashed the fourth album of his Tragic Impulse sonic...]]>

American  Paul M. Graham this year unleashed the fourth album of his Tragic Impulse sonic project. It’s the third opus released by Distortion Productions. “Distant Worlds” takes the listener away to visit a dark- and danceable experience of EBM empowered by Dark-Electronics and Industrial, but also polished with Pop elements. Most elements of the production process have been improved so in the end you get a varied, danceable and efficient work.

(Picture credits by Sergei Photography / Interview courtesy by Inferno Sound Diaries)

Q: I remember a previous interview you were talking about growing maturity and studio equipment, which both are essential aspects in the evolution and development of an artist. How did you see both elements evolving from your very first song till the new album?

Paul: I’ve definitely had growth in my production skills since the first album (“Machine Parts”). I felt great about the writing on the first album, but I just didn’t feel the mixing and such was at a similar level. I was still very much a newbie at the time. Rather than farm out that work to a more accomplished producer, I’ve stuck with it and feel pretty good about where things are now. There’s always lots of room for improvement though and I’ll never consider myself a finished product.

As for studio equipment evolution, almost all of that has happened in the form of soft-synths and software tools. I’ve found that I can create the music I want without the extra expense and physical space it takes to keep all the hardware. There are advantages to hardware for sure, but I’ve found that for my needs, I really don’t need that anymore. “Distant Worlds” was done entirely without any hardware synths.

Q: I can imagine “Distant Worlds” was mainly –or entirely, written during the ongoing pandemic. In which way did COVID affected your artistic activities and your mood plus creativity when composing the opus?

Paul: The album is definitely a product of the pandemic and the track “Oubliette” is a great example of that. The term by definition means: ‘a dungeon with the only entrance or exit being a trap door in the ceiling’. It’s a dark song that parallels the confinement, fear, and uncertainty we all felt/have been feeling during this time. Other tracks also have hints of this mood and feel as well.

Q: What have been the different stages from the moment you started writing the first song for “Distant Worlds” till the moment you got the production finished? What have been the main challenges when composing this album and what are your biggest points of satisfaction?

Paul: I tend to ‘nibble’ with my song creation, moving around from one song to the next and back again, and this album was no different. Sometimes everything falls into place with a song and I finish it in one pass but that’s rare. Giving me time between songs helps me prevent listening fatigue and keeps me inspired. My method might seem strange to some artists, but it works for me.

For “Distant Worlds”, the bulk of the album writing was done during the pandemic and since I had spent more time indoors, I created lot more material I considered viable for the album. At one point, I had considered doing a double-album but the ten I went with just felt right. Having all that material is both a blessing and a curse because while I had a lot to choose from, deciding what stays and goes is always hard.

I’d say the biggest point of satisfaction is that the album seems to have successfully provided a little something for everyone and avoids pitfalls like repetition and predictability. I asked fans shortly after the album was released what their favorite songs were, and the answers were all over the place. Hearing that kind of feedback is always very satisfying and rewarding. 

Q: I experienced “Distant Worlds” as your most diversified album to date; from familiar EBM/Dark-Electro songs to sophisticated passages reminding me Clock DVA to a furious cover version of Ministry. Tell us a bit more about the content and different influences running through the work?

Paul: I touched on this a little bit in the last question, but I feel great about the diversification on this album and that’s probably because that’s an approach I favor in the artists I listen to as well. “Oubliette” is dark and brooding, “Failed Reality” up-tempo/high energy, and “Dance Till You Die” stompy so there’s some ground covered there. “Parasite” is also an interesting example of that diversification because it feels so very different than the rest of the album. It’s actually been a very popular track and that’s probably because of the throwback EBM vibe it has to it. As for the Ministry cover of “Just One Fix”, I really wanted to pay homage to a song that was a gateway for me getting into Industrial music. I was mostly into Metal music back-in-the-day and when I transitioned on from that I was looking for something with an edge to it and bands like Ministry, Front Line Assembly and KMFDM bridged that gap. To this day I’m still heavily influenced by those bands.

Q: I think you’ve live dates planned in the US so tell us a bit more about Tragic Impulse on stage? What might people expect when going to a live show and how do you transpose the studio sound to the stage? What about European shows?

Paul: Our live shows have always translated well from the studio and part of that is by design. For example, I never use too many FX or heavily process my vocals for that reason. When you hear me sing live, I want you to have a similar experience to our recorded material, so I put an emphasis on that. Also, I’m not sure why, but we tend to surprise people (in a good way) with our live shows. It’s happened so many times, we started referring to it as “The Response” lol.  I think this may happen because we don’t have the same name recognition as some of the bigger bands so we surprise people when they see us. So while they expect someone like Suicide Commando to be amazing (and rightfully so), us…?, not so much. We’re working hard to change that however!

As for live dates, a few months ago we played the Dark Side of the Con festival and that was an amazing experience. We also just finished performing at the Distortion Productions (Jim Semonik) 200th show extravaganza and we had an awesome and energized crowd for that one as well.  Upcoming shows in 2022 include a date in New-York City with Rain Within, Red Lokust and Interface, and one in Pittsburgh with Solar Fake. We had hoped to tour more in support of the album this year but have had some unexpected interruptions in our schedules so we’re looking to hit that hard next year.

We haven’t played anywhere in Europe yet but that’s definitely on our ‘to-do’ list. Playing at something like WGT would be a dream for us. For you promoters out there, we can be contacted at info@tragicimpulse.com 

Q: What place did Tragic Impulse take in your life? What are the further plans and ultimate goals? 

Paul: Since the live show is my wife Heidi on keys, and me on vocals, it’s been a great way for us to travel and meet new people. The recorded music is great but the real thrill for us is live shows since we get to connect with fans, other bands, promoters, DJ’s, etc. We’ve been into the Goth/Industrial scene the entire time we’ve been together (almost 19 years) and the band is just another way we get to spend time together doing what we love.

As for the future, we’ll keep making music and keep playing shows with the intention of playing more gigs in more places. Hopefully we can keep that momentum going!

]]> Tragic Impulse – Distant Worlds (Album – Distortion Productions) https://www.side-line.com/tragic-impulse-distant-worlds-album-distortion-productions/ Tue, 19 Jul 2022 07:00:00 +0000 https://www.side-line.com/?p=37845 Genre/Influences: EBM, dark-Electro, Industrial. Format: Digital, CD. Background/Info: American Paul Graham is back on track...]]>

Genre/Influences: EBM, dark-Electro, Industrial.

Format: Digital, CD.

Background/Info: American Paul Graham is back on track unleashing the fourth album of his Tragic Impulse project.

Content: The work takes off with the previously released single title-track “Oubliette” reminding us of the main influences of Tragic Impulse: EBM empowered with Dark-Electro and Industrial elements. The songs also reveal a catchy touch emerging at the choruses. I also noticed a few unexpected songs reminding the Industrial fury of Ministry or the Electronic sound intelligence of Clock DVA. You’ll also discover other tracks with Technoid elements. 

+ + + : Tragic Impulse has evolved in the global writing- and production process. The composition is more elaborated and intelligent -especially when listening to “Parasite”. But the main approach remains a perfect sonic symbiosis between EBM and Dark-Electro with catchy elements on top. Sometimes the work reminds me of the imaginary offspring between God Module and Assemblage 23. The opening cuts of the album are mind-blowing and featuring the best exponents I’ve ever heard from Paul Graham.

– – – : The Ministry-like “Just One Fix” is a cool song, but not exactly fitting among the tracklist.

Conclusion: I’ve always supported the work of Tragic Impulse which has achieved its most mature production to date.

Best songs: “Parasite”, “Failed Reality”, “Oubliette”, “The Beast Within”, “Energy”, “Singularity”.

Rate: 8½.

Artist: www.facebook.com/tragicimpulse

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

About Tragic Impulse

Tragic Impulse is the EBM and industrial project of American musician Paul M. Graham. It grew out of his earlier project Eisengeist, whose track “Apocalyptic Visions” appeared on the extended version of the compilation “Electronic Saviors 2: Recurrence”. Graham retired that project to work in a more club-oriented direction.

The independently released debut album “Machine Parts” came out on Hyperreality Records in 2014, followed by the self-released track “Mr. Stompy” in 2015. Tragic Impulse began playing live in 2016 and signed to Distortion Productions, which issued “Devil On Your Shoulder” in 2017, “Echoes Of The Unseen” and the “Space Force” EP in 2019, and “Distant Worlds” in 2022. The project has also contributed to the “Electronic Saviors 3” and “Electronic Saviors 4” compilations and to remix EPs for artists including Interface and Sonik Foundry.

Graham told Side-Line that “Distant Worlds” was made entirely with software: “There are advantages to hardware for sure, but I’ve found that for my needs, I really don’t need that anymore.” The full conversation is in the ‘Click Interview’ with Tragic Impulse.

]]> Mach FoX from Zwaremachine releases new solo electronic album https://www.side-line.com/mach-fox-from-zwaremachine-releases-new-solo-electronic-album/ Wed, 13 Jul 2022 14:45:42 +0000 https://www.side-line.com/?p=37806 Mach FoX from Zwaremachine releases a brand new solo electronic album, “VideoLogico”, on CD/digital via...]]>
Mach FoX from Zwaremachine releases new solo electronic album

Mach FoX from Zwaremachine releases a brand new solo electronic album, “VideoLogico”, on CD/digital via Phage Tapes in Fall 2022. The album holds 7 electro cyber tracks coming in at 58 minutes.

6 of the 7 album tracks were recorded live during a venue performance in April 2022 in Minneapolis Minnestota USA. The album tracks are mostly instrumental and heavily influenced by Clock DVA, Cabaret Voltaire and 80’s electro music.

Here is the artwork.

The first single “LowTech” will be released digitally via the Mach FoX Bandcamp site in August ahead of the album and includes remixes and alternate versions by Henrik Punsch Johansson (Planktoon) with guest vocals by Maybeeh from the Swedish duo Maybeeh & Punsch and J-C from the French electronic/wave band Vuduvox. Behind the album artwork we find Mark Gerrard.

This is the title track “VideoLogico” being performed and recorded live during the Mach FoX audiovisual set in April 2022 in Minneapolis Minnestota USA.

]]> Entrzelle – Dust On A Razorblade (Album – Alfa Matrix) https://www.side-line.com/entrzelle-dust-on-a-razorblade-album-alfa-matrix/ Sat, 09 Jul 2022 07:00:00 +0000 https://www.side-line.com/?p=37609 Genre/Influences: Electro-Pop, Experimental. Format: Digital, CD. Background/Info: American project Entrzelle strikes back with a new...]]>

Genre/Influences: Electro-Pop, Experimental.

Format: Digital, CD.

Background/Info: American project Entrzelle strikes back with a new work which is also the first new album since 2016. The opus features twelve songs plus four remixes.

The gap was bridged by the EP “Feeling Heavy These Days”, released on Alfa Matrix in 2021 and announcing this album.

Content: The global approach in sound and production remains in the line of the previous album “Total Progressive Collapse”. There’s a sophisticated side with an IDM touch on top. These songs are danceable. And there’s a ‘softer’ side which even sounds like ‘electro-slow dance’. Remixes have been done by Psy’Aviah, Reichsfeind, Elektrostaub, and Simon Carter.

+ + + : I especially like the hardest side of the album which reveals all the intelligence of the project. It stands for Electro-Pop but injected by influences of Clock DVA, Haujobb ao. The title track is an absolute masterpiece and even the best cut I’ve heard from this project. I also like the icy, transcendental, approach running through “Everyday Criminal”. Among the remixes I especially recommend the ones by Reichsfeind and Simon Carter. 

– – – : The ‘softest’ cuts are ruining all the good aspects of the work and especially the production of the vocals is too bad here.

Conclusion: I have mixed feelings listening to this album which is mixing great parts and forgettable passages.

Best songs: “Dust On A Razorblade”, “Everyday Criminal”, “Tax On Modern Life”, “Everyday Criminal – Reichsfeind Remix”, “Everyday Criminal – Simon Carter Remix”.

Rate: 6½.

Artist: www.entrzelle.com / www.facebook.com/entrzelle

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Dust On A Razorblade’.

About Entrzelle

Entrzelle is the electropop and noire futurepop project of American musician David Chamberlin, based in Los Angeles, California. Discogs also lists Malice Vext as a member. The project mixes upbeat electro sequences with noisy synth pop melodies and an IDM edge.

Chamberlin self-released the album “Part Of The Movement” on his Entrzelle Music imprint in 2012, followed by the singles “Biotic Shift” and “Outlive” in 2013. He signed to the Belgian label Alfa Matrix, debuting on the free compilation “Face The Beat: Session 2” in June 2015 and issuing the download EP “Set These Walls On Fire” the same month, alongside a re-release of the 2012 album with extras.

The Alfa Matrix debut album “Total Progressive Collapse” arrived in 2016. Chamberlin also worked outside his own project, remixing for llumen on the 2021 EP “The Dark In Her Eyes” and appearing on several Alfa Matrix label compilations. The EP “Feeling Heavy These Days” followed in 2021 and “Dust On A Razorblade” in 2022, released on Bandcamp and on CD through the Alfa Matrix webstore. Chamberlin described the record as an album “about hope and perseverance, letting go and moving on”.

]]> Mouth Of Indifference – Counterpoles (Album – MOI Records) https://www.side-line.com/mouth-of-indifference-counterpoles-album-moi-records/ Mon, 07 Mar 2022 08:00:00 +0000 https://www.side-line.com/?p=35801 Genre/Influences: IDM, Electronic. Format: Digital, CD. Background/Info: This Italian project was originally set up in...]]>

Genre/Influences: IDM, Electronic.

Format: Digital, CD.

Background/Info: This Italian project was originally set up in 1993. “Counterpoles” is the first new album in years so it might be considered a return.

Content: The sound is clearly switching between elaborated and intelligent Electronics at one side and a more dreamy and Ambient approach on the other. Globally speaking the album is recovered with IDM reminding me of Clock DVA. The vocals are sometimes half-spoken like, but mainly creating a ghost-like effect. The opus features 10 songs plus 4 additional cuts/remixes.

+ + + : The best parts of the album are reminding the sound intelligence of clock DVA. Composed with deep, vibrating bass lines, menacing dark sound layers and ghost-like vocals, these songs have been also achieved with numerous, little details and noises. “Affect As Information”, “Worst Case Scenario”, “The Body Keeps The Score” and “Brutal People” reveal the true genius of this artist.

– – – : The remixes or alternative edits don’t really add a bonus to the work. From a very personal and selfish point of view I think it’s a pity the entire album doesn’t sound in the line of the aforementioned tracks.

Conclusion: “Counterpoles” is a kind of sonic Janus; an album with two faces featuring a magic IDM side.

Best songs: “Affect As Information”, “Worst Case Scenario”, “The Body Keeps The Score”, “Brutal People”.

Rate: 8.

Listen to “Counterpoles”:

Artist & Label: www.mouthofindifference.com / www.facebook.com/Mouth-of-Indifference-41512691234

About Mouth Of Indifference

Mouth Of Indifference is an Italian electronic project set up in 1993. Discogs lists the cassette albums “Dichotic Listening” in 1994 and “Internal Saboteur” in 1996, both self-released with Carcinoma, followed by the CDr releases “Atari Age ’94-’96” in 2000 and “Steps To An Ecology Of Mind” in 2003 on Carcinoma.

“Counterpoles” appeared in 2021, with MOI Records also issuing the single “Brutal People” that year. The project has continued to release singles since, among them “Won’t Be The One” in 2024 and “The Perfect Plug / The Sun And The Rainfall” in 2025.

]]> Click Interview with Circumpolar: ‘Exploring Ancient Rites, Dreamlike Landscapes Of Horrors And Disasters’ https://www.side-line.com/click-interview-with-circumpolar-exploring-ancient-rites-dreamlike-landscapes-of-horrors-and-disasters/ Wed, 02 Feb 2022 18:00:00 +0000 https://www.side-line.com/?p=35181 When I heard both debut EP’s “Until The End Of Time” and “We Will Remain”...]]>

When I heard both debut EP’s “Until The End Of Time” and “We Will Remain” from the Swedish duo Circumpolar I instantly realized it was more than simply a promising new formation. Jonas Mattson and Patrik Wallin have that little extra, which most of the bands never found: genius! They deal with an intelligent and sophisticated Electronic format, which might remind bands like Haujobb, Clock Dva, Skinny Puppy ao. The band’s debut album “Awaiting The Dawn” released on Alfa Matrix only confirmed the skills of the duo. The songs are mixing elements of EBM together with Cinematic influences. EBM bass lines mixed with subtle bleeps and carried by bombastic drum patterns made from this debut full length one of the best Electronic productions I’ve heard the past year. I really wonder how this band will evolve…

(Courtesy by Inferno Sound Diaries)

Q: Your debut album “Awaiting The Dawn” comes two years after your last EP “We Will Remain” and reveals an impressive evolution in different aspects of the production. How do you analyze and perceive this evolution by your own?

C: Thanks, we share the same feeling about the new album. We have spent so much more time mixing and mastering this time, really going through the sound image and all the details in the mix, making sure that everything sounded like we wanted it to sound. Further, we have experimented more with sampling, sounds, effects and song structures.

There is perhaps a more Ambient, Cinematic and Atmospheric mood on some of the tracks on the album compared two the last EP’s. But the thing is, some of those tracks were ‘leftovers’ from the “We Will Remain”-EP. So, we were already going in this direction on some of our tracks some two years ago. Moreover, we have bought a lot of new gear the last two years, which also has affected the soundscapes and harmonies.

Q: Was there any specific plan or concept when you started writing the songs for the album? What have been the different stages you’d to go through and what have been the main difficulties/challenges in the production of the album?

C:The first song we recorded was “Awaiting The Dawn”, and that song set the general mood and concept for the whole album.

Since almost every track on the album has a lot of sounds on very many different channels, the mixing and mastering process was very time consuming. It took much longer than we had planned for.

Q: I think there were nine songs planned for the album, but ten songs have been finally achieved. When do you consider a song as finished and were there songs/demos which finally didn’t make it to the tracklist?

C: A song is finished when it is completely mixed and mastered, and when we both are happy with the result. “Illusions Of Reality” was the last track that we finished on this album, so perhaps that is that tenth song… We usually don’t have a plan for a minimum or maximum number of songs for an album or EP. We generally finish as many songs as we can before it is time to release them.

We have a lot of ‘demos’ in forms of loops and uncompleted songs, which we maybe can use in the future. And as we said before, a few ‘demos’ made it onto this album. We felt that they were really great ideas, so we developed them further to make them fit the concept on the album. We still have lots of loops and unfinished stuff in the closet, and hopefully they will see the light of day when the time is right.

Q: What did you try to express and/or visualize by the title of the album “Awaiting The Dawn”? And what did you try to express by the lyrical themes?

C: It´s a journey through space and time, evoking memories from the past and the future, in a wasteland of twisted dreams. Exploring ancient rites, dreamlike landscapes of horrors and disasters. The album deals with conceptions of disintegration and regeneration, dreams and desires, hopes and fears, submission and suffering and everlasting dreams.

Sources of inspiration are for example: ancient religions, dreams, life, the universe, fiction, science fiction, poems, movies, the past and the future.

Q: I know you guys have been making music together since quite a long time. How did you see yourself evolving throughout the years and what do you especially like in each other’s approach and skills? 

C: It has always been very creative to make music together in different projects during all the years that we have known each other. However, in the Circumpolar project we have definitely found the concept and the sound that we have been looking for all these years. We have certainly evolved our studio skills and song writing abilities during the last couple of years.

Jonas is the master of synths, programming, sounds, mixing and mastering. Patrik is the master of lyrics, vocals and voices. Together we make the unique sound of Circumpolar.   

Q: All of your work has been released during the ongoing pandemic, which I guess must be very frustrating especially when it comes to plan live shows. How do you expect things evolving and do you have concrete live plans and experiences so far?  

C: Yes, and it has been really frustrating not to be able to meet up in the studio so often during these strange times. Due to the pandemic we have not yet been able to play live as Circumpolar. However, we are currently working on a live set up. Hopefully, we will be playing some live shows during 2022. That is something we are really looking forward to.

]]> Eclipsed – Holyiens (Album – Electrofrequent) https://www.side-line.com/eclipsed-holyiens-album-electrofrequent/ Tue, 26 Oct 2021 19:00:00 +0000 https://www.side-line.com/?p=33303 Genre/Influences: EBM. Format: Digital, CD. Background/Info: Eclipsed has already been active for several years and...]]>

Genre/Influences: EBM.

Format: Digital, CD.

Background/Info: Eclipsed has already been active for several years and have previously released an album on Vendetta Music (2008) and another one on Aliens Productions (2018). The project is collaboration between Last Influence Of Brain (still involved with Samhain) and Kneel In Front Of The Executioner. “Holyiens” was released by Electrofrequent. The four (!) members also invited Don Gordon (Numb) who’s featured on the first song.

Content: The first song featuring Don Gordon is an overwhelming piece of music, which has something Industrial-like and still a bit epic. I can’t say it’s an intro, but it clearly sounds different from the other songs, which are definitely driven by the ghost of Frontline Assembly. The songs are sophisticated, elaborated and mainly instrumental edits although featuring spoken samplings. There are a few passages with vocals, but it clearly isn’t the main focus of the band. One of the most noticeable cuts (cf. “Infinite Slavery”) reveals an intelligent approach, which is more into a fusion of EBM and IDM, appearing the imaginary hybrid between FLA and Clock DVA. Last, but not least the work also features a surprising cover version of Gaping Chasm.

+ + + : This album is just great, featuring a few outstanding pieces. I especially recommend listening to “Infinite Slavery”, which is a sonic diamond. “Anal Probe Installation” is another is another great piece of music mixing power and intelligence. “Apollo Space Program” sounds like it was touched by the hand of FLA and is just another attention grabber driven by a solid, deep resonating bass line. The cover version of Gaping Chams’s “Angels” is also worthy of examination while the last track –being one of the single cuts with vocals, is a cool song. The great, analogue sound treatments inject some magic to this opus, which stands for high tech sound production.

– – – : Even if I’m not missing vocals on this work, a few more vocals would be a true bonus.

Conclusion: If you don’t know Eclipsed, I can only but highly recommend this formation to you, “Holyiens” is a great piece of space-inspired EBM!

Best songs: “Infinite Slavery”, “Anal Probe Installation”, “Angels”, “Holyiens”, “Cursed Sharpened Needles”.

Rate: 9.

Artist: www.facebook.com/solobobblazenakhead

Label: www.electrofrequent.com / www.facebook.com/Electrofrequent-102179464888936

About Eclipsed

Eclipsed is a Slovak project that Discogs describes as an analogue electronics side project drawing on members of Kneel In Front Of The Executioner and of Last Influence Of Brain and Samhain. The four musicians are credited on Discogs as Solo, Bob, Blazena and k-head.

Kneel In Front Of The Executioner, abbreviated K.I.F.O.T.H., started in Trnava in the spring of 1993. Last Influence Of Brain is an EBM band from Hlohovec, and Samhain was set up in 1996 by Solo, Blazen and Peter Blazko. Side-Line published a Click Interview with K.I.F.O.T.H. in May 2017.

Under the Eclipsed name the group issued “Clone Me” through Vendetta Music in 2008 and “The Probabilistic Mind” in 2018. “Holyiens” followed on 1 June 2021 as an eleven-track CDr on Electrofrequent, mixed by Bob, mastered by Mikuláš Bernáth, with paint art by SÁRA and cover and design by Vlado Filipko.

]]> Lustmord & Karin Park collaborate on ‘Alter’ album – check out the track ‘Hiraeth’ https://www.side-line.com/lustmord-karin-park-collaborate-on-alter-album-check-out-the-track-hiraeth/ Tue, 13 Jul 2021 16:38:55 +0000 https://www.side-line.com/?p=31638 Out in a little more than a week is the collaborative project between Nordic electropop...]]>
Lustmord & Karin Park collaborate on 'Alter' album - check out the track 'Hiraeth'

Out in a little more than a week is the collaborative project between Nordic electropop diva Karin Park (Årabrot) and legendary electronic pioneer Lustmord. “Alter” is the pair’s first collaborative work and holds nine tracks.

You can already check out a first track “Hiraeth” right below. And for those unaware who these two excellent artists are, below we added some extra info.

About Karin Park

Karin Park made her debut in 2003 with the single “Superworldunknown”. After the release of her second album “Change Your Mind” (2006), the music developed in a new, darker and more synth-based direction. The third album, “Ashes To Gold” (2009), was produced by Fredrik Saroea, frontman of the Norwegian band Datarock.

Following this record, Karin has continued to develop a more experimental, beat-oriented sound. Karin Park is also a well known producer, who has done remixes for other bands and co-produced the latest Årabrot record “Who do you love” with her husband Kjetil Nernes, frontman in Årabrot.

Together with her brother David Park, Portsmouth based producer Barry Barnet and the Swedish producer Christoffer Berg (known for his work with The Knife, Fever Ray, Massive Attack and Little Dragon’s Yukimi Nagano), she made her fourth album, “Highwire Poetry” (2012). In 2015, she released her fifth studio album “Apocalypse Pop”.

Her new band project Pandora Drive is London based and released their first EP “Albino Heart” in 2018.

Aside from her musical career, Karin Park occasionally works as a model and an actress. She starred in the Norwegian horror film Hidden (2009) and her song “Out of the Cage” was the theme track to the film.

About Lustmord

Brian Williams is a Welsh industrial musician, sound designer and film score composer. He is often credited for creating the dark ambient genre with albums recorded under the name Lustmord.

Williams was raised in rural Wales, before relocating to London in his late teens where he befriended Throbbing Gristle members Cosey Fanni Tutti and Chris Carter, who urged him to make his own music. He started recording as Lustmord in 1980 before joining SPK in 1982.

Some of Lustmord’s most notable collaborations include Robert Rich on “Stalker”, Jarboe, John Balance of Coil, Monte Cazazza, Clock DVA, Chris & Cosey, Paul Haslinger, and Melvins on “Pigs of the Roman Empire”.

In short, an electronic music pioneer.

]]> UrZon – Gone Native (Album – UrZon) https://www.side-line.com/urzon-gone-native-album-urzon/ Sun, 02 May 2021 19:30:00 +0000 https://www.side-line.com/?p=30140 Genre/Influences: Industrial, Experimental, Abstract. Format: Digital. Background/Info: UrZon is a Belgian project based in Antwerp...]]>

Genre/Influences: Industrial, Experimental, Abstract.

Format: Digital.

Background/Info: UrZon is a Belgian project based in Antwerp and driven by Kolja Aasgier. This self-released new work has been introduced as the artist’s ‘love for industrial EBM like Numb, Skinny Puppy, FLA, CLock DVA, CV and Dive/Klinik’.

Content: Regarding the aforementioned bands and sources of inspiration I expected an album driven by EBM and Dark-Electro. I discovered a more Abstract and hardly Industrial-inspired sound instead. The overture has something chaotic while the next track is driven by Industrial elements with vocals on top. The tracklist also reveals some Tribal passages, but the Industrial- and Experimental approach both remain the main styles to define the sound of UrZon. 

+ + + : What I especially like in UrZon’s album is the rather personal style and approach. It’s an industrial-driven composition, now personalized with Tribal passages and next with Minimalism. “Down” is one of the most noticeable cuts featuring this Minimal touch. The last track “Win The Day” is another noticeable cut driven by broken, crashing beats and repetitive sequences.

– – – : I can’t get away from the feeling this album has been accomplished with not a lot of equipment. There’s nothing wrong with that, but globally speaking the production suffers from a lack of elaboration. Despite the personal approach I’m not sure to completely seize the essence of this work and its sound.

Conclusion: I probably expected much more from this album because of the revealed sources of inspiration. I think there’s still a way to go to reach a similar level.

Best songs: “Down”, “Win The Day”, “Werewolf Moshpit”.

Rate: (6).

Artist: www.facebook.com/UrZon93

About UrZon

UrZon is the self-released project of Kolja Aasgier, based in Antwerp, Belgium. “Gone Native” was mastered by Youri Van Uffelen at Oktaver Studio, Antwerp, and released 25 November 2020, according to the album’s Bandcamp credits. No consolidated discography or prior Side-Line coverage of the project has been found.

]]> ‘Click Interview’ with Signal~Bruit: ‘Experimenting Sounds, Effects, Patches Is More Like A Recreational Time For Me’ https://www.side-line.com/click-interview-with-signalbruit-experimenting-sounds-effects-patches-is-more-like-a-recreational-time-for-me/ Sun, 20 Sep 2020 17:00:25 +0000 https://www.side-line.com/?p=27106 Behind the French solo-project SIGNAL~BRUIT is hiding the enigmatic ‘Member U-0176’. Electro-pop lovers for sure...]]>

Behind the French solo-project SIGNAL~BRUIT is hiding the enigmatic ‘Member U-0176’. Electro-pop lovers for sure know the man from his involvement with Cellloïde and Thee Hyphen while he’s still running the label BOREDOMproduct and the sub-division productB. Four years ago now he unleashed the debut-album “Planisphère(s)” on Sevren Ni-Arb (X-Mark The Pedwalk) label Meshwork. The work clearly revealed a retro-electro approach reminding pioneers in the genre, but still a space-minded ambient/soundtrack style. The new album “Hyperborée” has been released on productionB and moves a step further, revealing a new concept and a more elaborated and intelligent sound creation. “Hyperborée” is a truly masterpiece I can only recommend.

(Courtesy by Inferno Sound Diaries)

Q: You this year released the second album of Signal~Bruit, but can you tell us how this project saw the daylight?

U-0176: In between two albums of Celluloide, I’m always searching for ideas, experimenting sequences and creating sounds, testing new settings with synthesizers… which we keep in store for incorporating into Celluloide’s pop format later.

Sometimes I decide to record my improvisations when I feel it has an interesting mood, though it isn’t obviously made for Celluloide.

I was reading the book “Flatland” and I had the kind of feeling that the book left a mark on the ‘atmosphere’ of what I was creating when turning knobs and improvising notes and sequences. 

So I had the idea to keep these tracks to illustrate important parts of the book with sound atmospheres and melodies… like a soundtrack for a book.

Q: You’ve been –and still are, involved with different projects such as Thee Hyphen and of course Celluloïde so what brings this new project and music experience in your artistic career? Is there a kind of specific sonic identity or quest behind this new work?

U-0176: I think it’s very difficult to write songs… so it takes a lot of energy and time to write new songs for Celluloide or Thee Hyphen… maybe it’s too much demanding for me now.

So experimenting sounds, effects, patches is more like a recreational time for me. I have no other objective than ‘feel’ the sound change when I turn the knobs.

Then organizing all these experiments into something that makes a consistent piece is a completely different work than writing a song, and I like this a lot.

Q: Signal~Bruit clearly sounds as a wink to some electronic pioneers; the creation of sounds and especially atmospheres appear to be some essential elements in the process. Can you give us a bit more details about it all and also about the way of creating this music (and sounds)?

U-0176: Yes, I have always been influenced by lots of different electronic music and of course pioneers like Tangerine Dreams. I’ve always been fascinated by their albums of the Froese/Franke/Baumann era, and the solo works of Froese of the same period… But I’m also a huge fan of Lassigue Bendthaus or Clock DVA, and I like very much the experiments of Autechre… I just want to do something similar… not similar in sound but, trying to test new things, new ways.

Creation of sounds and effects is essential because it’s where it starts, when I have an interesting texture, I play with it and try to find the notes that work best with it. Tracks are constructed bit by bit until I get to something. It can be very long and requires a lot of post-recording rework…

Q: I noticed an important evolution in sound and production from the debut album “Planisphère(s)” and “Hyperborée”? How do you perceive this evolution and what have been the main changes/evolutions from the first album till “Hyperborée”?

U-0176: Evolution in sound is simply led by the story I’m trying to illustrate… These two albums illustrate very different stories, so they sound different.

So that’s the story beneath that influences the result. You cannot make a soundtrack for a Western film sound the same as a sci-fi movie, that’s just it.

Sound and productions are quite similar, but I probably used more digital synthesizers on “Hyperborée”, and a lot more effects, so it could have made a significant change.

Q: “Hyperborée” seems to be a conceptual album so can you tell us a bit more about it? Did this conceptual work need some kind of preparation and how did you finally achieve it?

U-0176: “Hyperborée” follows the journey of Pythéas from Massalia to the North Pole in 300 BC. This is a true story, but we lost the details from this expedition. We only know that he discovered the Northern seas, territories and people while he was trying to prove the earth is a sphere. I read several books on his story, and we’re not sure how he made it, but he did.

So I tried to imagine a possible path for this antic adventure that I see as thrilling as discovering space in the modern age.

Q: To me Signal~Bruit stands for intelligent electronic music, but unfortunately there’re less people interested in ‘intelligent’ music. What does it evoke to you and how do you as label owner look at bands with intelligent and sophisticated compositions?

U-0176: Yes, releasing albums for Signal~Bruit or Novocibirsk as we did with productionB is quite risky, but we’re not doing it for success.

I hope that we’ll find enough people to buy our records so that we can keep up the flag high as long as possible, that’s our objective.

As you can see, we stated it right from the start when launching productionB

]]> ‘Click Interview’ with Circumpolar: ‘There Is So Much Great New Music Within Our Genre Yet To Discover’ https://www.side-line.com/click-interview-with-circumpolar-there-is-so-much-great-new-music-within-our-genre-yet-to-discover/ Sun, 29 Mar 2020 17:00:40 +0000 https://www.side-line.com/?p=24228 Circumpolar is a Swedish duo driven by Jonas Mattson and Patrik Wallin. They last year...]]>

Circumpolar is a Swedish duo driven by Jonas Mattson and Patrik Wallin. They last year self-released their debut-EP “Until The End Of Time” and next got signed on Alfa Matrix, which re-released this work. The second EP “We Will Remain” was released nearly at the same time and revealed a more sophisticated sound approach. The intelligent sound treatments remind me a bit of bands such as Clock DVA, Haujobb and related formations. Circumpolar might be the next new sensation for all of those who like intelligent electronics!

(Courtesy by Inferno Sound Diaries)

Q: Circumpolar is a rather unknown name at the wider fields of electro-underground music so can you briefly introduce the band, the way you get contaminated by the ‘electronic virus’ and what were the original purposes when setting up Circumpolar?

Circumpolar: Circumpolar is a new Swedish dark-electro/wave act that consists of Jonas Mattsson and Patrik Wallin. We are old friends since way back in time. We started to make music together when we were about 18 years old, and then played in different bands for some years in the Northern part of Sweden. However, we never released any of that material on record. For years now we have been talking about getting back together again, and about two years ago we decided trying to make electronic music together again.

The purpose behind Circumpolar is to create interesting electronic music within our own conceptual format and sound, which hopefully will be enjoyed by people all over the world.

Q: The name of your band refers to astrology, but can you tell us a bit more about this name and the possible links with lyrical content and music style?

Patrik: The stars that circle around the celestial pole and never set below the horizon are called ‘circumpolarstars’. In ancient Egypt, the circumpolar stars in the Northern sky were called ‘jhmw-sk’, ‘the ones not knowing destruction’. The astronomical characteristics of these specific stars were used in numerous religious texts to express immortality and eternity, for example:

‘O uplifted one (i.e. the Pharaoh), being great among the circumpolar stars. You have not perished, you star of eternity’ (a citation from the so-called Pyramid Texts, 2300 BC)

I studied a lot of ancient history at university, and I have a PhD degree in Egyptology. Sometimes I use the imagery and concepts of life/death and space/time from ancient Egyptian religion in my lyrics.   

Q: Referring to the music style and/or the ‘sound’ properly speaking, I experienced your work as a fusion between different genres and influences; EBM, IDM, ambient, dark-electro… How do you perceive your own sound? Can you tell us a bit more about potential sources of inspiration? References? And how did the song writing happened?

Circumpolar: Bands like Skinny Puppy, Front 242, The Klinik, Twice A Man, Kraftwerk, The Neon Judgement and Portion Control have always been sources of inspiration to us. Further, The Fields Of The Nephilim, The Sisters Of Mercy, Swans, The Cure, Joy Division, Rome and Dead Can Dance are bands that we both like a lot.

Both of us are still buying lots of records and we constantly discover new electronic and dark-electro artists. There is so much great new music within our genre yet to discover.

We like to think that we somehow have created mix between EBM, dark-electro and dark wave/goth. However, this was not the intention when we started the band, it just happened.

The process of creating new songs usually starts with an instrumental loop or just single sample, which we successively develop into a song.

Q: You last year self-released the debut EP “Until The End Of Times” -which got next re-released on Alfa Matrix, plus another EP “We Will Remain”. Can you briefly analyze both EP’s? Was there a particular focus in writing and production? And how did you get the deal with Alfa Matrix?

Circumpolar: The first song we recorded as Circumpolar was “The Rain Will Burn” from the first EP, and then we realized that we had created a musical concept and sound that we really liked. After that moment, it was very easy to continuing writing new songs. 

On the “Until The End Of Time”-EP the foundation of our sound was built, whereas on the “We Will Remain”-EP the sound and concept evolved into something that will be even more present on our future releases.

We sent the songs from our first EP along with the songs to the “We Will Remain”-EP to about 15 different record labels. We got some offers, but when we got a positive response from Alfa Matrix we were overwhelmed.  

Q: I think there’s an interesting evolution in writing and production between both EP’s; “We Will Remain” being definitely more elaborated and subtle, reminding me to bands such as Haujobb, Mentallo & The Fixer and Clock DVA. What does it say about your approach, studio equipment and your own evolution as musicians?

Circumpolar: On the second EP we have worked more with the vocals, and experimented a bit more with reverb, delay and other effects, trying to create a more dynamic and atmospheric experience. The structures of the songs are also a bit different compared to the first EP. Further, we spent much more time on mixing and mastering.

We have bought a lot of new gear since we recorded the first EP, for example a Korg Minilouge XD, the fantastic Strymon Big Sky Reverb, and some Roland drum machines.

Q: I think you’re back again in studio, so I can imagine there’s an album in the pipeline? What brings the future and what might we expect regarding topics such as image, social media activity and live performances?

Circumpolar: For the moment, we are recording new songs for a forthcoming album release. We are constantly producing loads of loops and outtakes, but now we have selected about nine songs out of that material to be finalized for an album.  

It is quite possible that there will be some social media activities prior to our next releases, perhaps some live performances from the studio…

Yes, we will definitely play live in the future.  

]]> ‘Click Interview’ with MOYA81: ‘“ESP” Is The Synthesis Of My Life’ https://www.side-line.com/click-interview-with-moya81-esp-is-the-synthesis-of-my-life/ Sun, 01 Mar 2020 18:00:00 +0000 https://www.side-line.com/?p=23838 MOYA81 is a rather unknown name active at the wider fields of eletro-pop music. Based...]]>

MOYA81 is a rather unknown name active at the wider fields of eletro-pop music. Based in Helsinki (Finland), this artist grew up in Santiago Of Chile (Chile) where he got in touch with electronic music. The debut album “ESP”, which rather looks as a mini-album, has been released last year on the Russian label ScentAir Records. The work is not only featuring great songs, but the music is a genius, sonic fusion between different influences; MOYA81 is not just electro-pop music inspired by Kraftwerk, but it still reveals elements of new-beat, Italo-Disco and also reminds me to the famous Frankfurter techno-scene from the 90s. Time now for an introduction!

(Courtesy by Inferno Sound Diaries)

Q: Let’s start with the beginning, how did you get in touch with music and more specifically, electronic music? Tell us a bit more about your first steps in music?

MOYA81: I came from a family of musicians on my mother’s side, and I grew up with a piano at home. Around my teen years I became a cassette collector and at 15 I met a local group of people who were listening to electronic music, which sound-wise was related to Kraftwerk and early EBM. Then the transition was natural. At 17 I was a vinyl record collector and did my first professional club-gig (around the year 1998), which was into acid-house and proto-goa.

Q: You grew up in Santiago Of Chile so tell us a bit more about the electronic scene in the capital and in Chile properly speaking?

MOYA81: The electronic- and experimental music scenes are huge in Chile. We respect people who think by themselves. Back in time while the first electronic- and experimental acts started such as John Cage, we in Chile had a music composer and teacher from the Universidad de Chile, creating something similar. Chile is very rare in terms of art, maybe due to nature, mountains and spectacular landscapes bring an open mind to the people. After the military regime (70s), early ’80s many Chileans who were living abroad due to political problems came back to the land and their kids were growing up in Germany, Belgium, USA, Canada, France and Sweden (normally). Those kids where already over 20 years old while the parents, mainly teachers or intellectuals were connected with the bohemian- and cultural scene of those countries so you can imagine what happened when they come back all together with tons of records. It was MAGIC!

Art and Music took over the country. Freedom was back. Since then we had bands dealing with new-wave, industrial, synth-pop, electro, techno and more styles.


Q: You last year released your official debut album “ESP”, which is more a kind of mini-album. What kind of work did you want to accomplish and how did the writing of “ESP” happened?

MOYA81: “ESP” is the synthesis of my life. It is an active meditation. Cybernetic and spiritual, just as we live this reality. As a composer, I want to create music that might contribute to the evolution of the listeners. Poetry/unconventional music computation. There were no difficulties on this creation, it was a continuous flow as the track “Atlantis”.

Q: The songs aren’t only into electro-pop, but still featuring elements of Italo-disco and even new-beat. What can you say about potential sources of inspiration and is there one specific artist and/or music genre, which you consider as an absolute reference?

MOYA81: This project is not looking to have tags as a supermarket product. This music is a manifestation of life experimenting this virtual reality. About influences I can mention Kraftwerk (from Ralf & Florian until the “Electric Cafe”-album), Gary Numan (70s – 80s era), Jean-Michel Jarre and Tangerine Dream (mainly late 70s until ’86). Styles of music? EBM such as Clock DVA. Dharma (“Plastic Doll”) and Klapto (“Mr.Game”) when it comes to Italo-disco. Early new-beat is also a big influence in my life and as a producer.


Q: I noticed you also released on digital format several cover versions from legendary artists such as Gary Numan, Kraftwerk, Modern Talking, Gloria Gaynor, Bobby Orlando.. What do you like in the songs you covered? How do you look back at these songs and what did you try to accentuate in your versions?

MOYA81: I cover tracks that you possibly could call ‘anthems’; tracks that aren’t only good, but that changed the electronic- or dance music culture forever. Gary Numan is a totally underrated artist, he did much more than “The Cars”, he created an aesthetic style that is unique and is used worldwide. Bobby Orlando is a producer who without him, HI-NRG and much of the greatest electro- and disco music would never be created. Kraftwerk needs no further explanation, but Modern Talking, yes. Even if they’re not one of my favorites they incorporated elements from the Italian-, American- and European Dance Music sound to create a perfectly balanced sound. Kick, snares, voices, everything sounded round and perfect in an era where many great tracks sounded terribly bad; Italo-Disco has many examples of this. Modern Talking created an audio standard for

electronic-disco music.


Q: What brings 2020 for Moya81 and especially considering topics such as live performances, remixes, clips, new songs and new releases?

MOYA81: A new album will be released in 2020; there’ll be a vinyl and digital releases. Great music, very synthetic, super robotic, poetical echoes from the future. I got contacts for live performances in Germany and France, but all the information will be shared at the right time.

Thank you very much for this interview and the support of all the music fans.

]]> Circumpolar – We Will Remain (EP – Alfa Matrix) https://www.side-line.com/circumpolar-we-will-remain-ep-alfa-matrix/ Wed, 12 Feb 2020 21:00:00 +0000 https://www.side-line.com/?p=23602 Genre/Influences: IDM, industrial, electronic, ambient. Format: Digital. Background/Info: Circulpolar recently joined the Belgian ‘matrix’ re-releasing...]]>

Genre/Influences: IDM, industrial, electronic, ambient.

Format: Digital.

Background/Info: Circulpolar recently joined the Belgian ‘matrix’ re-releasing their debut-EP “Until The End Of Time”. “We Will Remain” has been released the same day (on the 5th of December) and features five new songs.

Content: Compared to “Until The End Of Time”, this EP sounds even more elaborate, and also more rhythmic. The Swedish duo has accomplished a compact fusion between intelligent sound treatments, dark atmospheres and slow rhythms. The songs have been achieved with fine, tickling bleeps reminding me of Benestrophe and Mentallo & The Fixer. The sterile atmospheres and cadence comes closer to the genius of bands such as Clock DVA and Haujobb. The songs have been progressively built up, slowly reaching a true sound orgasm.

+ + + : This second EP sounds more mature and accessible although it remains a sophisticated work, which is hard to define. But it first of all is the result of a creative process and intelligent writing revealing a promising, genius formation. The sources of inspiration have something retro-like, but clearly adapted into a modern and even avant-garde, icy perception. This work has been composed with an impressive sound canvas of endless little noises and effects. Bombast and refinement both come together in a poignant sonic manifesto, which I hope will be the start of a successful career.

– – – : Complexity might be Circumpolar’s enemy as most of the electro heads still seem to enjoy easy, repetitive standards. This work is a challenge!

Conclusion: Circumpolar was maybe the missing link at Alpha Matrix. This band brings something the label hasn’t been used to releasing over the years. Circumpolar is the talented sonic child from renowned parents like Clock DVA, Haujobb and Mentallo & The Fixer!

Best Songs: “In A Distant Sky” , “Lost In Time” .

Rate: (9).

Artist: www.facebook.com/Circumpolar1

Label: www.alfa-matrix-store.com / www.facebook.com/Alfa.Matrix

About Circumpolar

Circumpolar is the Swedish duo of Jonas Mattsson and Patrik Wallin. The pair first appeared on Side-Line’s charity compilation “Face The Beat: Session 5” with the track “Until The End Of Time”, before signing to Alfa Matrix in December 2019. The label immediately reissued their self-released debut EP “Until The End Of Time” alongside the new EP “We Will Remain”, both drawing on the sound of Clock DVA, Haujobb and Mentallo & The Fixer.

]]> The Anti Group – 4×12 (CD Album – Peripheral Minimal Records) https://www.side-line.com/the-anti-group-4x12-cd-album-peripheral-minimal-records/ Thu, 05 Dec 2019 20:30:45 +0000 https://www.side-line.com/?p=22722 Genre/Influences: Experimental, electronics. Background/Info: Behind The Anti Group (TAG) is hiding Adi Newton. He was...]]>

Genre/Influences: Experimental, electronics.

Background/Info: Behind The Anti Group (TAG) is hiding Adi Newton. He was previously involved in The Future and later on created Clock DVA. Together with S.J. Turner he set up TAG as a project of multi-media research & development active in different areas. Several members have been involved in the project, but Adi Newton always remained the ‘supervisor’. This work brings a nice selection of tracks that were originally composed during the 80s and 90s.   

Content: This album is a perfect opportunity to re-discover the experimental approach of TAG, and also a more intelligent sound, which clearly was the basis to Clock DVA. One of the tracks (cf. “Big Sex”) clearly inspired one of the most famous Clock DVA cuts. I’m sure you’ll recognize the samplings. The debut part of the album is definitely experimental while the last part became more sophisticated.  

Both last songs are attention grabbers as they are remixes by Richard H. Kirk (Cabaret Voltaire), which have been produced and developed this year by Adi Newton. 

+ + + : First of all this release reveals a great DVD digipak format including a 16 page booklet. But this album is also a perfect opportunity to get back to the particular sonic universe of this group. The album reflects the experimental spirit of the 80s next to the sound genius of Adi Newton, which totally emerged during his Clock DVA period. The sophisticated format clearly appears during the last tracks. I recommend listening to “Morpheus Baby”, “Big Sex” and “Broadcast Test – Transmission 1”. The remix of “Zulu” by Richard H. Kirk is another great piece of music.

– – – : Some of the most experimental cuts sound like pure improvisation and aren’t my favorite part of the TAG.

Conclusion: Bringing TAG to life is a real great idea to rediscover a somewhat forgotten treasure from the 80s, but still a way to rediscover the genius of Ady Newton. He according to me remains one of the Godfathers of intelligent electronic music!

Best songs: “Big Sex”, “Morpheus Baby”, “Broadcast Test – Transmission 1”, “Zulu – Dub Remix produced by Adi Newton from Richard H. Kirk Remix Version”.

Rate: (8).

Artist: https://armcomm.co.uk / www.facebook.com/adi.newton

Label: www.peripheralminimal.com / www.facebook.com/PeripheralMinimal

About The Anti Group

The Anti Group Communications (T.A.G.C.), also known as The Anti Group, is an avant-garde art and music project from Sheffield, England, founded in 1978 by Adi Newton and Steven Turner as a spin-off from the industrial band Clock DVA. It operates as an open-membership collaborative researching psychoacoustics across sound, film, video and performance, often accompanied by liner notes explaining the theoretical basis of its recordings.

The group’s discography includes “The Delivery” (1985), “Digitaria” (1986) and “Burning Water” (1994). T.A.G.C. disbanded in 1996; Adi Newton revived the project in 2009 with new releases and live performances.

“4×12” gathers tracks composed during the 80s and 90s, including two closing remixes by Richard H. Kirk of Cabaret Voltaire produced and developed by Newton for this release.

]]> LPF12 – An Integral Part Of Nothing (Digital Album – LPF12) https://www.side-line.com/lpf12-an-integral-part-of-nothing-digital-album-lpf12/ Wed, 06 Nov 2019 19:30:44 +0000 https://www.side-line.com/?p=22301 Genre/Influences: IDM, electro-ambient, cinematographic. Background/Info: Sascha Lemon strikes back with the final part of the...]]>

Genre/Influences: IDM, electro-ambient, cinematographic.

Background/Info: Sascha Lemon strikes back with the final part of the “Inhibition Level”-trilogy, which started back in 2010 with the album “Inhibition Level” (Abstract Reflections) and “Individual Suffering” (Ionium Records). Nine years later he achieves the trilogy with this final chapter featuring fourteen new cuts.

Content: The sound of LPF12 has considerably evolved throughout the years. He once started with electro-industrial music (during the 90s) and came back in the early 2000 years with a more IDM approach, which next moved towards a cinematographic style. This work is the perfect mixture of IDM, electro-ambient and cinematographic music. Several songs are still featuring half-spoken / whispering-like vocals. Most of the songs are driven by slow rhythms. The IDM-driven cuts will possibly appeal for lovers of Clock DVA while the cinematographic style might please fans of J.M. Jarre and related artists.

+ + + : Sascha Lemon moves back to intelligent electronic fields revealing an inspired song writing and great sound treatments. The slow cadence makes it fascinating. This is probably one of his most sophisticated works to date. I discovered multiple cool effects and little noises (like field recordings or samplings) plus great astral atmospheres recovering the songs. The songs are elaborated, pretty long in duration, but never boring.

– – – : Speaking for myself I prefer the IDM-driven cuts instead of the cinematographic ones, but honestly there’s no real minus about this album!

Conclusion: I discovered several alluring releases from this artist, but this “An Integral Part Of Nothing” is for sure his best work in history!

Best songs: “The Gravity Of Cultivated Habits”, “False Motive Deconstruct”, “94yk.03 (Interlude)”, “”94yk.04 (Interlude)”, Darkest Days In Inevitable Silence”.

Rate: (8½).

Artist: www.lpf12.de / www.facebook.com/LPF12SL

About LPF12

LPF12 is the solo project of German artist Sascha Lemon, whose name stands for “low pass filter 12 db”. The project started in 1993, releasing cassettes through 1995 on various labels before Lemon stepped away from producing for 14 years. He resumed LPF12 in 2009, re-releasing the tape “Enhance” for free download, followed by the “Vicious Circle” EP with remixes by MC1R and Reizstrom. This review’s “An Integral Part Of Nothing” closed the trilogy that began with “Inhibition Level” (2010, Abstract Reflections) and continued with “Individual Suffering” (Ionium Records). LPF12 has stayed active since, through “A Violent Silence” (2020) and, most recently, “tiltedStage” (2025).

]]> Apoptygma Berzerk re-imagine debut ‘Soli Deo Gloria’ on ‘SDGXXV’ – pre-orders available now https://www.side-line.com/apoptygma-berzerk-re-imagine-debut-soli-deo-gloria-on-sdgxxv-pre-orders-available-now/ Thu, 27 Dec 2018 16:37:11 +0000 http://www.side-line.com/?p=17494 Following the releases and shows honouring the 25th anniversary of Apoptygma Berzerk’s debut album “Soli...]]>

Apoptygma Berzerk re-imagine debut 'Soli Deo Gloria' on 'SDGXXV' - pre-orders available now

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

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

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

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

]]> Blac Kolor – Awakening (CD Album – Hands) https://www.side-line.com/blac-kolor-awakening-cd-album-hands/ Sat, 11 Aug 2018 18:00:16 +0000 http://www.side-line.com/?p=15888 Genre/Influences: Industrial, IDM, minimal-electro. Background/Info: Blac Kolor joined hands with Hands label to unleash the...]]>
Genre/Influences: Industrial, IDM, minimal-electro. Background/Info: Blac Kolor joined hands with Hands label to unleash the third full length of this project. Driven by Hendrick Grothe, this German solo-project released impressive works on Basic Unit Productions. Content: “Awakening” sounds like going where previous albums left off. It’s a new exploration of different electronic grounds, which can be defined as IDM, but also industrial for their darker sound approach. You now will notice bombastic arrangements and next sophisticated electronics, which might remind you of Clock DVA. One of the most noticeable cuts is without a shadow of a doubt “Awakening” featuring guest vocals by Jean-Luc De Meyer (Front 242, Under Viewer, Crash 32 ao). The last part of the work also reveals some tribal elements, confirming the eclecticism of this artist. + + + : Blac Kolor simply confirms its impressive writing skills. Hendrick Grothe is a little genius dealing with an original electronic format while taking care to create impressive sound treatments. He brings multiple influences together creating an intelligent and visionary sound. Bombast and subtle treatments are merging together in an elegant and powerful production. Jean-Luc De Meyer must have liked this production otherwise he never would have accepted singing on one of the tracks. And here again the vocals are quite atypical, a bit like sampled parts. Blac Kolor has exorcised multiple ideas on this work. It’s dark and obscure, but definitely enlightening when it comes to analyze the content. – – – : It always remains a challenge when so many influences have been brought together on the same album. I can imagine it will dissuade some music lovers, but I like it! Conclusion: Blac Kolor definitely belongs to one of the most visionary projects from the Hands roster. It’s a great and creative sound process that will appeal for fans of different music genres. This album will be definitely one of the bests of the year! Best songs: “Fall Into Oblivion”, “Tears”, “Loneliness”, “Nano Creator”, “We Are The Darkness”, “Awakening feat. Jean-Luc De Meyer”. Rate: (8½). Artist: www.blackolor.de / www.facebook.com/blackolormusic Label: www.handsproductions.com / www.facebook.com/hands.official

Read the news on ‘Awakening’.

About Blac Kolor

Blac Kolor is the solo project of German producer Hendrick Grothe, who debuted with “Wide Noise” in 2014 on Basic Unit Productions. “Awakening” featured guest vocals by Jean-Luc De Meyer of Front 242.

Grothe went on to release the albums “Times Of Upheaval” (2021) and “Weltenbrand” (2023), followed by “Arca” on Ant-Zen at the end of 2025.

]]> Frontier Guards – Oblivion (CD Album – Advoxya) https://www.side-line.com/frontier-guards-oblivion-cd-album-advoxya/ Sat, 24 Mar 2018 20:00:04 +0000 http://www.side-line.com/?p=14502 Genre/Influences: IDM, electro-ambient. Background/Info: Hailing from the Czech Republic the Frontier Guards duo has released...]]>

Genre/Influences: IDM, electro-ambient.

Background/Info: Hailing from the Czech Republic the Frontier Guards duo has released its fourth full length album. The audio-visual project featuring master mind Martin Pavlík (still involved with Beamship and H.E.E.L) and visual artist Tomas Galle (still involved with H.E.E.L) joined hands with Advoxya Records for their new work. I’ve been following this band since the very first album “Predestination” (released in 2008 on Aliens Production), which revealed a great and progressive electro-sound close to IDM.

Content: Frontier Guards hasn’t lost their initial taste for sophisticated electronics, which sometimes reminds me of Clock DVA, and has elaborated their work with dark-electronic influences. The evasive atmospheres and bombast also remind me of THYX. The vocals are more important on this album although the great final part of the work features several instrumental songs. The IDM touch is more present in this epilogue while the influences are moving towards technoid treatments and trance passages.  Both last songs are remixes by the Russian project Mirum Mulier.

+ + + : The sound intelligence of Frontier Guards remains the same, but the sound became more diversified throughout the years. They’ve created a very own sound approach and well-crafted song structures, which might be described as the offspring between Clock DVA and THYX. This band clearly strives for a very own sound approach based upon numerous little details, great sonic effects, evasive atmospheres and refined arrangements.

– – – : I still remain nostalgic of the debut-album, which was maybe less mature, but more into the Clock DVA sound intelligence.

Conclusion: Frontier Guards is one of those bands not a lot of people are probably familiar with and yet I’m nearly sure they have a sound that will catch the attention of a wider audience like music fans listening to Clock DVA, Mind.In.A.Box, THYX, Haujobb and related bands.

Best songs: “Seeker”, “Voyager Past”, “Voyager Eternity”, “Hashima”, “Madman”, “Ritualistic”.

Rate: (8).

Artist: www.frontierguards.eu / www.facebook.com/frontierguardscz

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

 

About Frontier Guards

Frontier Guards is the solo project of Czech musician Martin Pavlik, mixing IDM, ambient-electro and downtempo elements. Pavlik released the albums “Predestination” (2008) and “Interface” (2013) on the Slovak label Aliens Production, before moving to Advoxya Records for “Oblivion” in 2018.

Pavlik returned to Aliens Production with “#You#” (2019), “Reload” (2020) and “Colony” (2023), and released the collaborative album “Wonder” with vocalist Mia Bohemia in 2024. He discussed his work in a 2019 Click Interview with Side-Line.

]]> Irklis – Aus Dem Ruder (CD Album – Sleepless Records) https://www.side-line.com/irklis-aus-dem-ruder-cd-album-sleepless-records/ Mon, 12 Feb 2018 20:30:35 +0000 http://www.side-line.com/?p=13981 Genre/Influences: IDM, minimal-electronics, experimental, cinematographic. Background/Info: Before Irklis there was Forma Anonym and next Audioscope,...]]>

Genre/Influences: IDM, minimal-electronics, experimental, cinematographic.

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

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

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

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

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

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

Rate: (8).

Band: www.facebook.com/irklis

Label: www.facebook.com/sleeplessrecords.berlin

]]> Gin Devo – Electrotheque (CD Album – Scanner/Dark Dimensions) https://www.side-line.com/gin-devo-electrotheque-cd-album-scannerdark-dimensions/ Mon, 13 Mar 2017 20:00:55 +0000 http://www.side-line.com/?p=10269 Genre/Influences: Minimal-electro, cinematographic. Background/Info: Gin Devo will always be linked to Vomito Negro, which remains...]]>

Genre/Influences: Minimal-electro, cinematographic.

Background/Info: Gin Devo will always be linked to Vomito Negro, which remains one of the essential dark-electro/EBM formations from the early 90s. Next to Vomito Negro, Gin Devo also released music under his own artist name and I especially remember his minimal-EBM album “Errata” (2012) released on EK Product. He also released the “Surface”-album, which was something different and more experimental. A new album has already been announced and Gin Devo even revealed to be inspired by Clock DVA.

Content: “Electrotheque” has not that much in common with Clock DVA. It quickly appears to be a different work composed by an impressive arsenal of analogue gear. The front cover clearly indicates where the Belgian master got his influences from. “Electrotheque” is an old-school electro album revealing the magic of good-old (modular) synthesizers.

The songs remain instrumentals. They’re pretty minimal-like and often carried by deep, dry bass lines and beautiful, reverie synth passages. It sounds a bit soundtrack-minded, but also hides a few little surprises like the nu-disco driven “In This Heat”.

+ + + : I expected a totally different work from this new album although I have to admit that the sound of pure vintage/modular/analogue synths is something magic and incomparable. Gin Devo is a trained and talented operator who clearly knows his machines. He also confirms to have a wider arsenal of influences than only composing EBM-driven songs. The sound remains pretty dark although there are a few little surprises like the nu-disco sounding “In This Heat” featuring sequences à la Donna Summer. I’m more into the minimalism of songs such as “Adhesive” and “Echo Path”.

– – – : From time to time Gin Devo likes to take his fans by surprise revealing another side of his talent. This work has less in common with Vomito Negro although it has been composed with the same gear. The cinematographic and somewhat experimental approach is not that accessible and I’m especially missing a few vocal parts.

Conclusion: “Electrotheque” is an appropriated title, which sounds a bit like an artist who’s promoting his studio. It’s a surprising and yet well-crafted opus although not my favorite.

Best songs: “Adhesive”, “Echo Path”, “Tilted Glass”.

Rate: (7).

Band: www.facebook.com/Gindevo

Label: www.darkdimensions.de /  www.facebook.com/pages/Dark–Dimensions–Label–Group/486014725206

]]> ‘Click Interview’ with Signal~Bruit: ‘Turning The Knobs And Pushing The Faders Until It Has An Hypnotic Feel’ https://www.side-line.com/click-interview-with-signalbruit-turning-the-knobs-and-pushing-the-faders-until-it-has-an-hypnotic-feel/ Mon, 12 Dec 2016 19:30:36 +0000 http://www.side-line.com/?p=9102 “Planisphère(s)“ is the debut album from the brand-new French project Signal~Bruit. The full length has...]]>

Signal Bruit - Interview“Planisphère(s)“ is the debut album from the brand-new French project Signal~Bruit. The full length has been released on the brand-new label Meshwork Music, which is driven by X Marks The Pedwalk member Sevren Ni-Arb. Behind Signal~Bruit is hiding ‘Member U-0176’ who’s running the label BOREDOMproduct. He’s also involved into Celluloide and once started under the Thee Hyphen moniker. Signal~Bruit is something totally different revealing a retro-electro style that might remember to electro pioneers like Jean-Michel Jarre, Clock DVA, Jacno ao.

(by Inferno Sound Diaries)

Q: What inspired and motivated you to set up Signal~Bruit?

S~B: I don’t know exactly… it just happened. Sometimes when I’m in the studio, I don’t feel like writing a song or recording something with a structure… I’m just in the mood of hearing the sequences running and so I let the sound grow… So that’s what I did, and I don’t know why, this time I started recording, with no specific idea in mind.

Q: This new project is quite different in sound compared with other bands you’ve been involved with like Thee Hyphen and Celluloide. Can you tell us a bit more about the sound properly speaking? 

S~B: It all started from the need of turning knobs and nothing more… just to feel the music with the hands like when you play guitar. it immediately affects the sound depending on your fingers position. I started this way: turning the knobs and pushing the faders until it has an hypnotic feel on me. I actually didn’t think of releasing anything at first, I was just trying to please myself.

Q: “Planisphère(s)“ makes me think of a ‘sonic bridge’ between early electro pioneers like Jean-Michel Jarre, Kraftwerk ao… and a more personal and contemporary electronic approach. How would you analyze this album and its influences?

S~B: I guess all my influences, are present at different levels. As I didn’t intend to make it public when I started, I guessed I didn’t try to show anything. I just let the music flow, and my mind float. So of course, electronic pioneers of the Berliner school like Tangerine Dream come into mind, but also the minimal electronics and melodies of Jacno, repetitive sequences of Clock DVA and sound textures of Duet Emmo. But I’m also listening to Atom TM or Autechre so it probably has an influence too.

Q: I noticed you’ve been inspired by the book “Flatland“, which you tried transpose into music. Tell us a bit more about this concept and the way you worked on it? 

S~B: The word “Planisphere(s)” is an attempt of translating and explaining at the same time the title and a key part of the book. While recording my electronic experimentations, I was reading this fabulous book of the XIX century by E.A. Abbot and I suddenly asked myself if I was unconsciously recording the feelings I had when reading the book… or the book gave me ideas on how structuring my electronic ‘divagations’ into something more constructed with a progression and an atmosphere. So I re-organized the recorded tracks into something more ‘logical’ with the story of the book in mind and make them take shape this way.

Q: You also produced videos of all songs on the album that can be watched by using 3D-glasses and, which totally fits to the concept of the “Flatland”-book. How did you get this idea and how did it happened?

S~B: “Planisphère(s)” is a very visual project. Images come to mind when I listen to the sounds, so I wanted to transpose these images all along the album. I finally produced automatically triggered geometric animations for all the tracks, which somehow illustrate the ‘story’ of the album, or at least the moving atmospheres. And it goes to 3D stereoscopic vision on the 4th track “Revelation”, because that’s what happens in the story. I don’t think I could explain it more clearly. It think this has to be seen not explained. I hope it will be released soon, but it has a different planning than the CD release so keep watching the Signal~Bruit youtube channel.

Q: I personally experienced your album as an antidote to the current electro-underground productions, which all sound similar and without a real creative spirit. What’s your perception as an artist and label-owner about the current scene? 

S~B: I have no real statement about that. I think we all try to do the best music we can. Some people can make brilliant things at the first try,  some don’t and never will and in the middle some have good ideas or miss the point. It happens to all of us when we try to create. That’s why for BOREDOMproduct we release a very few albums. We always try to work and rework the tracks with the bands. We’re not just releasing the demos as they are when they go out of the bands studio.

I think it’s important that a label plays a role of advising the bands, adding production when it’s necessary, re-organize tracks if needed. It’s an important help for the band, which I’m afraid most of labels don’t do anymore today because artists don’t accept critics and labels don’t have time and budget for this long work.

Q: An interesting aspect about this album is that it will be the first release ever on Meshwork Music while you’re still running your own label (BOREDOMproduct)! How did it happen and what do you expect from a new label like Meshwork Music? 

S~B: When I was about to complete the album I realized that BOREDOMproduct was not the label for this type of music. So I searched for a label that could understand what I was trying to do, and that could market it properly (I had no idea how). Then I read on Side-Line the announcement of a brand new label who ‘wants to push the boundaries of electronic music to a new level’. Not that I am pretentious enough to think I will push any boundaries at all, but at least the label was open minded enough to give a listen to the whole thing!

And indeed… I sent a rough version, with no proper mix and unfinished versions to André who was really enthusiast about it. Some critics replied a positive way as well and especially about the second track (“Chromatistès”) that had to be re-organized. The final album has been reworked and mixed the way I wanted.

Courtesy by Inferno Sound Diaries

]]> Signal Bruit – Planisphère(s) (CD Album – Meshwork Music) https://www.side-line.com/signal-bruit-planispheres-cd-album-meshwork-music/ Thu, 01 Dec 2016 19:00:31 +0000 http://www.side-line.com/?p=8920 Genre/Influences: Electro, electro-ambient, minimal-electro. Background/Info: “Planisphère(s)” from the French solo-project Signal Bruit is the first...]]>

Genre/Influences: Electro, electro-ambient, minimal-electro.

Signal BruitBackground/Info: “Planisphère(s)” from the French solo-project Signal Bruit is the first release on Meshwork Music. This new German label was set up by Sevren Ni-Arb (X Marks The Pedwalk) while behind Signal Bruit is hiding ‘Member U-0176’ who’s running the French electro-label BOREDOMproduct while he’s also involved in the band Celluloide.

Signal Bruit was inspired by the book “Flatland – A Romance Of Many Dimensions” originally released in 1884 and written by Edwin Abbott Abbott. The main idea of the book deals with ‘a two-dimensional world occupied by geometric figures, where women are simple line-segments, while men are portrayed as polygons whose social status is determined by their regularity and the number of their sides, with a circle considered ‘perfect’ shape’.

Content: I’m always fascinated by concepts and especially about the way they’ve been transposed into music. The sound universe of Signal Bruit evokes some electronic pioneers. There’s a similar passion for evasive electro-space atmospheres and refined bleeps. Some of these bleeps might remind me of Celluloide, but complexity of the composition might also evoke Clock DVA. The work is pretty minimal, but will ravish sound freaks by the resonating bass lines and the global vintage format of the work. Notice by the way all of the tracks remain instrumental.

+ + + : Signal Bruit has constructed an interesting sonic bridge between early electronic pioneers and a more contemporary and especially personal sound creation. It’s a kind of sonic architecture that has been progressively built up till reaching a climax entitled “Révélations”. I like the minimalism of the composition and its rather atypical sound formula.

– – – : This album is a well-crafted composition although not exactly the most accessible one. This is not the kind of music you’ll hear in clubs, but which needs a few attentive listening before you’ll really seize its substance. Conclusion: “Planishpère(s)” is an atypical and ambitious work revealing a creative composer who clearly avoids  composing cheap clichés. This is a ‘difficult’, but deeply artistic creation.

Best songs: “Révélations”, “Prométheé”, “Chromatistés”.

Rate: (7½).

Band: www.facebook.com/signal.bruit

Label: www.meshwork–music.com / www.facebook.com/meshwork.music

]]> ‘Click Interview’ with Throbberstalk: ‘It Wouldn’t Make Any Sense To Continue What Ended More Than 15 Years Ago’ https://www.side-line.com/click-interview-with-throbberstalk-it-wouldnt-make-any-sense-to-continue-what-ended-more-than-15-years-ago/ Sat, 08 Oct 2016 18:30:11 +0000 http://www.side-line.com/?p=8265 Based in the Southern part of Germany Throbberstalk has been active in between 1995 and...]]>

Throbberstalk interview 2Based in the Southern part of Germany Throbberstalk has been active in between 1995 and 1999. The band was driven by dark-electronic music mixed with obscure atmosphere and industrial elements. Years after the band’s split they got contacted by Monopol Records to release their work for the very first time on CD format. “Lest We Forget” got released in 2012 while we this year discovered “From Nought To Nowhere”. I got in touch with Lars to get back into the 90s and evoking possible further work.

(by Inferno Sound Diaries)

Q: Can you briefly remind us who’s hiding behind Throbberstalk and what has incited you to set up this band?

Lars: The person behind Throbberstalk is me, Lars, but as other people sometimes were part of the creating process I rather prefer to call it a project than a band.

Before 1995 I was recording music in the neo-classical gothic style together with a friend. But we developed into different ways and so we had to split. He moved into drum’n‘bass and I moved into dark-electro stuff. This was nothing planned and I also never had the need of spreading a message or teaching people. So Throbberstalk was just there for my very own pleasure, discovering new sounds and at the same time it was a kind of therapy.

Q: You were active in between 1995 and 1999 so what did you keep in mind from the active years and what have been your main sources of inspiration?

Lars: It was a wild time, everything went into extremes. I had some horrible relationships and at the same time moments of unbearable happiness, especially when I was able to put all the pain, the pleasure, all disappointments and hate into a song. It was like hiding it all in a box -out of sight, but still there…

My main source of inspiration were -of course, girls. Especially the live performances were remarkable. During the first performance in April 1996 a guy with a megaphone jumped on the stage during my show and was shouting weird things. And while performing a song in October 1996 somebody screamed ‘Fuck You!’ over and over again. I wanted to scare this person and I took an axe (which was part of the show) and smashed it into a kind of fence that was placed between the stage and the audience. After the show SALT (from Ant-Zen records) came to me with a slightly greenish and pale face and said ‘Wow, Larsi, that was really close! You almost hit me….’ He had video-taped the show and so I had the chance to see how close it was. Damn – that really scared me…

Q: I read that :Wumpscut: was impressed by your music and even used some of your sounds and patterns while I noticed he also composed a song entitled “Throbberstalk”. Can you reveal us more details about it all?

Lars: The song “Throbberstalk“ was done long before the project Throbberstalk and there is no connection between. But Rudy (:Wumpscut:) and I met quite often after his “Dried Blood”-CD came out, and of course we inspired each other more or less… After his “Embryodead”-album was out for some time we lost each other out of sight.

Q: Monopol Records discovered your work and decided to release it on CD format for the very first time. That’s a rather crazy story especially for a band that stopped all activities since 1999. How did it all happen and what do you think about both albums released on Monopol Records?

Lars: I can assure you -I was almost shocked when Michal from Monopol Records asked 15 years after we had met the last time if I liked to have my old stuff released. After so many years I never expected somebody to remember Throbberstalk and gone release any of these tracks. Unfortunately all master recordings were in a horribly bad condition and Michal didn’t spare any effort to erase all the noises and distortions from the masters. The result is far from being high fidelity, but it is the best we could gain. The master archive contains songs with a playing time of almost eleven hours, so Michal did a great job with his selections.

I love both regular albums and also all the bonus CDs. Sometimes I ask myself what might have happened if they were released two decades ago…

Q: The question is to know if there will be ever new music composed by Throbberstalk? I mean you composed real intelligent music so why not getting back into business again?

Lars: It wouldn’t make any sense to continue what ended more than 15 years ago. So therefore I’m quite sure that there won’t be anything new of Throbberstalk. Even if I ever recorded again, it would surely sound completely different.

Q: Are you still interested in the electro-underground music of today and what’s your opinion about it?  

Lars: To be honest -when I stopped recording music, I also stopped being an active part of the ‘scene’ and therefore I have absolutely no idea what is being played in the clubs today. But I still have my old albums of Click Click, Placebo Effect, Dive, Coil, Front 242, Clock DVA and so many others. Now and then I put them on and they are still unbeatable…

Courtesy by Inferno Sound Diaries

]]> 5th volume in ‘Coldwaves’ series available (and it looks great with Cubanate, Stabbing Westward, …) https://www.side-line.com/5th-volume-in-coldwaves-series-available-and-it-looks-great-with-cubanate-stabbing-westward/ Sat, 01 Oct 2016 13:48:16 +0000 http://www.side-line.com/?p=8159 The most successful edition of Chicago’s ColdWaves Festival was held recently, and was completely sold...]]>

5th volume in 'Coldwaves' series available (and it looks great!)

The most successful edition of Chicago’s ColdWaves Festival was held recently, and was completely sold out. If you missed the fun, you can still grab a copy of the “Coldwaves 5” compilation on which 14 bands have supplied exclusive tracks or remixes.

You can expect exclusives from: Bloody Knives, Stabbing Westward, Meat Beat Manifesto, Cubanate, Clock DVA, Kanga, Chant, 16Volt, Pig, Vampyre Anvil, Dead When I Found Her, Hide, Polyfuse, Not Breathing.

The 14 tracks are available now for ordering at a pretty low price right here.

]]> Intersound – _Aural Architecture (CD Album – Kinetik Records/In Fact Recordings) https://www.side-line.com/intersound-_aural-architecture-cd-album-kinetik-recordsin-fact-recordings/ Sat, 23 Apr 2016 21:47:44 +0000 http://www.side-line.com/?p=6200 Genre/Influences: Experimental, ambient, cinematographic, ritual. Background/Info: Behind Intersound is hiding Greek artist Damianos Georgiadis. The...]]>

Genre/Influences: Experimental, ambient, cinematographic, ritual.

IntersoundBackground/Info: Behind Intersound is hiding Greek artist Damianos Georgiadis. The name of this musician doesn’t maybe say that much and yet he has been involved in numerous projects like Herd Of Elephant’s Philosophy, The President’s Men, and also Neuro D. Neuro D which is one of the best projects I’ve heard in the Clock DVA style. “_Aural Architecture” is the debut-album under the Intersound moniker.

Content: This is quite a diverse and eclectic work bringing many influences together. I get the impression that I am entering into a sound laboratory where the scientist has been replaced by an open-minded musician exorcizing some of his unexplored sonic ideas.

It all starts in a rather experimental and soundtrack orientated way. It’s pretty ambient and features  intimate, subtle passages. Quite progressively Intersound moves into darker and mysterious noise fields. There’s a low cadence joining in while the ambient inspiration becomes more elaborated and accomplished by beautiful sound treatments. There’s a ritual touch which can be heard now and then while I also noticed cool psychedelic tones.

The album has been released on vinyl, but we got a CD format with some exceptional bonus cuts.

+ + + : If you’re in search of diversity and electronic beauty, “_Aural Architecture” will fully satisfy all expectations. I especially like the intelligent sound treatments featured at the end of the work.

– – – : The opening cuts are not exactly what I should call hesitant, but not exactly exciting and convincing.

Conclusion: This album is an evasive opus, which is mainly based upon ‘ambient’ music reinforced by multiple influences.

Best songs: “Things I Left Behind”, “Postscript”, “About Nothing”, “Prohibit Canvas”.

Rate: (7).

Label: www.kinetikrecords.com / www.facebook.com/KinetikRecords

]]> kFactor – Ghastly Monolith (DCD Album – Electro Aggression Records) https://www.side-line.com/kfactor-ghastly-monolith-dcd-album-electro-aggression-records/ Sun, 03 Jan 2016 11:50:29 +0000 http://www.side-line.com/?p=4417 Genre/Influences: EBM, dark-electro. Content: kFactor is a Brazilian solo-project inspired by the good-old EBM sound...]]>

Genre/Influences: EBM, dark-electro.

kFactorContent: kFactor is a Brazilian solo-project inspired by the good-old EBM sound from the late 80s and especially the 90s. This band totally fits to the retro-EBM taste of Electro Aggression Records.

I didn’t know what to expect from kFactor except a pure old-school EBM production. The opening tracks clearly reveal a typical 90s electro format, which is driven by a typical kick and cold synthesizer sounds. The spooky vocals inject a dark and mysterious element to the work. I can’t say that the opening cuts are essential ones, but they give an indication about the dark-atmospheric style of this EBM project. I was a bit afraid to discover an old stereo-type without real creativity, but the album rapidly evolves into more elaborate songs featuring sounds à la Cabaret Voltaire and even more intelligent treatments reminding me of Clock DVA.

The sound is clearly old-styled EBM, but I progressively get into the mysterious and obscure sound creation of Junior kFactor. One of the main sources of inspiration appears to be the good-old Belgian EBM school. That’s for sure an element I recognize in the global sound production, but if I really have to make a link with another formation it would be without a shadow of a doubt early X Marks The Pedwalk and the early EP’s “Arbitrary Execution” and especially “Disease Control”. A few other cuts remind me of early Frontline Assembly as well. It becomes rapidly clear that kFactor is a band taking us back to the sources of EBM. There’s a perfect mix between 80s and 90s body music.

The work is pretty minimal and bringing good-old tricks to life like spoken samplings, icy synth-lines and other choir synth passages, typical spooky vocals and the familiar 4×4 structures. “Ghastly Monolith” avoids any innovation, but brings a well-crafted emulation of retro EBM music. You don’t hear me complaining as the more I got into the work of this artist the more I really started to like it. I also like the global concept featuring 2 discs each with 15 songs. The 2nd disc features a few remixes by bands like Pyrroline, Astma, Serpents and few others.

I have a little preference for the main disc but both CDs reveal a high quality level and several attention grabbers. Some cuts are carried by a somewhat heavier, bombastic rhythm and a few songs are more complex in their global writing. That’s precisely the reason why I like a song like “Lobotomy”, which is one of the cuts reminding me of the more sophisticated work of Clock DVA. The “Jihad Remix” of “Dead Place” is another fascinating cut in the genre. This album is not only revealing intriguing, cool songs, but also accomplished remixes as well.

kFactor is not exactly the kind of furious EBM but rather a slow tempo sound joined by poignant, dark atmospheres and great vocals.

Conclusion: This is a fascinating work bringing elements of 90s EBM to life. kFactor moves back to the sources and can be considered as an accomplished ode to some legendary bands, which helped EBM get a name!

Best songs: “Lobotomy”, “Iron Tree”, “Prototype”, “Chrome”, “Casting Shadows”, “Take A Chance” + “A Dead Place”, “The Right Course”, “Auto-Darwin”, “A Dead Place – Jihad Remix”, “A Blind Spot – Factory Automatic by Soillodge”.

Rate: (DP:8)DP.

Band: www.facebook.com/kFactor.ebm

Label: www.electroaggressionrecords.com / www.facebook.com/ElectroAggressionRecords

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