Conjure One &#8211; SIDE-LINE

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

Bill Leeb from Front Line Assembly and Delerium fame to release debut solo album on Metropolis Records

Bernard - Side-Line Staff — Fri, 28 Jun 2024 18:13:20 +0000

(Photo by Bobby Talamine) Metropolis Records announces the signing of industrial-electronic Vancouver-based music legend Bill Leeb for his debut solo effort “Model Kollapse”, out September 13.

“The album explores the intricacies of artificial intelligence and the survival of humanity itself,” says Bill Leeb.

The first single “Terror Forms” features Shannon Hemmett of Actors and Leathers and will be out on July 9. This album also involves Front Line Assembly / Delerium cohort Rhys Fulber, mixing engineer Greg Reely, Actors’ frontman Jason Corbett, and LA artist Mimi Page.

“We are proud to announce that Metropolis Records has signed Bill Leeb for his first solo project. Bill Leeb has had a prolific career as a founding member of Skinny Puppy, Front Line Assembly and Delerium. His music has been highly influential, and we are excited to see what this new chapter in his career will bring for him and his listeners,” says Nina Heckman of Metropolis Records. “I’m honored to fulfill my father’s (Dave Heckman who died in the summer of 2022) lifelong vision and to be doing this project with a lifelong family friend I can honestly call family (Bill Leeb). This project is near and dear to all of our hearts here at Metropolis and I know it would make my father proud.”

“Model Kollapse” marks Leeb’s very first solo venture since the mid-80s days of Front Line Assembly, when he used to make recordings in his bedroom and released them on limited edition cassette format. Almost four decades on, his new album was recorded and produced in Vancouver, Toronto and Los Angeles with assistance from Vancouver/Toronto-based production duo Dream Bullet.

The “Terror Forms” single will be unleashed digitally everywhere on July 9. The full “Model Kollapse” album will be released on vinyl and CD, as well as digitally, on September 13.

About Bill Leeb

Bill Leeb, born Wilhelm Anton Leeb on September 21, 1966, in Vienna, Austria, is best known as the founder and lead member of the industrial music group Front Line Assembly (FLA). Leeb moved to Canada in the 1980s, where he began his music career.

Before forming Front Line Assembly in 1986, Leeb was a member of the influential industrial group Skinny Puppy, where he performed under the pseudonym Wilhelm Schroeder. His departure from Skinny Puppy marked the beginning of his prolific career with Front Line Assembly.

In addition to Front Line Assembly, Leeb has been involved in several other music projects, including Delerium, which achieved commercial success with its fusion of ambient and pop music elements. Leeb’s other projects include Noise Unit, Intermix, and Conjure One, each exploring different facets of electronic music.

Bill Leeb discography

Bill Leeb has had a diverse range of musical projects, each with its own unique style and sound. Here’s an easy-to-read breakdown of the differences between his major projects:

Front Line Assembly (FLA) is characterized by a dark and aggressive style, blending industrial, Electronic Body Music (EBM), and electro-industrial sounds. The music features heavy use of synthesizers and electronic beats, often exploring dystopian and sci-fi themes.

Delerium, on the other hand, focuses on ambient, ethereal, and electronic music with a new age twist. Its sound is soothing and atmospheric, emphasizing melodies and textures. Delerium often incorporates world music elements and features various guest vocalists, achieving mainstream success with tracks like “Silence” featuring Sarah McLachlan.

Noise Unit showcases a mix of industrial, EBM, and techno influences. Over time, the project’s sound has varied, combining harsh industrial elements with more danceable EBM and techno beats. Collaborations with artists like Marc Verhaeghen of Klinik add to its diverse range of styles.

Intermix leans more towards techno, ambient, and electronic music. This project focuses on instrumental tracks, blending electronic and ambient music with techno rhythms. It is generally less aggressive than Front Line Assembly.

Conjure One presents a melodic and ethereal sound, incorporating ambient, electronic, world music, and pop influences. It features prominent guest vocalists and offers polished production with a radio-friendly appeal, blending electronic beats with organic instruments.

Cyberaktif, a collaboration with cEvin Key of Skinny Puppy, delivers a dark and experimental sound. Combining the signature styles of Front Line Assembly and Skinny Puppy, Cyberaktif features heavy use of samples and aggressive beats, resulting in a dense, experimental industrial sound.

Equinox focuses on ambient and atmospheric soundscapes, similar to early Delerium works but more abstract and experimental. It emphasizes creating immersive sound environments with a minimalistic approach.

Pro>Tech is a dance-oriented project with techno and trance influences. It features high-energy beats and repetitive, hypnotic structures, offering a clear departure from the darker styles of Leeb’s other projects, aiming for a more mainstream dance music appeal.

Below are the releases.

Front Line Assembly

The Initial Command (1987)
State of Mind (1988)
Gashed Senses & Crossfire (1989)
Caustic Grip (1990)
Tactical Neural Implant (1992)
Millennium (1994)
Hard Wired (1995)
FLAvour of the Weak (1997)
Implode (1999)
Epitaph (2001)
Civilization (2004)
Artificial Soldier (2006)
Improvised. Electronic. Device. (2010)
Echogenetic (2013)
Wake Up the Coma (2019)
Mechanical Soul (2021)

Delerium

Faces, Forms & Illusions (1989)
Morpheus (1989)
Syrophenikan (1990)
Spiritual Archives (1991)
Stone Tower (1991)
Spheres (1994)
Spheres 2 (1994)
Semantic Spaces (1994)
Karma (1997)
Poem (2000)
Chimera (2003)
Nuages du Monde (2006)
Music Box Opera (2012)
Mythologie (2016)

Noise Unit

Grinding into Emptiness (1989)
Response Frequency (1990)
Strategy of Violence (1992)
Decoder (1995)
Drill (1996)
Voyeur (1998)
Dead Sector (1999)
Deviator (2021)

Intermix

Intermix (1992)
Phaze Two (1993)
Future Primitives (1995)

Conjure One

Conjure One (2002)
Extraordinary Ways (2005)
Exilarch (2010)
Holoscenic (2015)
Innovation Zero (2023)

Cyberaktif

Tenebrae Vision (1991)
Temper (EP) (1990)

Equinox

Holon (1998)

Pro>Tech

Orbiting Cathedrals (1997)

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

In Strict Confidence releases video for ‘Stay’

Bernard - Side-Line Staff — Tue, 26 Apr 2022 14:24:25 +0000

The track “Stay” taken from the last In Strict Confidence album “Hate2Love” is finally honored with a video. The video recordings were made partly already about 8 years ago (!!) and were combined with current footage.

The song was co-produced by Dirk Riegner & Rhys Fulber (Front Line Assembly / Conjure One).

Check out the video below.

Click Interview with Rhys Fulber: ‘I Wanted To Cultivate A More ‘Soundtrack-Techno’

Inferno Sound Diaries — Thu, 17 Mar 2022 18:00:00 +0000

Rhys Fulber will be always connected with music projects like Frontline Assembly, Delerium, Conjure One, Will, Noise Unit, Intermix, Synaesthesia ao. The Canadian musician remains a prolific artist who also started releasing music under his own name. Both previously released albums “Your Dystopia, My Dystopia” (2018) and “Ostalgia” (2019) were ground to explore Techno- and IDM fields. The “Resolve”-EP (2020) revealed a radical change into Ambient Music. The newest opus “Brutal Nature” released on Rhys’ own label FR Recordings sounds as the offspring between Techno and Ambient. I talked with Rhys Fulber about this new and visionary work.

(Picture credits by by Adam De Ville / Interview courtesy by Inferno Sound Diaries)

Q: I remember you said this solo-project all started by some jam sessions with modular synths, which finally resulted in the album “My Dystopia, Your Dystopia”. How did it happen for “Brutal Nature”? Is it still a kind of instinctive process or more a suspicious one?

Rhys: “Brutal Nature” was probably the most deliberate solo record so far, so not as much ‘jamming’ took place. It was actually made on a much smaller set up than the previous two which let to a more intimate sound in places.

Q: The album was recorded during your stay in Canada while you got inspired by elements of nature. Tell us a bit more about it and especially the connection with the album title? What has been the impact of the ongoing pandemic and the quarantine restrictions?

Rhys: The core of the album was born in the initial lockdowns in Los Angeles when I just took a few pieces of gear home to work on, then halfway through relocated to a small coastal town in British Columbia I used to live in where that environment helped me fine tune the songs and make it become an album.

I did all the test listening on a deserted rocky beach by a decaying cabin and all the bits and pieces of mankind washing up on the beaches and abandoned concrete infrastructure gave me the title. The juxtaposition of the two elements.

Q: How long did it take to write and record the tracks of “Brutal Nature”? And what are the different stages you’d to go through to achieve this work?

Rhys: A couple tracks like “Pyrrhic Act” and “Rogue Minority” were started in L.A circa 2019, then the main material was shaped from spring to fall 2020 in the lockdown era. I usually have a bunch of ideas then figure out the direction and pull them all together as an album. Like I said earlier that fine tuning took place once I got into the coastal environment in British Columbia.

Q: I can imagine “Brutal Nature” must have been a special recording as you were not working in your studio so how did it feel to work outside your ‘comfort zone’? What have been the pros and cons? And did you encounter major difficulties and/or challenges?

Rhys: Honestly I can work anywhere I can set up some gear so I kind of liked the variety. The cons would be ‘unreliable monitoring environments’ and having to use headphones. The pros in L.A were no commuting!

The studio I was using up here was a very finely tuned room so in a way it was an upgrade to my old L.A studio.

Q: “Brutal Nature” sounds to me as the offspring between Techno- and Ambient music, which makes the work pretty exciting and original. How would you analyze this album and its sound approach?

Rhys: I had started making more ambient material and instead of using it for a another project I thought it would be better to make the solo-project more honest and include all the different sides. I tried it with the “Resolve”-EP first. A few of the songs like “Chemical” and “Fragility” were going to be used elsewhere but then it suddenly made sense as part of this album and in many ways they are the core pieces now. I think there is so much Techno, EBM and club tools out there you need to find your own angle on things, so I wanted to cultivate a more ‘Soundtrack-Techno’ type sound that includes all tempos and emotions and highlights what I feel are my strengths musically.

Q: You’re now releasing your work on FR Recordings, which is your own label. What’s the idea behind FR Recordings and how do you manage all different elements like pressing, promotion, distribution, social media etc?

Rhys: I just wanted to release the music I want on the schedule I want in a more direct self-curated way. Also doing things for art’s sake like the live cassettes, with very artistic packaging and design (with Berlin artist Janina Schuetz) which most labels wouldn’t do because it is not profitable.

As far as the logistics, I used similar set up the labels I’d release on used and hired promo people etc. It’s mostly people I know from over the years of making records. I am looking to release some other artists as well this year and develop it a bit more.

Rhys Fulber launches new video for the track ‘Fragility’ from his new solo album ‘Brutal Nature’

Bernard - Side-Line Staff — Thu, 09 Dec 2021 14:36:55 +0000

Canadian electronic musician and producer Rhys Fulber has just released his latest solo album, “Brutal Nature”, which has been well received by Side-Line as well. Out now is a video Fulber has made for an edited version of the album track “Fragility” featuring Jeza.

You can view the video below.

Fulber is best known for his lengthy (and ongoing) tenure with industrial standard bearers Front Line Assembly and ambient pop exponents Delerium (both with Bill Leeb), his solo project Conjure One, plus five albums released under his own name. As a producer, he has worked extensively with established metal acts such as Fear Factory and Paradise Lost, as well as the industrial hardcore group Youth Code.

Rhys Fulber – Brutal Nature (Album – FR Recordings)

Inferno Sound Diaries — Wed, 08 Dec 2021 08:00:00 +0000

Genre/Influences: Ambient-Electro, Ambient-Techno.

Format: Digital, CD, 2 Vinyls.

Background/Info: Rhys Fulber (Frontline Assembly, Delerium, Conjure One ao) strikes back with a new album under his own name. He’s now self-releasing his work while previous productions were released by the excellent Sonic Groove. The Canadian producer recorded this album while staying in Canada and getting inspired by nature.

Content: Is it because of the pandemic wherein nightlife and clubbing was restricted and even forbidden for a while or the strength and beauty of nature, but this work sounds more driven by Ambient music. But it’s not pure Ambient as Rhys injected hard, beating kicks, creating a sonic fusion between Techno and Ambient. The work evolved into colder sound treatments, which even have something Klinik-al like. A few tracks feature vocals –which sound more like an extra effect on top of the music. The last cut is something totally different and more into harsh Techno-EBM featuring enraged vocals by Sara Taylor (Youth Code).

+ + + : How many years this artist is now active composing music for different projects? Years indeed, and he rarely repeats himself. That’s exactly what he’s doing again on this album. He holds on to the Techno influences from “Your Dystopia, My Dystopia” while adding a more explicit Ambient touch on top. Rhys Fulber explores the possibilities of Techno music by bringing influences together. But above all he remains a great sound producer, creating outstanding sound treatments with powerful beats and blasting sounds. “Marginalized” and “Pressure” both are great exposures of this work, but I also have to mention the very aggressive “Rogue Minority” and the ultra-violent Techno-Body “Stare At The Sun” featuring the demonic Sara Taylor.

– – – : I can’t say that I prefer this albumover “Your Dystopia, My Dystopia” or “Ostalgia”, but the more explicit ambient approach wasn’t necessary to me.

Conclusion: The ongoing pandemic inspires great artists to release great things; “Brutal Nature” is a perfect title to summarize this visionary work by Rhys Fulber.

Best songs: “Marginalized”, “Pressure”, “Rogue Minority”, “Stare At The Sun”, “Chemical”.

Rate: 8½.

Artist & Label: www.facebook.com/rhys.fulber / www.facebook.com/rhysfulbermusic

Rhys Fulber returns with new solo album, ‘Brutal Nature’, at the end of November

Bernard - Side-Line Staff — Mon, 18 Oct 2021 12:20:19 +0000

Canadian electronic musician and producer Rhys Fulber returns with a solo album, “Brutal Nature”.

Utilising a smaller home set-up rather than Fulber’s usual preferred studio made for an engaged environment and the creation of a greater number of intimate compositions to sit alongside club and night culture influenced tracks that dominated his previous releases for the Sonic Groove label.

This time around, you can expect shimmering ambient textures and floating voices mixed with pulsating technoid rhythms. The more EBM-flavoured “Stare At The Sun” features guest vocals from Sara Taylor of Youth Code.

The new album will be out on November 26 via FR Recordings.

Fulber is best known for his lengthy (and ongoing) tenures with industrial standard bearers Front Line Assembly and ambient pop exponents Delerium (both with Bill Leeb), his solo project Conjure One, plus a series of recent dark techno-based albums released under his own name. As a producer, he has worked extensively with established metal acts such as Fear Factory and Paradise Lost, as well as the industrial hardcore act Youth Code.

1st single from Conjure One’s first studio album in six years out now: ‘Animals’ – stream the first single

Bernard - Side-Line Staff — Fri, 21 May 2021 17:04:59 +0000

The first single from Conjure One’s first studio album in six years is out now. “Animals” is taken from the new Conjure One album which is coming soon on Black Hole Recordings. Conjure One is the project from producer Rhys Fulber (Frontline Assembly / Delirium). The release, the project’s 5th so far, comes 6 years after the “Holoscenic” LP.

For the single Fulber has collaborated with fellow Canadian Jaren Cerf on vocals. Note also that the single is released as Conjure One + Jaren.

The single holds two versions of the title track, and extended and an original mix. You can stream “Animals” below.

Black Hole Recordings is a trance and progressive music label based in The Netherlands, it was founded in 1997 and is the label from artists such as Tiësto, Deadmau5, Paul Oakenfold, M.I.K.E. Push, BT, and so on. The promo regarding this new release also reached us via a PR company working in the dance scene.

V/A Sonic Groove: 25 Years / 1995 – 2020 (Album – Sonic Groove)

Inferno Sound Diaries — Sun, 27 Dec 2020 19:30:00 +0000

Genre/Influences: Techno-Body, Industrial-Techno, Dark-Techno.

Format: Digital, Vinyl.

Background/Info: Sonic Groove is celebrating its 25^th anniversary with a compilation featuring 12 tracks. Set up by Adam Mitchell –better known under the Adam X moniker, the American label –now based in Berlin (Germany) became a visionary company mixing Techno music with darker/underground genres like EBM and Industrial music.

Artists: The Source Experience, Max Durante, Orphx, Diagenetic Origin, Panacea, Meadon, Rhys Fulber & Portion Control, Crystal Geometry, Monolith, Adam X, Dasha Rush, Realmz.

Content: The compilation brings familiar projects from the label together; from ‘earlier’ artists such as Max Durante, Orphx, Diagenetic Origin, Dasha Rush and Realmz… to artists who joined Sonic Groove during the past few years like Rhys Fulber, Crystal Geometry, Maedon… The common thread between all artists is Techno music, which they each mixed with a darker influence. The most surprising track is a collaboration between Rhys Fulber (Frontline Assembly, Delerium, Conjure One ao) and Portion Control.

+ + + : This compilation first of all is a way to discover the great label roster of Sonic Groove while it remains one of the very few labels, which welcomed artists mixing Techno music with darker genres. Sonic Groove has been a pioneer and still remains a reference today. When you hear Rhys Fulber together with Portion Control composing a true Techno-Body-Music song with harsh vocals on top, you get an idea what this label stands for. So far I can see the featured artists have composed an exclusive song for this sampler, which makes it only more interesting. I have a preference for the Industrial-Techno style of Crystal Geometry (one of the newest projects on Sonic Groove), but I also have to mention the rough exposure by Diagenetic Origin, the Dark-Techno approach from Panacea and a more explicit track by Dasha Rush. Adam X remains another attention grabber and who better than the label owner he stands for the sound of his label: Industrial-Techno!

– – – : I don’t have real regrets, but some extra artists and tracks would have been cool.

Conclusion: This sampler serves as a perfect shop window to give you an idea about the sonic strength and visionary style of the label. I can only express respect for what this label has accomplished so far.

Best bands: Crystal Geometry, Rhys Fulber & Portion Control, Diagenetic Origin, Panacea.

Rate: (8½).

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

Rhys Fulber – Resolve (EP – FR Recordings)

Inferno Sound Diaries — Tue, 15 Dec 2020 07:30:00 +0000

Genre/Influences: Electro-Ambient, Cinematographic.

Format: Digital

Background/Info: Rhys Fulber (Frontline Assembly, Delerium, Conjure One, Will, Noise Unit ao) is back with a new EP under his own name. Previous works –mainly released on Sonic Groove, revealed the Technoid skills of Rhys Fulber. “Resolve” is meant as the first EP in a series and also is the debut release on Rhys Fulber’s own label FR Recordings.

Content: Even if most previous productions were into Techno-Body music, Rhys Fulber also showed some Ambient influences. “Resolve” can be defined as pure Ambient, a dark sonic trip, which is touching ground with Cinematographic music. The work features 4 songs and has been progressively built up. You’ll also notice the more elaborated “Disused” featuring sampled voices in the background and creating a ghost-like effect.

+ + + : Rhys Fulber is a kind of ‘chameleon’ musician, who can transpose himself to write different styles of music genres. The Ambient approach is not new in his career (even FLA composed Soundtrack music), but this is a different approach. It’s dark, sometimes achieved with Technoid soundsculptures and still reminding me of some Ambient pioneers. The opening cut “Charleroi” is directly inspired by the Belgian city, which is a grey area of abandoned metal industry while the city became also famous because it was there where murderer Marc Dutroux lived. And by the way, it also is the hometown of à;Grumh. It’s a nice wink to the Belgian fans of Rhys Fulber. I however prefer the already mentioned “Disused”, which is finely elaborated with great sound treatments. Both last cuts reveal a kind of dark, inhibited reverie, definitely accentuating the electro-ambient approach of the work.

– – – : “Resolve” is an easy listening work, quite accessible, but definitely not the most exciting production I’ve heard from this sound guru.

Conclusion: Rhys Fulber goes Ambient revealing an intimate, electronic production that sounds as the perfect soundtrack for an imaginary movie.

Best songs: “Disused”, “Charleroi”.

Rate: (7½).

Artist & Label: www.facebook.com/rhysfulbermusic

Daybehavior – Based On A True Story (Album – Graplur)

Inferno Sound Diaries — Tue, 18 Feb 2020 19:30:05 +0000

Genre/Influences: Electro-pop.

Format: Digital.

Background/Info: This is the fourth full length album by the Swedish electro-pop formation Daybehavior. The least I can say is that they don’t release new work on a regular basis; this new opus being released seven years after “Follow That Car” (2012).

Content: Daybehavior remains animated by the delicious, sensual and fragile vocals of Paulinda Crescentini, but the music is also something special. This is not the classical electro-pop composition driven by happy tunes and danceable rhythms. The splendor and magic of Daybehavior hides inside the melancholic atmospheres of their work. The songs are melodic, but mainly evasive-like. One of the most danceable cuts is the “Extended 12” Mix” of “Change”, which is a song previously released as an EP title track.

+ + + : I’ve always been a huge fan of Paulinda’s particular timbre of voice. It’s somewhat sensual, definitely fragile and filled with emotion, creating a perfect match with the melancholia of the music. The album features some beautiful songs and I especially have to mention “A Boy A Girl”. It’s a delicate exposure of electro-pop, but still an emotional sonic voyage into an intimate universe. The album features multiple captivating synth lines. This album sometimes reminds me of the magic of Conjure One.

– – – : You don’t hear me complaining, but I’m missing a few more danceable cuts suited for the dancefloors.

Conclusion: “Based On A True Story” has this authentic strength to touch people. It also is the band’s most mature and accomplished work.

Best songs: “A Boy A Girl”, “Burning Slowly”, “There’s Nothing Else”, “A Perfect Day”, “Change – Extended 12” Mix”.

Rate: (8½).

Artist & Label: www .daybehavior .com / www .facebook .com /DayBehavior

Rhys Fulber – Baut Mit! (EP – Sonic Groove)

Inferno Sound Diaries — Sat, 15 Feb 2020 19:00:31 +0000

Genre/Influences: Industrial-techno.

Format: Digital.

Background/Info: Rhys Fulber (Frontline Assembly, Delerium, Conjure One ao) last year released his second full length solo-album “Ostalgia”, which was a new exploration of contemporary dark-techno paths. “Baut Mit!” features four remixes from songs originally released on “Ostalgia”.

Content: The Berlin techno-underground scene is probably one of the most famous ones in the world. Sonic Groove’s owner Adam Mitchell is based in Berlin and I can imagine it has incited Rhys Fulber to get remixed by artists from the German capital of techno music. Tommy Four Seven, Headless Horseman, Traversable Wormhole and Phase Fatale took each one song from “Ostalgia” and transposed them into their own techno perception. From the cinematic-techno interpretation of “Misery Whip” by Tommy Four Seven to the brutal remix of “Apostel” by Headless Horseman to the acid-retro like remix of “Fisson” by Traversable Wormhole to the more techno-industrial driven “Right Hand Of the Free World” remixed by Phase Fatale, this EP stands for diversity.

+ + + : Diversity is for sure the main strength of this work. I heard a great remix by Headless Horseman, but Traversable Wormhole’s merciless transformation of “Fisson” is my personal favorite. I enjoyed the kind of whipping snare drum and the acid-like sequences.

– – – : This EP is food for DJ’s, but I’m missing an extra song or remix by Rhys Fulber himself.

Conclusion: Rhys Fulber remains a source of inspiration, even for artists who are not familiar with darker electronics and industrial music.

Best songs: “Fisson – Traversable Wormhole Remix”, “Apostel – Headless Horseman Remix”.

Rate: (7½).

Artist: www .facebook .com /rhysfulbermusic

Label: www .sonicgroove .com / www .facebook .com /Sonicgrooverecords

‘Click Interview’ with Psy’aviah: ‘I Don’t Get Why People Are So Hung Up On The Fact A Band Has To Stick To One Genre’

Inferno Sound Diaries — Sun, 22 Dec 2019 18:00:20 +0000

Belgian Psy’Aviah is driven by the creative spirit of Yves Schelpe. The project is already busy for several years now and this year unleashed its seventh full length album. “Soul Searching” –released on Alfa Matrix, can be easily considered as a conceptual album for its lyrical content, but still for the renewed experience with multiple guest singers. Sound-wise the work remains a truly sonic enigma, which might be simply called ‘electro-pop’, but when you listen more carefully you’ll notice an amazing amount of influences. But more than the result of multiple influences, Yves Schelpe has for sure released his most mature work to date, which might appeal for lovers of Delerium, Conjure One, Lunascape and related bands. On stage Yves Schelpe (electronics) has been joined by singer Marieke Lighband and guitarist Ben Van de Cruys. (Courtesy by Inferno Sound Diaries)

Q: When you’ve a new album out, do you consider it as the best one you’ve ever released? Where do you place “Soul Searching” in your growing discography?

Yves: Honestly rating your own work, I think most musicians will tell their latest is the best as it sounds fresher to their ears, because as a musician you grow in technique, songwriting and taste. Hence why most musicians would rate their latest work as either their best or among the best if they’d had to choose. But in the end it comes down to the listener, I do my thing in my small bedroom studio, try to learn every day, try to bring new ideas, fuse genres and create stories.

As for where I place it in my discography, that’s an interesting one. I think it’s on the list of albums between 2013-present vs 2007-2012. As of 2013 with “Future Past” I radically changed in both style and wanted to bring the EBM and electro into different genres from jazz, to trip-hop, to classical, to pop.. Always with a dark hint and with a wink to the past. And that’s why I split my discography in those two ‘eras’ internally in my head. Since 2013 it’s also more focused in stories per album, as well as inviting guests to sing instead of just one lead vocalist.

Honestly maybe this could be the start of a third era in Psy’Aviah’s discography, where I go even further and incorporate even more other sounds and songwriting styles. Who knows, an artist always evolves… That’s so fascinating about music.

Q: What have been the influences and challenges to write and accomplish “Soul Searching”?

Yves: Writing the basic songs wasn’t the biggest challenge -as I always write the basic chords and melodies on piano first. You have to know that with “Soul Searching” it was the intention to create a soundscape that is radically different and alienates the listener from the daily Western sounds they hear -both so the sound from song to song is coherent, even if ‘styles’ change, and as well to transport the listener in a different ‘space’. Pull them out of the traditional Western sounds they’re so familiar with, I wanted to introduce something fresh. So finding those right instruments to tell the story was a big challenge. We have all the tools available: samplers, effects, digital instruments…

But I went for a radical approach to use real instruments, either pre-recorded or played by real people.

Q: I can imagine finding the right match between the songs and guest singers must be one of these challenges, but how did the final selection happened? Is there something like a cast? Are there specific criteria to choose a singer? What about the lyrics and how did the recording with The guests happened?

Yves: I always write the songs first on piano sounds, then the search for the ‘sound’ begins. Once I have a rough demo then I send either one or more demos to the singer I think they match with. About 90% of the time I have a strong feeling of how the melody of the lead vocals and backings should sound and I prerecord those with my own voice. But some guests do write their own lyrics -I do always give them pointers how I want it to sound or what lyrics need to deal with to match the story and to inject my ideas as well. But for Mark Bebb and Lis van den Akker they wrote their lyrics, vocal melodies and harmonies. Sometimes I co-write, as with Roeland van der Velde and Ellia Bisker -exchanging lyrical notes and adapting them.

The fact is that for each song I know the tone of the vocalist, and know what they can bring to the table by listening to their work and -with most of them -knowing them already for a long time. It’s a collaboration in the end, of course I do have my veto, as do they if they’re not happy. I always brief them of the concept of the album, the intent of the song -it’s maybe very over the top micromanagement sometimes, and maybe taken too seriously, but when you’re that passionate about what you do, you can’t help it (lol).

As for recording, most people record at their own home studio, or the studio of the band they play in. We exchange via the internet, and I give my feedback whether I want some extra adlibs, or extra shouts or harmonies… I once did a video with Mari Kattman on how we collaborate: [ https://www.youtube.com/watch?v=8_NMFZZ9a-A ] -it’s explained how she works, and how I work -it’s generally 95% the same for each song…

Q: Sound-wise, I don’t know if “Soul Searching” is my favorite Psy’Aviah album, but it for sure sounds as the most mature one! I get the feeling you’ve found ‘your’; sound while other albums were more like the exorcism of ideas and influences. How does it feel at your side and what did you finally try to achieve with this work?

Yves: Every album has a different sound, but it always has the ‘Psy’Aviah’ stamp on it. Maybe the reason why it sounds more mature is the fact that I wanted to draw people out of this world and this gave every song the alienated Eastern vibe -and that gives an extra layer of coherency. As for an eclectic approach on other albums, that’s part of the deal with Psy’Aviah. And I’m not alone -check for example the mélange of trip-hop to ambient to ballads to electroclash and to pure dancefloor driven tracks to even rock tracks by Moby, Praga Khan, Bowie, Die Antwoord, Junksista or Faithless on a single album, that mix given with their own take on it and their own sound, as I do as well, is not so weird in my mind… So I don’t get why people are so hung up on the fact a band has to stick to one genre, for me that is boring and hence why the bands listed before are prime examples why I’m a big fan of their albums, they can be on repeat for days because of the diverse take rather than a rehash of 12 tracks in the same genre with the same sounds being reused over and over again…

Q: The opening song “Becoming Human” is for sure an essential track from the album. I get the impression this song with spoken words by the famous and mediatized Flemish psychiatrist Dirk De Wachter is the heart from the album to understand the concept, right? Tell us a bit more about this surprising guest vocalist and how did you get in touch with him and finally convinced him to contribute?

Yves: I saw some of his lectures online, then started reading his books “Borderline Times” and “De Wereld van De Wachter”, as well as his newest work “De Kunst Van Het Ongelukkig Zijn”. There were so many ideas in there that it already inspired my work on “Lightflare”, when writing songs for the EP “Looking For The Sun” I wrote a mini essay in the booklet (PDF in bandcamp release) on how these ideas are reflected in the songs on the EP, and by then I did contact Dirk to get his approval, because when you mention someone -I feel it’s only appropriate to ask for advice and approval. Later that year I met him at a lecture he gave at the University of Antwerp, and by then I had already written half of the songs for “Soul Searching”. We talked about the ideas, and then set a date via mail to meet & record -he lives just two blocks away so that was easy. We talked about the concept of the album, the reason behind those words, not a lot of convincing was needed -you have to know Dirk is a really nice and warm person.

The poem I wrote as an introduction to the rest of the album’s lyrical content as you understood correctly, but his deep voice as well as his attachment to the lyrical content, for me was a trigger to ask and include him. Recording was fun though, at his cabinet, cosy, greeted with a smile and coffee. Talking about each other’s interests, and then record. I’m grateful to have him included in this concept album as it really makes the journey complete from start to finish. But that fact is essential for each vocalist, the match in voice and passion for the lyrics has to be there -otherwise it does not work.

Q: You mentioned Dirk De Wachter’s book “Borderline Times” where he makes an interesting link between BPS (Borderline Personality Disorder) and the Western World we’re living in. I realized there also is a possible link between this psychiatric disorder and the music business from today. What does it inspire to you as an artist?

Yves: You are correct, he essentially goes through each of the symptoms of BPS and then diagnoses our Western lifestyle to come to the conclusion that we live in ‘borderline times’. Every part of it, from medical institutions, business world, politics – and of course the music business. It is the whole of our Western world that is affected by these symptoms, and especially when it comes to the ego: everything revolves around the ‘I’, the ‘Me, Me, Me’ culture. I see it a lot in this music business from small to big; it hurts the way we interact with each other unfortunately.

As an artist I try to break that cycle by not making this project about me alone, although I do have ambitions and try to put ‘myself’ into each and everything of what Psy’Aviah is -that in essence is no problem. But you should never ever forget the people around you that are helping you around the way, I guess that’s what I try to hold in higher regard after reading his books. Being a lot humbler towards achievements, because what are you with achieving something when you can’t share it but yourself. At the end a good relationship with the musicians I work with, the artwork artist, the live band Marieke & Ben, the fans… that relationship is important. Not for sales, but to stay grounded. And if you can help out other bands, then why not. I have no interest in beef or drama, so that’s how I try to act in this business as an artist. To give a concrete example, we played a benefit concert at the British American Theatrical Society (or BATS in short, yeah, they’re a bit gothic too then ;-)), as the theatre is in need of funds to move location (as their rent is being raised). We played there for free, [ https://www.youtube.com/watch?v=4ROR9lWOCXo ], we helped them out, they helped us out reaching a new audience. We had fun, it was a concert that’s on my high all-time list because of this fact. There is a ‘Great Disconnect’ in this society at the moment, and not only in the music scene. So looking out for each other is something that I take away from it, without devaluing/patronizing the person or organization you’re helping or listening to. Doing small good things should become a natural habit again instead of the ‘bol.com’ instant delivery for the ‘me me me’ society we are creating.

In that sense you could say that Psy’Aviah lyrics are of great importance to highlight these issues as well: “Voodoo Love”, “Becoming Human”, “Hold On” (as written by Mark Bebb) or even “City In Flames” are prime examples of that.

Psy’Aviah – Soul Searching (DCD Album – Alfa Matrix)

Inferno Sound Diaries — Fri, 13 Dec 2019 20:30:31 +0000

Genre/Influences: Electro-pop, ambient-pop.

Background/Info: “Soul Searching” is the seventh official album for Belgian Yves Schelpe aka Psy’Aviah. The composer again invited an impressive list of ‘guest singers’ to put their voice on his compositions.

Content: Psy’Aviah is a project in constant move. “Soul Searching” features typical influences and arrangements, which are into the Psy’Aviah sound, but compared to the previous album –which was more into some dance-electronics, this work reflects maturity and impressive vocal performances. The opening cut featuring one of the most famous and ‘popular’ psychiatrists from the Flemish part of Belgium (aka Dirk De Wachter) you’ll also get songs with Roeland van der Velde, Mari Kattman, Mark Bebb, Alicia May, Kyoko Baertsoen, Saydi Driggers, Marieke Lightband, Addie Nicole, Lis van den Akker and Ellia Bisker.

Sound-wise Yves Schelpe has achieved a work, which sounds like a sonic bridge between electro-pop and ambient-electronics. It might appeal for lovers of Delerium, Conjure One, Lunascape and related bands.

The limited edition features an extra disc with remixes by SD-KRTR, Metroland, Rob Dust, 11 Grams, Mind.Divided, SNVFF, J. Wolf, The Gothsicles, Studio-X, Cosmic Armchair, Noire Antidote, Maarten Pels, Tom Bro, People Theatre, KGProject and French Skies.

+ + + : Psy’Aviah is back with great stuff and has probably accomplished his most achieved work to date. After a rather disappointing “Lightflare”-album on which Yves Schelpe fall in the trap of easy electro-dance music, this work reflects a more intelligent approach and still a challenge in the fusion between electro-pop and atmospheric passages. The songs have been accomplished by alluring, deep sounding bass lines, elevating leads, down-tempo rhythms and a few Eastern sound treatments on a couple of songs. Yves Schelpe also selected an impressive list of talented singers (featuring some familiar Psy’Aviah guests next to newcomers).

One of my favorite cuts is the more club-friendly “New Times” feat. Alicia May (who already sang on a song of Benjamin’s Plague) while the already familiar “Voodoo Love” feat. Roeland van der Velde is a dreamy, beautiful piece of music. Among the vocalists I also want to mention Kyoko Baertsoen, Saydi Driggers and Ellia Bisker (reminding me of Lana Del Rey).

Among the remixes I recommend the 80s driven “Hold On” remixed by Metroland, “New Times” remixed by SNVFF, the wafting “Dream Fever” remixed by Tom Bro and the trance-orientated “Searching” remixed by French Skies.

– – – : The main difficulty for Psy’Aviah remains the style, which is hard to define for mixing different influences; it remains often too ‘indie’-like for underground music and too ‘dark’ for the indie-stream. It’s not exactly an album for the clubs although it sounds danceable!

Conclusion: Psy’Aviah has accomplished its opus magnum, which however remains an album hard to label and a pure challenge when it comes to ‘sales’.

Best songs: “New Times”, “Voodoo Love”, “Dream Fever”, “Searching”, “City In Flames” + “Hold On – Metroland 7” Remix”, “News Times – SNVFF Remix”, “Dream Fever – Tom Bro After Club Remix”, “Searching – French Skies Club Remix”.

Rate: (8½).

Artist: www .psyaviah .com / www .facebook .com /psyaviah

Label: www .alfa –matrix .com / www .facebook .com /Alfa .Matrix

Rhys Fulber – Ostalgia (CD Album – Sonic Groove)

Inferno Sound Diaries — Mon, 02 Dec 2019 19:30:41 +0000

Genre/Influences: Industrial-techno, IDM, minimal-electro.

Background/Info: One year after the successful album “Your Dystopia, My Utopia”, Canadian electro veteran Rhys Fulber (Frontline Assembly, Delerium, Conjure One, Noise Unit ao) strikes back with his second solo-album. The title of the album reflects ‘ a romantic nostalgia for the old but comforting ways of Communist East Germany – and a yearning for rigid systems after progression into the future has led to chaos and uncertainty’.

Content: The title of the album might be understood as a sonic metaphor from an artist in search for good-old electronic sounds. One thing is for sure, Rhys Fulber moves on exploring techno paths, which he meticulously merged together with harsh industrial sound treatments. This album sounds more into the techno direction, but still reveals the sophisticated approach of the musician/producer. The second half of the work becomes more elaborated and into IDM.

+ + + : Rhys Fulber confirms feeling comfortable composing ‘’his type of techno music.” The industrial-techno genre isn’t new at all, but this artist mixes it with some good-old sound treatments. But the album also sounds like a magic box, which features an endless number of sonic tricks and effects. Some tracks are progressively evolving towards a truly climax. Just pay attention to “12 Steppes” and the darker “Consum” and you’ll seize the complexity of “Ostalgia”. I might prefer the previous album, but what I especially like on “Ostalgia” is that Rhys Fulber evolved with his techno exploration.

– – – : “Ostalgia” made me a bit nostalgic from the more explicit EBM and techno-body approach from his previous album.

Conclusion: Rhys Fulber is a meaningful project when it comes to industrial-techno and IDM. This artist has no limits when it comes to expose his skills!

Best songs: “12 Steppes”, “Consum”, “Apostel”, “Right Hand Of The Free World”, “Misery Whip”.

Rate: (8½).

Artist: www .facebook .com /rhysfulbermusic

Label: www .sonicgroove .com / www .facebook .com /Sonicgrooverecords

‘Click Interview’ with Cubanate: ‘Cubanate Has To Give You A Rush’

Inferno Sound Diaries — Tue, 02 Jul 2019 17:00:51 +0000

British formation Cubanate were active in between 1992 and 1999! It were seven years of sonic terror; pure crossover like we used to call it in the 90s. A harsh and unpolished sound mixing electronics and guitar with a f****ing, enraged singer and live performer as image of the band. The band released successful albums (cf. “Antimatter”, “Cyberia” and “Barbarossa” all released on Dynamic and a last album “Interference” released on Wax Trax! Records). Songs like “Body Burn” and especially “Oxyacetalene” became some of the band’s greatest hits. After a long hibernation the ‘Cubanate-monster’ got reactivated in 2010. Marc Heal and Phil Barry first started to play some live gigs, but 2019 is for sure the year of the ‘real’ come-back. This is their first new work in twenty one years! The EP “Kolossus” released on Armalyte Industries reveals five new songs plus two remixes. I didn’t know what to expect from this new release, but one thing is for sure, this is probably the best production I’ve heard from Cubanate! I got in touch with Marc Heal.

The new EP (available here on MCD) contains five new songs plus remixes of the title track by Rhys Fulber (Front Line Assembly, Delerium, Conjure One) and DROWND.

(Courtesy by Inferno Sound Diaries)

Q: Cubanate was already back to business for a couple of years now, but “Kolossus” is the first new work since 1998! How did it feel to be back and where do you place this work in the band’s discography?

Marc: We decided that we were only going to do Cubanate again if it was fun and good. We were persuaded to play the “Cold Waves”-festival in Chicago back in 2016. Chicago always felt like a home city for us, because we were signed to Wax Trax and all that. I hadn’t played live at all in about 17 years at that point. I mean, not just with Cubanate, nothing at all! But I was curious to see how it would feel. I was nervous that first time. I was living in Singapore, Phil was in London, so we both flew over, did a few days rehearsal, then – bam! Scary.

But after we had dipped our toe in the water we decided to do some more. We played with FLA, Revolting Cocks, some UK dates.

Same with “Kolossus”. It’s a test. I wanted to try an EP first, to see how it felt, before committing to making an album.

Q: I think to remember you once said (back in 2011) that no new Cubanate album would be ever released! And look now, here’s “Kolossus”, which is according to me the best Cubanate stuff in history. How did it finally happened and what will be next?

Marc: Thank you. I think it was important to reconnect as a band first. We didn’t mind playing a few retrospective dates. The old songs still sounded fresh. Also we had released the “Brutalism”-compilation, which was a remastered “Best Of” from the days we were signed in Berlin to Dynamica, so all good.

But after a while we became curious about what new material would sound like. We needed to find a way to record. I was in California by then so it was still hard to find a way to work together.

I had made a few new songs with Jean-Luc Demeyer for my other project, C-Tec. So I realized working at such distance could be done, so long as you trust the other person artistically. That’s very important, because you aren’t in the same room together to persuade or negotiate. Next up, we will try an album.

Q: How much of the ‘early’ Cubanate sound, the way of composing and producing songs do you recognize in “Kolossus”? And what have been the main changes/evolutions?

Marc: Cubanate has to give you a rush. It has to be nasty and thrilling in your gut. But these days we feel able to throw anything together to get there. Any sound, any influence, any instrument. We’re more experimental now.

There are a lot of technical changes since the 90s. In those days we would write in the studio and whatever came out at the end, we released! That was because you couldn’t take the mix down from the desk without losing the whole sound. These days, with digital, it’s easier to go back to a mix. But we still try to keep things loose, not to over-think everything, to keep it raw. We still have to work with my ragged old voice, of course. And Phil’s guitar, So it’s never going to sound too polished!

We’re older and more experienced. We’ve learned to work harder at making things better, but also to know when to stop.

Q: How did the writing of the new songs happened? What has been the main focus and possible sources of inspiration?

Marc: I write the bones of an idea, with a rough lyric and vocal. Then I send it to Phil, who adds guitar. Then I rearrange and often re-do some vocals and lyrics to make it all work together. Then Phil will finish it off and do the final mix.

I’m always interested in the dynamics of power, within relationships, within society. I always thought you had to be messed up to write dark lyrics. As it turns out, it’s easier when you’re not. You can visualize more clearly. And your moral perspective is less blurred.

Q: What did you try to express on the “Kolossus”-clip and what’s the importance and impact of making clips today?

Marc: It’s good, isn’t it? Gabriel Edvy directed the video. I’d used her for “Adult Fiction”, which was one of my solo songs and she did an amazing job. So I learned to trust her and give her freedom. I told her wanted something that merged a kind of industrial, factory feel but with a threatening feminine contrast. Also, Phil and I had to record our parts separately, which I thought would be tricky, but it adds a feeling of isolation, which I like. Then she just got on with it.

Back in the old days, people were impressed by just seeing you mime along in the video. These days there is so much video online that I think you need to approach the moving image as integral with the music, or else there’s no point. It’s almost like Gabby is an extra band member in charge of film.

Q: Cubanate has been active and successful during the 90s. It was a decade wherein it was easy to sell CD’s while today it rather appears to be an item for collectors and die-hard fans! How do you perceive this evolution, but also social media, streaming etc?

Marc: We ended up making a lot of money in the 90s, mainly through games music. I bought a couple of houses. But I have no expectations about making money from music now. I do it because I love it and I like the people I work with. Our label, Armalyte are into what we do and we split any profits with them. There’s no contract, everyone does it because they enjoy it and they get off on the music. It’s like going back to the old punk rock days. I much prefer that.

Also I like social media. I can talk directly with people on the Facebook page. And they can compliment or insult me directly. It’s almost like starting a new band again, really. And it feels better than it ever did.

Cubanate – Kolossus (Digital EP – Armalyte Industries)

Inferno Sound Diaries — Thu, 13 Jun 2019 19:30:51 +0000

Genre/Influences: Industrial, crossover.

Background/Info: Twenty one years after their last studio work under the Cubanate moniker, core members Marc Heal and Phil Barry are back on track unleashing new work. This EP features five new songs plus two remixes.

Content: Cubanate is back and the least I can say is that it doesn’t sound at all as this band has been inactive for more than twenty years. “Kolossus” still sounds pretty Cubanate like; a sound which is powerful, merciless and hard to define. The compositions sound like the offspring between multiple influences; a sonic fusion between industrial-, techno-, EBM and metal music. Aggressive sequences and some EBM-driven bass lines have been mixed with guitar assaults –which might appeal to KMFDM fans, plus the harsh screaming vocals of Marc Heal.

Remixes have been made by Rhys Fulber and Drownd.

+ + + : The violence emerging from this production is absolutely terrific. But there’s a perfect balance between the power and the different influences running through the work. Compared to the 90s productions of the band, this work maybe sounds a little tiny bit more electro-like and less metal-inspired. The five new songs are absolutely amazing. It’s an overwhelming production reminding me of an imaginary fusion between KMFDM and Empirion, but in the end it’s just Cubanate ano 2019! The songs are well-crafted, intelligent and literally exploding during the choruses –and I here especially refer to “Missing Persons” and “Vortex”.

– – – : When listening to this EP –which more appears to be a mini-album, you just want to hear more! The remixes are pretty cool as well, but not of a same level as the original songs.

Conclusion: I didn’t know what to expect from this comeback and I even was a bit skeptical. The result left me breathless and I even dare to affirm “Kolossus” is probably the best production I’ve heard from Cubanate! You guys rule!

Best songs: “Missing Persons”, “Vortex”, “Kolossus”, “Split Second”.

Rate: (9½).

The new EP (available here on MCD) contains five new songs plus remixes of the title track by Rhys Fulber (Front Line Assembly, Delerium, Conjure One) and DROWND.

Artist: www .facebook .com /cubanate

Label: www .armalyte .com / www .facebook .com /ArmalyteIndustries

Cubanate has just launched ‘Kolossus’ video – watch it now!

Bernard - Side-Line Staff — Fri, 07 Jun 2019 12:25:19 +0000

To celebrate the return of Cubanate, the band’s label has dropped a rather spectacular promo video for the EP’s title track today. It’s directed by E Gabriel Edvy of Blackswitch Labs, and stars alt. model Leah Debrincat.

Here’s the video!

The new EP (available here on MCD) contains five new songs plus remixes of the title track by Rhys Fulber (Front Line Assembly, Delerium, Conjure One) and DROWND. Out on 7th June, it will be previewed at a co-headlining London date with PIG on 1st, plus an appearance at the Wave Gotik Treffen festival in Leipzig, Germany. Orders are available here, but be fast!

Cubanate is back with ‘Kolossus’ EP : the first new release since 1998 + video for ‘Missing Persons’

Bernard - Side-Line Staff — Wed, 15 May 2019 12:17:12 +0000

The industrial techno-rock duo Cubanate have announced the release of their first new music in over two decades in the form of an EP entitled “Kolossus”. It follows their “Brutalism” retrospective collection in 2017 and a brief return to live action for the first time since the late 1990’s to promote it.

Working with an ocean inbetween

Marc Heal and guitarist Phil Barry had started thinking about writing new material after the positive reaction to their initial comeback shows, but as they live on separate continents these days (Heal is currently based in San Francisco while Barry is in Cambridgeshire) it wasn’t all that easy.

Marc Heal: “I set up a vocal booth in Palo Alto and sketched out the ideas. Phil took them forwards in Cambridge and added guitar. Once I heard that I added some more vocals and tweaked the structure before he then finished the mixes. We’re pleased with the results but I feel we will get stronger now we’ve done these five tracks. It’s a psychological barrier. The EP still sounds like us but inevitably we’re older and hopefully wiser. The wisdom thing is tricky, because a lot of early Cubanate was about relishing a ride towards self-destruction. It’s still like that, but smarter. These days we’re more confident that we can do whatever we want, both musically and lyrically. So long as it keeps being fun and we think we can keep being nasty, we’ll keep doing it.”

Here’s the track “Missing Persons” which is featured on the EP.

The early beginning, the split and resurrection

Formed in the summer of 1992 as a four piece centred around Marc Heal (vocals) and Phil Barry (guitar), their early sound fused the rhythms of the then nascent techno scene with the lo-fi grunge rock sound emanating from the US. Although the band later became adopted by Goth audiences, early Cubanate was more influenced by Joey Beltram, Baby Ford and Nirvana.

Following a UK tour with electronic duo Sheep on Drugs, they signed to the Berlin based Dynamica label and released their debut album, “Antimatter” (1993), which included the single “Body Burn”. The second Cubanate album, “Cyberia” (1995), featured the single “Oxyacetylene”. The band’s third album, “Barbarossa” (1996) contained the single “Joy” and was promoted with live dates supporting Gary Numan, Rammstein, The Sisters of Mercy and Front 242. Heal struck up a friendship at this time with Jean-Luc De Meyer of Front 242 and the pair subsequently released two albums as C-Tec.

In 1997, seeking a change of label and direction, Cubanate signed to Wax Trax! for what was to be their final album to date, “Interference” (1998). Splitting in 2000 but reforming in September 2016 for a set at the Cold Waves Festival in Chicago, they subsequently played several UK and North American dates in 2017 to promote a retrospective compilation entitled “Brutalism”.

Rhys Fulber – Your Dystopia, My Utopia (CD Album – Sonic Groove)

Inferno Sound Diaries — Mon, 03 Sep 2018 19:30:23 +0000

Genre/Influences: Minimal-electro, industrial-techno, body-techno.

Background/Info: Rhys Fulber (Frontline Assembly, Delerium, Conjure One, Noise Unit ao) last year took me by surprise releasing the 12” “Realism”. This maxi revealed a truly high-tech, minimal-, but still industrial-techno approach. The Canadian artist is now back on track unleashing a full length featuring 9 new songs.

Content: The influences and global approach are pretty similar. Rhys Fulber sounds like having fun experimenting with dark-techno, industrial sounds, minimal-electronics and EBM. The work becomes a kind of electronic melting-pot however centered on techno music. It’s obscure and sophisticated, but always danceable. Multiple vocal samplings have been injected. There also is a song called “My Church”, which sounds as a wink to Faithless mega-hit “God Is A DJ”.

+ + + : Rhys Fulber making techno might sound a bit weird, but he remains a truly sound alchemist. Techno can be also intelligent and well-crafted and that’s precisely what you might expect from this opus. The way all influences have been mixed is just great. Some passages are clearly into EBM and sometimes even reminding FLA arrangements, but it has been merged together with harsh industrial elements, great synth lines and pure minimalism. This work reveals a majority of great tracks, which will make you move. Notice by the way that there’s no track from the previously released 12” that has been picked up. This work features only new cuts! I fully enjoyed this work and I sincerely hope Rhys Fulber will go on composing ‘his’ techno music.

– – – : There’re just 2 songs (cf. “My Church” and “The Sick”), which can’t totally convince. Both pieces are missing a climax, but that’s just a detail compared to the rest of the tracklist, which is magic!

Conclusion: Rhys Fulber dealing with techno music sounds is a real challenge. He already surprised me at the debut 12” and simply confirms all his talent and visionary approach at the album. Respect Rhys!

Best songs: “You Can Kill Them Or You Can Feed Them”, “Limited Vision”, “Anhedonia”, “Inhabits Eternity”, “Truncheon”.

Rate: (9).

Artist: www .facebook .com /rhys .fulber

Label: www .sonicgroove .com / www .facebook .com /Sonicgrooverecords

New Rhys Fulber studio album out on June 6th combining dance and EBM

Bernard - Side-Line Staff — Tue, 15 May 2018 18:00:56 +0000

Out on June 6th via Sonic Groove is the new Rhys Fulber studio album “Your Dystopia, My Utopia”.

“Your Dystopia, My Utopia”, is the first album produced by Fulber for Sonic Groove and the follow up to his 12″ “Realism” released last year and available right here on vinyl. The new album consists of 9 tracks clearly aimed at the dance floor but definitely holds dark EBM elements.

Fulber has an extensive oeuvre; from his artistic collaborations with Bill Leeb (known predominantly as Front Line Assembly, and also as Delerium, Noise Unit, Intermix, and many others) to his work as a producer for bands such as Youth Code, Paradise Lost, and Fear Factory. He also works under the name Conjure One, which is a cinematic solo project that features collaborations with vocalists such as Sinead O’Connor and Leigh Nash.

‘Click Interview’ with Rhys Fulber: ‘It Was Some Of The Most Freeform Music I Have Made In A While’

Inferno Sound Diaries — Sat, 05 Aug 2017 17:00:55 +0000

Rhys Fulber is a musician/producer who will be forever linked to the EBM giant Frontline Assembly and the ambient-ethereal-dance project Delerium. I also can mention other music projects like Conjure One, Will, Noise Unit, Intermix, Synaesthesia ao. The Canadian musician has now started a new solo-project under his own name. A first 12” “Realism” got released on Sonic Groove revealing a surprising, but great dark electro-techno sound. This is what Rhys says about it.

(by Inferno Sound Diaries)

Q: After Frontline Assembly, Delerium, Conjure One, Synaesthesia, Will, Intermix etc… you’ve just released a first 12” under your own name! What does “Realism” stands for and what inspired you to compose this work?

Rhys: The title “Realism” was inspired by the Socialst Realism art style that also inspired the sleeve of the record. I have always been fascinated by the imagery and mystery of the former socialist states and again took my cue from this. The music itself started out as just some improvisations on the modular synthesizer. I had accumulated several sessions of this material, then went back and chose which ones to develop further. Eventually it evolved into this EP.

Q: It seems you had no specific idea of sound in mind when starting the composition, right? What do you think about “Realism” right now?

Rhys: I had no initial concept at all other than wanting to make some harder edged music again. Like I said, I just started recording some modular synth jams and that grew its own momentum.

Q: This is a totally new project so did you try to experience with new ideas/sounds/instruments/production skills ao?

Rhys: It was some of the most freeform music I have made in a while, so in that way it was very different to the labor intensive productions I have been making for some years now. I just started and went where it took me, with no real rules other than what sounded good rhythmically. Once I got told this would work in a techno format, I developed some of the sounds in that direction as well as a more club style arrangement. But overall it has been very liberating to make music this way.

Q: What has been the main focus in the global production process and do you have some references?

Rhys: The main focus is just following instinct. Recalling some old techniques I haven’t used in a while, then present them in a current way. I only reference other records for the kick drum sound, as that is the foundation of music in this style usually.

Q: How did you get in touch with Sonic Groove and what does it mean to release a vinyl ano 2017?

Rhys: Adam X (Sonic Groove) had heard some of the modular jam demos I had shared with my friend Joey Blush (Response) and then expressed interest in making a record with me. I had heard good things about the label and that they are selective with their releases so it sounded like a good opportunity.

I love the resurgence of vinyl. We have had some older releases being re-issued recently and coming from a vinyl collecting background, I am all for a resurgence in music being something more tangible than digital files, with vinyl being the premier format of the recorded music experience.

Q: Sonic Groove is labeled as techno-industrial! Are you a bit familiar with this ‘scene’ and what’s your perception about techno music generally speaking?

Rhys: I have followed techno on and off since its inception, especially in the early 90s and the last four years or so, so I have kept fairly up to date. I have always felt like industrial music’s torch was passed through different club genres over the years and now the underground techno scene is representing its spirit far more accurately than the current genre holding that title.

Q: Is “Realism” just a ‘one-shot’ experience or do you’ve further plans considering aspects such as live performances, new releases, eventually an album?

Rhys: All of these are currently in the works – a full length album as well as live performances. There was already a surplus of material as “Realism” was finished, so that will be coming on the full length. I also did a recent live set in Los Angeles in preparation for a gig at “Tresor” Berlin coming this August 10th, so expect to see more of everything.

Courtesy by Inferno Sound Diaries

Rhys Fulber – Realism (Vinyl 12” – Sonic Groove)

Inferno Sound Diaries — Sun, 09 Jul 2017 18:30:27 +0000

Genre/Influences: Minimal-electro, industrial-techno.

Background/Info: Rhys Fulber doesn’t need that much of an introduction. Long-time member of Frontline Assembly, involved over the years into bands like Delerium, Noise Unit, Will, Synaesthesia, Conjure One, Intermix ao, the Canadian sound guru has now achieved a new EP under his own name.

Content: If you’re a bit familiar with the Adam-X label Sonic Groove, you for sure get an idea what to expect. Rhys Fulber has composed 4 industrial dance-cuts. The opening track is quite FLA-like, but with this little techno-groovy touch on top.

Quite progressively the tracks become more technoid, but still minimal and always dark. “Realism” sounds like industrial-techno with some groovy dance kicks and several spoken samplings.

+ + + : After great names and sound architects such as Orphx, Monolith, Fixmer/McCarthy it’s now time for another famous artist from the dark-electronic scene to join hands together with Sonic Groove. Rhys Fulber remains a real genius when it comes to transposing sounds into a very own styled dimension. But I especially like the way he mixes electronic-minimalism and other EBM influences together with a dark, danceable technoid style. It’s a fascinating experiment resulting in four brilliant songs.

– – – : I didn’t hear any minus point on this release and I just hope that Rhys Fulber will go on with this intelligent industrial-techno format!

Conclusion: If you think that Rhys Fulber is just an electronic veteran without new ideas, you’re at damned fault! “Realism” is an intelligent and contemporary format mixing underground elements together with techno influences. Brilliant!

Best songs: “Abstraction”, “Reload”, “Effigy”, “Minsk Maschinen”.

Rate: (8½).

Band: www .facebook .com /rhys .fulber

Label: www .sonicgroove .com / www .facebook .com /Sonicgrooverecords

Rhys Fulber to release new vinyl EP ‘Realism’ at the end of May – order your copy here

Bernard - Side-Line Staff — Thu, 13 Apr 2017 19:30:28 +0000

Coming up in May is a new EP by the legendary EBM/Electro/Industrial maestro of Front Line Assembly, Rhys Fulber. “Realism” turns out to be a 4 cut EP holding a mix of contemporary industrialized techno and EBM.

You can order the vinyl right here.

For now, enjoy Rhys with Conjure One live in Kyiv, Ukraine last year.

April 22 is Record Store Day – here’s a list of release which darkwave/postpunk fans might dig including The Cure, Pink Floyd, …

Bernard - Side-Line Staff — Thu, 30 Mar 2017 18:08:46 +0000

We have again found some real gems in the list of releases especially produced for the upcoming Record Store Day on April 22. We put them in a list below.

For those unfamiliar with the phenomena, Record Store Day (aka RSD) was conceived in 2007 at a gathering of independent record store owners and employees as a way to celebrate and spread the word about the unique culture surrounding nearly 1400 independently owned record stores in the US and thousands of similar stores internationally. The first Record Store Day took place on April 19, 2008. A Record Store Day participating store is defined as a stand alone brick and mortar retailer whose main primary business focuses on a physical store location, whose product line consists of at least 50% music retail, whose company is not publicly traded and whose ownership is at least 70% located in the state of operation. In other words, we’re dealing with real, live, physical, indie record stores—not online retailers or corporate behemoths.

So what items did we find in the list of planned releases?

PANKOW – “TIMES”
Format: Grey Color 10″ / Quantity: 175

The two earliest Pankow recordings to see a release were “We Are the Joy” on one of the first Italian new wave compilations (Gathered), and following that “Wither” on a split 7” which was enclosed in the “Free8212” fanzine from Florence. Two other tracks that have never before been released appear together on Times, a gorgeous 10″ vinyl coming courtesy Toronto-based Artoffact Records. This 10″ features spectacular new artwork created by Pankow’s own fm, and is fully authorized by the band. An essential document of one of Italy’s most important electronic artists. The black vinyl version can be bought right here already.

ALICE IN CHAINS – “Get Born”
Format: 2 x 7″ / Quantity: 4000

This special Alice in Chains 45 RPM double 7” single collects four hard-hitting tracks remastered and available on vinyl for the first time. “What the Hell Have I” and “A Little Bitter,” released on the soundtrack to the Arnold Schwarzenegger film Last Action Hero in 1993, were the first to feature new bassist Mike Inez, who’d played with Ozzy Osbourne for five years. “Get Born Again” and “Died,” released on the box set Music Bank in 1999, were the band’s final recordings with original vocalist Layne Staley.

THE CURE – “Greatest Hits”
Format: 2 x LP Picture Disc / Quantity: 3250

Limited edition double picture discs of The Cure’s Greatest Hits. Featuring their best known tracks, including “Love Song”, “Friday I’m In Love” “Never Enough”, “Mint Car” and many more. Curated and remastered by Robert Smith. On vinyl for the very first time for Record Store Day 2017.

THE CURE – “Greatest Hits Acoustic”
Format: 2 x LP Picture Disc / Quantity: 3250

Limited edition double picture discs of The Cure’s Greatest Hits performed acoustically. Featuring their best known tracks, including “Love Song”, “Friday I’m In Love” “Never Enough”, “Mint Car” and many more. Curated and remastered by Robert Smith. On vinyl for the very first time for Record Store Day 2017.

JANE’S ADDICTION – “Been Caught Stealing”
Format: 12″ / Quantity: 3500

Originally released in 1990 in conjunction with the Ritual De Lo Habitual album, “Been Caught Stealing” was a massive hit for Jane’s Addiction. This 4 track replicates the original European 12″ release and contains the album version and a remix of “Been Caught Stealing” plus “L.A. Medley” which includes Woman” (The Doors), “Nausea” (X) and “Lexicon Devil” (The Germs).

MOTORHEAD – “Clean Your Clock”
Format: 2 x LP Picture Disc / Quantity: 1500

Motorhead are immortalized one more time in “Clean Your Clock”, the superb live album recorded at the Zenith in Munich, Germany during the Winter 2015 Bad Magic Tour. The indomitable cocktail of power, purpose and head-crunching volume that Lemmy Kilmister, Phil Campbell and Mikkey Dee always succeeded in producing is captured superbly by long-time producer Cameron Webb’s mix,giving this landmark Motorhead release the warmth, curve and punch which helped the band achieve international acclaim during a career which saw the Grammy-winning icons sell over 15 million albums and play to millions worldwide.

PINK FLOYD – “Interstellar Overdrive”
Format: 12″ Vinyl / Quantity: 4000

A previously unreleased 14:57 minute recording from 1966, released in mono at 33 1/3 for Record Store Day.

RAMONES – “76-’79 Singles Box”
Format: 7″ boxset / Quantity: 3500

A box of pre-1980 US 7″ singles by the Ramones, authentically reproduced with Sire labels, picture covers where applicable and a selection of great punk rock tracks that changed the course of rock ‘n’ roll. All packaged in a unique cigarette-style outer box, with an insert and individually foil-stamped numbered global edition of 6500. Wall-to-wall Ramones classics including “Blitzkrieg Bop”, “Sheena Is A Punk Rocker”, “Swallow My Pride”, “Rock ‘N’ Roll High School” and a special mono/stereo promo edition of “I Wanna Be Sedated”, all presented the way punk rock should be–as 45 RPM slabs of wax.

THE SMITHS – “The Boy With The Thorn In His Side”
Format: 7″ Vinyl / Quantity: 5000

A 7″ single featuring previously unreleased versions of “The Boy With The Thorn In His Side” and “Rubber Ring”. Includes new artwork featuring Salford actor Albert Finney.

U2 – “Red Hill Mining Town”
Format: 12″ Picture Disc / Quantity: 7000

To coincide with the 30th anniversary of U2’s iconic album “The Joshua Tree”, Island Records will release a 2017 mix of ‘Red Hill Mining Town’ on limited edition 12” picture disc, featuring the classic photography of Anton Corbijn in colour. The previously unreleased mix is by Steve Lillywhite, who produced the band’s critically acclaimed debut, ‘Boy’. ‘Red Hill Mining Town’ is famously “the single that never was”, originally discussed as the second single from The Joshua Tree but then put to one side at the last minute in favour of ‘I Still Haven’t Found What I’m Looking For’.

VANGELIS – “Blade Runner” Original Soundtrack
Format: LP Picture Disc / Quantity: 3500

2017 sees the 35th anniversary of the original release of Ridley Scott’s 1982 cult film Blade Runner. The original soundtrack, composed by Vangelis will be released on picture disc for the first time, housed within a die-cut single sleeve jacket. (Limited worldwide release of 7500.)

CONJURE ONE – “Conjure One”
Format: 2 x LP / Quantity: 900

Originally released on CD in 2002, Conjure One was the brainchild of Front Line Assembly and Delerium co-founder Rhys Fulber. The debut set a new standard in world electronica and went on to sell over 50,000 CDs globally. The album features guest vocals by Sinead O’Connor, Poe, Marie-Claire D’Ubaldo and Chemda as well as mixes by electronica pioneers Junkie XL and Carmen Rizzo. It’s being released on double 45 RPM 180g colored vinyl for the first time, and includes a download card with three new bonus tracks.

PINK FLOYD – “London 1966 – 1967”
Format: 12″ Picture Disc / Quantity: 650

The first studio recordings from the classic ’60s Pink Floyd line up released for Record Store Day on limited edition 12″ picture disc vinyl.

Kyoko Baertsoen (ex-Hooverphonic, Lunascape) debuts with solo album ‘Kyoko’ – listen to the album preview

Bernard - Side-Line Staff — Wed, 01 Mar 2017 19:00:26 +0000

Belgian singer Kyoko Baertsoen, who you will know from her work with Hooverphonic and as Lunascape will release her solo debut on March 8th, on International Women’s Day, simply titled “Kyoko”.

“Kyoko” counts 10 new songs which bring us back to her triphop-roots. The first single to be released from the album is “Wildest Rain”.

The material for this album was co-written with the producer/songwriter Jan De Block. The album was further completed together with guitarist Jo Mahieu; bassists Jan Detremerie and Vincent Pierins; songwriters Jim Colman (Jim Cole), Bert Wuyts, Patrick Hamilton and Kevin Strauwen; Uwe Teichert (mastering) and producer/musician Ronald Vanhuffel.

We have been listening to the album already and can only recommend it warmly. An interview will be published shortly.

Below is already a video trailer:

The last few years Kyoko Baertsoen has been touring with Buscemi (B) and Conjure One (US).

Cubanate frontman Marc Heal releases first solo album ‘The Hum’ – listen to the first single now!

Bernard - Side-Line Staff — Fri, 09 Sep 2016 13:36:54 +0000

Were have more details on the debut solo album by Marc Heal, better known as the founder and frontman of the 1990’s industrial act Cubanate.

You can already preview the first single – “Adult Fiction” – from the album “The Hum” below. Note that the single will include a remix by Rhys Fulber (of Delerium, Front Line Assembly and Conjure One), that remix can also be previewed below. Next to that you can also expect a Leaether Strip Remix.

https://soundcloud.com/armalyte/sets/marc-heal-adult-fiction-promo

The “The Hum” album will be out 7th October 2016 on Armalyte Industries.

For the youngsters out there, Cubanate is an industrial band from London, founded in 1992 by Marc Heal and Graham Rayner with Phil Barry and Steve Etheridge. The group became well known for its early fusion of distorted metal guitars, and techno percussion (later incorporating breakbeats).

No new album-length material has been officially released by Cubanate since 1998, however, in 2007 a torrent appeared on the internet with 9 leaked demo tracks recorded by Heal in 2000 titled “Search Engine”. The material had been abandoned by Heal shortly after entering rehabilitation for alcohol abuse in late 2000. But ann 2016 Heal is back on his feet and ready for some extra mayhem. And the single is already a very good sign!