Swedish future pop act Covenant has released the “Andreas EP” today, October 17, 2025, via Dependent Records. The “Andreas EP” marks the band’s first release in nearly ten years. The EP commemorates the band’s former member Andreas Catjar-Danielsson (1973–2024), who passed away from cancer on July 29, 2024. All proceeds from the release will go to benefit his widow and children.

The label Dependent Records has confirmed that it will waive all proceeds to support the charity initiative.

The “Andreas EP” features five experimental tracks, including two cover versions: “A Rider on a White Horse” by Lee Hazlewood and “Winter Kills” by Yazoo. The latter was available as an advance single via Bandcamp.

The recordings were completed by Andreas Catjar-Danielsson and Eskil Simonsson at various studios, and the EP was mixed by the same duo. Mastering was handled by Vincent Uhlig in Germany. Guest contributions include Erica Li Lundqvist (backing vocals on “A Rider on a White Horse”) and Andriana Seecker (backing vocals on “Winter Kills”).

About Andreas Catjar-Danielsson and Covenant

Andreas Catjar-Danielsson passed away in the very early morning of July 29 2024vafter a long struggle with cancer.

Originating from Snöstorp, Hallands Län, Sweden Andreas was a member in Souls and joined the Swedish act in 2013 contributing both on keyboards and guitars on such albums like “Leaving Babylon” released in 2013 and “The Blinding Dark” in 2016. He also composed music for theaters and produced the next Abu Nein album.

Covenant itself was founded in 1988 in Helsingborg, Sweden, by a group of friends influenced by electronic pioneers such as Depeche Mode, Kraftwerk, The Human League, and Front 242. Their first published track, “The Replicant,” appeared on a label sampler in 1992 and led to a recording contract.

Their debut album “Dreams of a Cryotank” was released in December 1994. Over the next three decades, the band released nine studio albums and two live albums.

The current lineup includes:

• Eskil Simonsson – vocals, electronics
• Joakim Montelius – electronics

Bernard - Side-Line Staff

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

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VampireFreaks have announce the line-up for the 3-day music festival Dark Force Fest which takes place in Parsippany, NJ (one hour from NYC) on May 2nd to 4th, 2025.

The festival features 35 bands performing across two stages: including ORGY, The Birthday Massacre, Covenant, Suicide Commando, Aesthetic Perfection, Genitorturers, Funker Vogt, Razed In Black, Calabrese, SITD, Haujobb, Klutæ, TRAITRS, Beborn Beton, God Module, Flesh Field, Dead On A Sunday, Rosegarden Funeral Party, Amelia Arsenic, NYXX, Panic Priest, 2 Shadows, Seraphim Shock, Dancing Plague, genCAB, Occults, SINE, Circuit Preacher, Corbeau Hangs, Die Sexual, Frenchy and the Punk, Everything Goes Cold, Contracult, Project .44, and Whorticulture.

You can order your tickets here.

Dark Force Fest takes place at the Sheraton Parsippany, a castle-style hotel that features 44,000 square feet of event space and 370 hotel rooms. While the hotel rooms in the main venue sold out within days of announcing the festival, there are still overflow hotels in the surrounding area.

In addition to 35 bands, Dark Force Fest activities include:

• Over 100 Vendors
• Sideshow Performances
• Drag Queens
• DJ Club Events (Playing Goth-Industrial Music)
• Classes & Activities
• Panels and Presentations
• Food Trucks

Below is a preview of what to expect.

Bernard - Side-Line Staff

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

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The Swedish EBM act CK 37 presents its first single, “Gymsadist”. It’s the debut single for the trio consisting of S.A. Dist, Ossi Oscillator and The Synth Panda.

The single is out via pbhmedia and is like the band says “a portrayal of how technology and emotions can meet in an unexpected way, where the raw energy of gym culture encounters the suppressed dark side of our digital society.”

CK 37 stands for Central Calculator 37, an ancient flight computer developed by Datasaab. Musically they are blending aggressive beats and industrial soundscapes. Their music reflects the dark, dystopian themes often found in EBM, characterized by harsh vocals and driving rhythms. CK 37, like other Swedish acts in the scene, taps into the renewed interest in EBM, which originated in the 1980s in Europe and has remained a staple in industrial and underground electronic music.

Swedish EBM has a long tradition of producing influential acts like Covenant and Spetsnaz, and CK 37’s music fits right into this hard-hitting, no-compromise approach.

You can download it right below on Bandcamp.

Bernard - Side-Line Staff

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

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Haujobb has released its newest album “The Machine in the Ghost”, the tenth full-length album by this German electro-industrial duo. The title seems a reference to the The Police album “Ghost in the Machine”. The Leipzig, Germany-based duo decided to use fieldwork recordings this time to create the overall sounds for this album.

Additionally, “The Machine in the Ghost”, features a guest appearance by Emese Árvai-Illés from the Hungarian duo Black Nail Cabaret. “The Machine in the Ghost,” is available from Metropolis Records in North America and Dependent Records in Europe on all digital and streaming platforms along with a CD version.

About Haujobb

Haujobb is a German electronic music project formed in 1993 by Daniel Myer and Dejan Samardzic. Initially influenced by the industrial sounds of the early ’90s, Haujobb became known for their fusion of electro-industrial and EBM (Electronic Body Music) with more experimental electronic genres like IDM, ambient, and techno.

The band’s debut album, “Homes & Gardens”, was released in 1993, showcasing their industrial roots. However, their sound began to evolve rapidly, and by their second album, “Freeze Frame Reality” (1995), Haujobb embraced a more complex and layered approach to electronic music, moving away from traditional industrial structures.

Their breakthrough album, “Solutions for a Small Planet” (1996), marked a significant departure from the harshness of industrial music, incorporating elements of drum and bass, techno, and glitch. This release established Haujobb as one of the most innovative acts in the electro-industrial scene.

Over the years, Haujobb has continued to explore different sonic territories, with albums like “Polarity” (2001), “Vertical Theory” (2003), and “New World March” (2011). Their work has been characterized by its willingness to push boundaries, blending different subgenres of electronic music, while maintaining a dark, futuristic aesthetic.

Daniel Myer, in particular, has been active in various other projects, including Architect, Destroid, and Covenant, further solidifying his role in the electronic music community.

Bernard - Side-Line Staff

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

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The Swedish electro pop act Covenant has announced the death of Andreas Catjar-Danielsson. Andreas Catjar-Danielsson passed away in the very early morning of July 29 after a long struggle with cancer.

Originating from Snöstorp, Hallands Län, Sweden Andreas was a member in Souls and joined the Swedish band Covenant in 2013 contributing both on keyboards and guitars on such albums like “Leaving Babylon” released in 2013 and “The Blinding Dark” in 2016. He also composed music for theaters and produced the next Abu Nein album.

Covenant made an official communication on their Facebook page which you can read below.

Andreas Catjar-Danielsson’s last social media posts were various pictures and artworks. This was his last music work, an excellent cover of the Bow Wow Wow track “The Man Mountain” which he recorded with Antonia Henn.

Our sincere condolences go out to his friends and family. Rest in peace.

Bernard - Side-Line Staff

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bernard - Side-Line Staff

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

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“The Breaking Waves” is the title of the new Llumen album which comes as a 2CD set / Bandcamp download and which is available now. The album was already teased in November with the EP “Die Stille Totgeschwiegen”.

Llumen is the project by Belgian artist Pieter Coussement who brings a very updated EBM blending it with influences from old-school EBM, techno, and future pop. Influenced by acts like Front 242, Haujobb, Diorama, Assemblage 23, Suicide Commando or yet Covenant, Pieter has been able to develop an own mature sound.

Following the 2017 debut album “The Memory Institute” and the 2021 release “Polygon Heart”, “The Breaking Waves” is his 3rd album to date.

The accompanying CD holds remixes, edits, reinterpretations plus collaborations with Grendel, Aesthetische, Aiboforcen, Neuroactive, Implant, Mind.Divided, Dimethoxy, J Wølf, Nacht Nackt and The Saint Paul.

You can check out the full album below. Recommended!

Eldrina Mich

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

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(By our Norwegian correspondent Jan Ronald Stange. Photos Tarjei Krogh / band)
Bérèche You follows up the first three Spring of 2024 singles with a full album on several streaming platforms, released by Crab Key Records last Friday, May 10th – and promise more to come the next months.

Isak Rypdal is back again with a brand new album to continue the Crab Key Studio music journey, and the first album called “Business Of Love” is exactly what it sounds like; a hymn to making music, electronic music, and the joy of making new exciting tracks.

On the new album Isak has collaborated with his good friend, the talented songwriter Cassiel Agrippa, who’s been involved in Electro Spectre and other previous work from Crab Key Studio for a long time, creating visual media such as artwork in addition to live photography for the bands.

Madil Hardis – the second collaborator

Madil Hardis is yet another talented contributor on the album.

Isak: “Madil is a trained singer and well-known on the international electronic music scene. She has done a lot of solo releases and collaborations worldwide; -particularly known from collaborations with such as Ashbury Heights and Mondträume.” Her last release is the beautiful album “Natural Darkness”.”

Isak Rypdal has a wide musical career since the early 90’s with bands likes Doctor No, Freeloader and Electro Spectre. Music from Doctor No and Freeloader has been chart topping in Norway and heavily rotated on international radio such as BBC Radio 1 in UK. Live shows includes playing at “We Love The 90’s” and more than a 100 live shows around the world. With Electro Spectre Isak has been so fortunate to be able to support bands such as OMD, Marsheaux, Zeromancer, Covenant, Melotron and Mesh, to mention a few.

Buy & listen to the album at Spotify /  TIDAL / Apple Music / Bandcamp /  YouTube, or play it here. Do also check out the video below.

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

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Out November 10 via the Swedish label Progress Productions is the all new Johan Baeckström single, “Here”. The 4-track single is also available as a digipak CD in a limited edition of 500 copies.

This is the first material in 5 years from Johan Baeckström (also known from the Swedish electropop duo Daily Planet and the electronic pop act White Door) since the album “Utopia”. On this limited edition EP you’ll find “Always here” and the first digital single “Forever in here” plus a cover of the Covenant classic “Happy Man”. As a bonus you get a remix of the track “Always here” by the Swedish electronica producer and musician Moist.

Check out the videoclip for “Forever in here” below.

Bernard - Side-Line Staff

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

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Grey Gallows is a Greek duo hailing from Patras. The band is driven by Konstantin (vocals & keys) and Dionisis (guitar, bass & keys). They this year released their fourth full-length album “Strangers” which also is the second one released by Cold Transmission Records. The band take us back to the darkest hours of Dark-Wave and Post-Punk while adding a personal touch on top of the composition. “Strangers” deals about different themes which can be summarized to human psyche, love, pain, alienation, and the redemption of the individual, concerning social issues that plague the modern era. I got in touch with Konstantin to know a bit more about this cool formation.

(Courtesy by Inferno Sound Diaries)

Q: Grey Gallows is now active for a couple of years. How did the band saw the daylight and what do you consider as your main accomplishments so far?

Dionisis: We formed as a band in 2016 when I moved to live in Patras and met Konstantin. We became close friends and as we understood that we shared the same taste in music, we decided that we would like to make our own band and express ourselves.

I believe that signing with a label like Cold Transmission and be given the opportunity to perform abroad and especially at WGT is something that we didn’t expect back then and that makes us really proud.

Q: I think your music sounds obviously 80s Dark-Wave / Post-Punk inspired with something extra on top which makes me think to an imaginary hybrid between The Sisters Of Mercy and She Passed Away. Does this description fits to your own perception of sound and what have been the main sources of inspiration?

Konstantin: Well, this is an interesting description, we definitely love The Sisters Of Mercy and we have high respect for She Past Away. We are obviously into 80s Dark-Wave / Post-Punk, listening all those great bands of the past, such as The Cure, Joy Division and Deine Lakaien, but we also like more recent bands, like Lebannon Hanover.

Τhe latest years, being on Cold Transmission, I think that we have been influenced by its distinctive sound and musical approach in general.

Q: You already released several albums but especially both last productions released by Cold Transmission Music give you a wider exposure. How do you analyze the evolution of the band and what’s the impact to be signed on a leading label of the Dark-Wave / Post-Punk scene?

Konstantin: Signing to Cold Transmission gave us both the artistic freedom to express ourselves musically without limits and, on the other hand, to have the chance to reach a broader audience, especially in Germany and central Europe. So, being on a label as supportive as Cold Transmission, is very benefic for us.

We share with Suzy and Andreas our music ideas, discuss the evolution of the band which resulted in friendship.  Moreover we are now family, we belong to the Cold Transmission family and we are very happy and proud of it.

Q: Tell us a bit more about your new album “Strangers”. How did this album saw the daylight and what did you try to express by its lyrical themes?

Konstantin: Some of the songs, for example “Strangers”, were written during the pandemic, so in one aspect they reflect a state of sentimental and social isolation we found ourselves being into those days.

Musically, we tried to evolve our sound, combining a traditional Dark-Wave sound with Cold-Wave and experimenting with more Electronic elements than our previous albums.

Of course we had the honor to have two great female singers in two songs, Kriistal Ann from Paradox Obscur and Irini Tiniakou from Incirrina, a fact that we believe gave a different kind of emotional approach to our songs.

Lats but no least, we had the opportunity to work again with Nick ‘TheMute’ Chalntoupis, our sound engineer, who gave to ‘’Strangers’’ its distinctive sound.

Q: I experienced “Strangers” as your most accomplished and best work to date. Do you think the last album is always the best one? Do you handle specific criteria and/or references when it comes to composition and production?

Dionisis : For Grey Gallows I think that this is true. “Strangers” is our most complete work until now in terms of composition and production. We tried to add more elements in our sound and explore more genres and so we loved that we were able to do different things in each song of this album.

We try in every release, to have let’s say a ‘pallet’ of songs that shows our influences and in “Strangers” we experimented more so that we could broaden our musical horizons.

Q: I noticed you last year also released a live EP/mini-album featuring five songs. How important are live shows to you -and especially after the lockdowns all over Europe? How do you look back at WGT you played this year?

Dionisis: These songs were recorded during the last lockdown for a stream event and later on we came up with the idea to release it as EP.

It was a strange and hard era during the covid for every musician and for their fans also, because gigs are the best way to share your energy and feelings with people who support you and listen to your music.

WGT was an amazing experience and I would say that it was the best gig we had until now. The feedback that we got and the support during the show was something that we really hadn’t expected so we couldn’t be happier. It was a really memorable experience.

Q: What comes next for Grey Gallows?

Dionisis: We are currently working on some new songs for our next album, this is our fuel that keeps us evolving and moving forward.

Furthermore, we have scheduled some live gigs for September, we are a band who loves playing live. In one of those we are supporting the mighty Covenant in Athens on December, along with our friend Night In Athens. So we would like to thank you for this interview, it was a real pleasure and honor for us.

Inferno Sound Diaries

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

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Out via Projekt on August 18th is the all new 12-track album by the New York-based apocalyptic folk act Unto Ashes, “Orchids grew here”. The release comes in a limited Edition of strictly 300 copies, in 4-panel digipak.

This is Unto Ashes’ first album in four years and the band’s eleventh Projekt Records album. The core line-up for this album consisted of Michael Laird, Bret Helm and Ericah Hagle.

Unto Ashes was founded in 1997 by multi-instrumentalist Laird. Through his work as an antiquarian bibliographer, he discovered many obscure texts that continue to inspire his music. This album offers passages from Aeschylus, the founder of tragedy (Greece, 525AC to 465AC), Christina Rossetti (England, 1830-1894), Edwin Arnold (England, 1832-1904), Ethel Clifford (England, 1876-1959) and Anna Akhmatova (Russia, 1889-1966).

A less obscure text is found on the cover of Madonna’s “Frozen”. Unto Ashes traditionally always include a cover-version on almost all albums – previously they delivered neo-classical interpretations of songs by Covenant, The Cure, Depeche Mode, Coil, Sonne Hagal, Apoptygma Berzerk, Gary Numan and more.

Check out the video for “Last Toast”.

Bernard - Side-Line Staff

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

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The Prague concert of Depeche Mode, scheduled for 30 July at the Letňany exhibition grounds, will feature support from our esteemed friends, the Czech electropop band Lakeside X.

The band is one of two support acts, alongside the previously announced Berlin band Hope, who are touring Europe with Depeche Mode as part of the European leg for their current album, “Memento Mori.” Lakeside X recently made their return after a ten-year hiatus with their new album, “Love Disappears.”

“It is indeed a great honor for us and an opportunity to introduce our music to a like-minded audience. Simultaneously, it carries a great responsibility, considering the band selected us,” says Janne Marvannen, the frontman and composer. “We have never concealed our admiration for Depeche Mode, having attended numerous concerts ourselves. In fact, it was on our way back from one of their shows that we decided to form a band,” the singer adds.

“Anyone who watched Anton Corbijn’s documentary ‘Spirits In The Forest’ would relate to our story. Each one of us has a personal, unique, yet somehow interconnected experience with Depeche Mode,” says Robert Broj, the other founding member of Lakeside X. “As someone once said, DM is the soundtrack of our lives, and we consider ourselves fortunate to share that with each other while the band is still active. It’s also true that many of us original fans have started bands, projects, and created our own music, influenced to varying degrees by Depeche Mode’s music. Hence, sharing the same stage with them is a dream come true. Nonetheless, it is also a significant challenge, affirming that we are on the right path and inspiring us to continue our work,” adds the keyboardist.

Lakeside X has already released four albums. Following “Sunrise” (2004), “EXIT: NOWhere” (2007), and “City Of Red Lights” (2010) under the X Production label, the band took a lengthy hiatus before reuniting in 2021. Teaming up with German producer Daniel Myer (Haujobb, Covenant, Architect, Liebknecht), they embarked on a new album, which was released in October 2022.

Bernard - Side-Line Staff

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

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Introducing Pulsations’ “Tainted Covenant”, the debut album from the Copenhagen-based post-punk/darkwave project by producer and musician Hadrian Esteves. The vinyl edition of their debut album will be available later this spring, with the release date to be announced. This limited edition features only 300 copies, pressed on 140gr black vinyl.

Showcasing Pulsations’ unique blend of wave and post-punk, “Tainted Covenant” features ten tracks inspired by a variety of poignant and thought-provoking themes, including their Faustian bargain with technology, oppression, inequitable resource distribution, and the perils of religious dogma.

Both the CD and vinyl editions of “Tainted Covenant” contain an exclusive cover version of Sisters of Mercy’s “Dominion.” To get a taste of the album, check out the music video for “Neglected Synapses” right below. The band’s debut double A-side single, consisting of the tracks “Bedwarfing Virtues” and “Among Daughters Of The Wet Stones”, was released by Crunch Pod in August 2020.

Producer and musician Hadrian Esteves has been actively involved in a diverse range of projects throughout the years. Some notable releases include:

• “How You Feel” by HÆC (2018, NbK Records) – A digital release featuring MP3 and WMA files.
• “Turn Around / Relief” by HÆC (2018, Self-released) – Another digital release with MP3 and WAV files.
• “Soon” by HÆC (2017, Self-released) – A single released as MP3 and WAV files.
• “Terra Incognita (Searching For The New World – Part 1)” by Kalte Sonne (2015, Self-released) – A shaped CD mini-album.
• “XI et Ω” by The Last Twilight (2014, Final Embrace Records) – An HD DVD release.
• “La Octava Copa De Ira” by The Last Twilight (2011, Drakkar Productions) – A CD album.
• “Eternal Tribulation” by The Last Twilight (2010, Nekrogoat Heresy Productions) – A CD mini-album.
• “Unholy Extermination Squad” by Ampütator / Demonomancy / Merciless Warfare / Warbutcher (2009, Deathcult Genocide) – A limited cassette release.
• “Satanic Liturgies Of Destruction” by Merciless Warfare (2009, Nigra Mors) – A single-sided EP on cassette.
• “Unholy Terror Assault” by The Last Twilight (2008, War Flagellation Productions) – A limited single-sided cassette album.
• “Hell Bestial Conjuration” by Profundis Tenebrarum / The Last Twilight (2007, Antichristian Front Records, Final Embrace Records) – A CD album.
• “Morbid Path” by The Last Twilight (2005, Final Embrace Records) – An EP released on CDr.
• “Final Holocaust: The River Of Christian Blood” by The Last Twilight (2004, Final Embrace Records) – A demo cassette.
• “Blood Ritual” by Black Goat (2003, Final Embrace Records) – A limited EP on C60 cassette.
• “In The Roar Of The Battle” by The Last Twilight (2003, Final Embrace Records) – A single-sided cassette release.

Bernard - Side-Line Staff

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

side-line.com

(Photo by Karolína Faltysová) The synthpop project Lakeside X have finished a new album which is due out October 21st. And today they are releasing a final 4th single “Time Has Come” – together with a brand new video. Lakeside X consists of the trio Janne Marvannen, Robert Broj and Igor Dvorsky.

The single is yet another teaser for the band’s forthcoming album “Love Disappears” which has been produced by Daniel Myer (Haujobb , Liebknecht , Covenant , Architect). The Prague based synthpop act made a comeback last December with the release of “Fire in the Sky”, the first single after 11 years since their last studio album.

The video was filmed in the beautiful city of Prague (Czech Republic) and directed by Janne Marvannen and edited by Lakeside X’ Igor Dvorsky.

Below are some photos from the making of.

Bernard - Side-Line Staff

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

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Polish Monstergod-duo this year released their third official full length album “Ozymandias” by Space Race Records.  Miłosz and Marek don’t exactly release new work at regular basis, which probably explains the sound is in constant progress. “Ozymandias” is mixing an impressive number of influences resulting in a kind of ‘Epic-Industrial-Pop-Metal’-work. It’s a major production mixing sensuality and bombast. I talked about this masterpiece with Marek.

(Courtesy by Inferno Sound Diaries)

Q: Let’s get back to the origins of Monstergod. How did it all started and what was the main purpose when it comes to composition and production? And how did you see the project evolving?

Marek: Me and Miłosz have met about 2000, we became friends, talked about music, books, life etc and in 2003 or 2004 we decided to try making music together. We didn’t have any particular purposes, just wanted to make some music for fun and maybe play a few gigs around. So, it’s going. As well, we usually work on albums together. This time, during recording “Ozymandias”, I was more involved than before. For example I’ve recorded as a few of vocals.

Q: Let’s talk about your sources of inspiration, which are going further than only music. Literature and poetry seem to be very important for Monstergod. Tell us a bit more about these influences and the way you transpose literature and poetry into sound?

Marek: At the beginning of our music journey, we just wanted to make some music inspired by The Sisters Of Mercy, Suicide Commando and Laibach with great poetry of William Blake and Charles Baudelaire.

The general idea is still evolving by adding new inspirations and new poets. On “Ozymandias” we have added, for example, Friedrich Nietzsche to our lyric sources. 

We usually make music first and after that we try to find lyrics for it. It’s not a sophisticated process. Much more interesting is how to find a unique sound to be not just a copycat of other bands but try to make something fresh. That’s why we try to use different instruments on our albums. Of course, what we do is based on electronic, computer-generated sounds but we’re not afraid to play bass, guitars, harp or even banjo or baglama. If something adds something unusual to the music – we would like to use it.

Q: How did the writing and production of “Ozymandias” happened? And tell us a bit more about the title, which must be inspired by  Percy Bysshe Shelley?

Marek: “Ozymandias” is, in my opinion, the most dark and depressive album we have ever done. I started to work on demos back in 2018 but most of the material was created in Covid pandemic. Title song “Ozymandias” was composed as one of the last songs. I wanted something to open the album, to show how we evolve from electronic to epic choir, bass and guitar sound.

I always liked Shelley’s poem. I had no idea how to use it on music. After watching “Alien Covenant” with so great opening scene and declamation of this poem by one of main characters –David, I knew I have to use it at least as a vocal sample. After recording music I added vocals, choirs and used the whole poem as lyric.

Q: Sound-wise this album is a great mix of influences resulting in a kind of ‘Epic-Industrial-Metal-Pop’-production. What is the sound all about and what have been the input of all members and guests -but especially Dariusz ‘Daray’ Brzozowski in the final production? 

Marek: When we started to mix this album I had all of the songs as open music projects ready to be changed if any ideas come up. Once I asked Cesar Soto from Ministry to help me record guitars for “Austere”. He agreed, but after receiving tracks I decided to change a bit an arrangement. Filip ‘Heinrich’, who mixed the album, added bass, some synths and asked me to record live drums with his friend. A moment later, we called Daray to help us.

Daray is a great drummer, probably the best I’ve ever met. He’s a true professional. I had all the drum parts written in midi, Daray played them all adding his own flavor, music sense and feelings. After recording I was more than surprised how it all sound together.

The real hero in this album production was Filip Heinrich who spent hours on calls with me but was also open to record some additional instruments or even changed some arrangements. Without him the album wouldn’t sound as it is. 

Q: I experienced “Ozymandias” as a noticeable evolution in sound, but where do you place this work in the band’s history? And how did you see Monstergod evolving over the years?

Marek: Creating music for fun as I do means to find new ideas. I don’t want to record another identic album. It’s boring. I’m not focused on selling CDs or counting streaming incomes so I can experiment, I can always try to add something new to the sound or sing in German, hahaha. But, at the moment, I see “Ozymandias” as a final chapter of Monstergod history. I have no idea how to evolve further with this project.

Q: “Ozymandias” has been released in dark- and uncertain times. Do you think music and arts generally speaking can bring relief and maybe a solution by connecting people?

Marek: “Ozymandias” is also a reflection of times we live in and my own personal problems I was struggling with. I make music for myself to deal with my own demons and it’s my way getting a relief. If somebody else could get it in the same way –great, but if you feel it too depressive –sorry, do not blame me.

Inferno Sound Diaries

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

www.side-line.com

US based electropop / noire futurepop artist David Chamberlin strikes back with the 3rd full length album by Entrzelle. The release is available now from Bandcamp and on CD via the Alfa Matrix webstore, and of course from all other digital music services.

David explains the concept: “The songs deal with subjects ranging from personal conflict to social commentary, from loss to euphoria. This is an album about hope and perseverance, letting go and moving on. Writing these songs has helped me in my own life, and I hope that listening to them can help someone else too.”

The experimentation on this album has been kept to a minimum, instead focusing on songwriting and production. The tone is darker and the songs are more direct. Expect a mix of upbeat electro sequences and addictive noisy synth pop melodies.

Next to the 12 new songs you also get 4 bonus remixes by label companions in the likes of Psy’Aviah, Reichsfeind, Elektrostaub and DJ Simon Carter. Advised for fans of Rotersand, Covenant, Seabound, Imperative Reaction, Aesthetic Perfection, VNV Nation, Etc.

Check out all the new tracks below plus the album teaser.

Here’s the videoteaser.

Bernard - Side-Line Staff

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

side-line.com

After two strong albums, Frankfurt-based Timo Revna aka Reichsfeind joined the Alfa Matrix label releasing the single “Persona” as a teaser for a forthcoming new album called “Darken” which is out today.

The new Reichsfeind album is called “Darken” and features 12 tracks of electro / techno pop which will please fans of bands like Covenant, VNV Nation, De/Vision, Mesh, Icon Of Coil, etc. with a stress on great melodies, fat beats and cold and strict vocals.

The new album is out as a download via Bandcamp and on CD (available here).

Check out the tracks from this excellent release!

Eldrina Mich

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

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Out now is the brand new single by Lakeside X, “Rising”. The single release goes hand in hand with a brand new video shot in Berlin. Included in the single release is also a remix of the title track by Mesh’ Mark Hockings as Blackcarburning.

The single is a new teaser for the band’s forthcoming album “Love Disappears”. The new album will be produced by Daniel Myer (Haujobb , Liebknecht , Covenant , Architect). The Prague based synthpop act made a comeback last December with the release of “Fire in the Sky”, the first single after 11 years since their last studio album.

The single is available via all digital platforms.

Video out as well

The trio Janne Marvannen, Robert Broj and Igor Dvorsky have taken to the streets of Berlin to shoot a completely self-produced music video with a few very special cameo appearances.

“This was the first track that Janne demoed to us and also the first track we started our collaboration with Daniel on. I knew right from the start, that this was going to be a single”, says Robert Broj, the keyboard player.

Jane adds: “I wandered through the streets of Berlin, headphones on my ears and listening to Nick Cave, David Bowie, U2, Depeche Mode – all those giants, who recorded their fundamental albums in Berlin – and I wrote glimpses of thoughts that would later become song lyrics. Somewhere there, in the middle of cold nights of November 2019, shortly before the circumstances were about to lock us at home for a long time, I have decided to work on new things for Lakeside X, on new songs about a journey, about disappearing from this world, about falling down and rising up from the ashes and about new hopes. I wanted to shoot the video just in Berlin, and by doing that we could, in a symbolic way, pay a tribute to all those, who went this path before us and to whom we owe a lot.”

Crowdfunding campaign

To help with funding the whole project a crowdfunding campaign was launched with tons of exclusives, unreleased material, artwork or even a lifetime access to any and all of their upcoming live appearances.

“This time we are going full electronic-synth way. “Rising” is a “flagship” track for us. This is Lakeside X in 2022. It’s a story that can be purely personal but also it’s a story of a band, that has risen from the ashes and it’s stronger than ever before. The video to the single contains apart from many pop-cultural references on our famous colleagues, also remarkable amount of mixing present and past. We are a band coming from the country that once was part of the Eastern block, we all do remember the Wall, cold war, state police agents and the atmosphere of fear that ruled our homelands. The divided Berlin was a symbol of this time and of it all. At the same time it was a place where at that time, Bowie, Cave or DM created something that inspired not just us, but a whole generation of artists. We tried to concentrate this all into the video, and for us, Berlin is and always will be a city, that has risen from the ashes and is a never-ending inspiration for everyone”, says Janne Marvannen.

Bernard - Side-Line Staff

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

side-line.com

Back in 1991 I started writing my first reviews for Side-Line magazine. I would have never thought to go on writing reviews and making interviews non-stop for 30 years. So 2021 is a special year to me, a kind of ‘celebration year’. I got the idea to celebrate this special event by interviewing people from the scene who all have a special meaning to me. The last interview in this series is one with Bernard Van Isacker. I definitely had to close the circle with this interview. Being active as Side-Line’s chief redactor and as one of the Alfa Matrix label owners, Bernard and I became close friends. We didn’t always agree on some topics, which finally brought me to leave Side-Line as staff member in 2016. We remained in touch and decided to move on working together, but in a different format. A lot of things have been said and written about Bernard -not always kind things – but I got the privilege and opportunity to see how he’s working and all what he’s doing. I can only, but deeply respect his involvement. Time to ask him some questions.

(Courtesy by Inferno Sound Diaries)

Q: Lots of people from this scene know who you are, but how would you introduce yourself and how did you get in touch with the Electro/Industrial/Gothic scene? 

Bernard: My name is Bernard Van Isacker, 47 years old, and I have 2 kids. Magnus, 4 years old, and Sebastian, 16 years old, from my first marriage. I work currently as a social media manager, web developer and CRM admin for a multinational. I also run 2 holiday houses, but for the past 2 years they have been empty due to the corona pandemic. That was a big blow to our budget, so I had to take extra work to keep on paying our bills. But we survive.

I sleep basically 5 hours per night, take a small breakfast and lots of coffee at 6 in the local Panos –both the owners Mario and Hannelore are sweethearts -before I start work at 7:30 until, 10, 11 at night. I’ll probably die working (laughs).

I first got introduced to the Dark-Wave scene when I was 14 years old and was sitting next to a guy in class who said he had heard a really sick tape. That was Nitzer Ebb’s “That Total Age”. But you have to know that I was already heavily into Depeche Mode and New-Beat (yes!) so the ‘move’ to more industrial sounds was not really a surprise. Anyhow, Nitzer Ebb had more or less the same BPM as new beat so that was easy (laughs). By the time I was fifteen I was listening to Cat Rapes Dog. Their “Maximum Overdrive” remains legendary as far as I am concerned. And after that I got hooked to Inside Treatment, Pouppée Fabrikk, and other bands from Scandinavia. I only started to listen to German acts when I went to university, and that included bands such as Fortification 55, Project Pitchfork, Psychic Force, Trial, etc..  

As we speak I’m in the middle of compiling our newest volume in the “Face The Beat”-series for Side-Line. The 7^th so far. But shoot with the questions Stephane!

Q: I guess less people know you graduated in journalism so what did you try to add/change when joining Side-Line? And how did you happen to join Side-Line magazine? 

Bernard: That’s correct, I graduated in journalism and worked at a couple of newspapers before diving into the startup world of ecommerce. That was pre-Google so SEO was still something very rudimentary and traffic was basically created via price comparison sites and massive mailings, you can call it pure spam (laughs). 

But I worked for 4 years as a journalist, was able to write a lot of solid articles, but I got fed up with the easy way things were covered (while we all knew it were lies) and the easy way things were NOT covered (because some bishop threatened to sue the newspaper –and me, for defamation). I left that world disgusted. Add to that it is one of the worst paid jobs ever. 

I got fed up with the easy way things were covered in the press

Anyhow, whilst studying one of my friends, Yves Van De Veken, told me there was this magazine that was going to be published with an attached CD compilation full of Dark-Wave music and that they would have the first issue with the sampler later that week in the Metrophone cellar, in Antwerp that is, where I studied. I got the magazine, which was in a very stylish layout, liked the CD sampler and was hooked on the review section to read about new bands. I was at that time already working part-time as journalist whilst studying, and I got access to bigger bands which I thought could fit Side-Line pretty well, so I sent a mail to Seba (who I thought was a girl) and told ‘her’ that I could arrange bigger interviews for them. Seba wanted to test the waters I guess, and I told that I could do Hooverphonic, but could also check with Dirk Da Davo  in the next week to show what I was capable of. Apparently ‘she’ really liked what I wrote and asked for more. Paradise Lost, Marc Almond, Bel Canto, … the list of interviews I did for Side-Line grew by the day.  

But I had never met any of the team. The first time I met someone from the Side-Line team back then was actually you, but I can’t recall where that was, I think it was in Brussels, but for what exactly?

A few weeks later I met Seba –who you told was NOT a girl, at a Die Form concert in Ghent I think. If I’m not wrong Cédric and Benoit were also there. Since then we were like a band of brothers who went to concerts, either together or with one or two others. Sweet times I must say, we were all very young, had not yet lived ‘real’ life with all its hurdles and accidents.

Q: Early 2008 was a turning point in the magazine’s history. Former chief-redactor Séba Dolimont decided to stop his involvement so you became the new chief-redactor. The printed magazine definitely stopped and Side-Line remained only active as online magazine. How do you look back at the loss of the printed magazine and how did the transition happen? 

Bernard: I basically had always pushed to keep the magazine alive as a print magazine, but at the same time I had launched www.side-line.com in 1999 because the initial Side-Line website –on a different url, was basically just a page, looked bloody awful and served no purpose –no offense Ronan Harris. So when Seba told me that he had decided to stop with the printed magazine, my mental switch was fast and I decided to focus on the online magazine which by then was attracting a tenfold of the printed magazine anyhow. It was a no-brainer.

Going online only? It was a no-brainer.

With Seba stopping, we also lost most of the external contributors, which is logical since a print magazine has a more loose team whereas a news website has to work with a very productive small team, as Side-Line.com was by then already producing daily news updates. A small team is always easier to work with, and I had seen that with the print version of Side-Line I was already doing most of the interviews, delivering 99% of the news, while you already did most of the reviews. So, we had a winning team anyhow, why change that?

In short, yes, it had an emotional impact, but not a practical one. We had a good run, but the times were changing. And I for sure was not planning to miss the online train as you know.

Q: I think there’re significant differences between a printed magazine and an online page. Can you give us the pros and cons especially from your perspective? 

Bernard: Yes, the differences are there for sure and I think you will agree with me, but tell me if you don’t! I will give you the pros and cons as far as online is concerned, the cons will largely cover the pros for print.

Pros: 

• Write, enter it in the CMS, add a picture and post. Simple. In short: it’s fast.
• The news goes out instantly via a wide array of tools. One post on Side-Line reaches around 5000 people in the next few minutes via our different channels, above and under the hood. By the end of the day –when syndication and newsletters have kicked in, we have a 10.000 reach per item. This doesn’t mean people have read it, it means that they have at least seen the picture and title.
• The articles can be as long or as short as you want.
• We can add multimedia, which is a good way to add metadata to your articles. This was limited back in 1999 when we went online though.
• A small team can move mountains.

Cons: 

• There is a strict daily deadline to maintain each day.
• The rapidness also gives room to errors you might not have noticed or simply wrong info (although we only had a few incidents with that).
• Getting decent daily news is sometimes difficult, other times you get inundated by news,
• Some labels and bands have no clue how to write press texts and fill it with promo blabla. If there are no 4 lines of good solid facts, I usually do not publish it.
• In our case I have to be technically savy, have seo skills and have IT skills. And I know how to write. That’s a lot if something goes wrong, and we have had times when it really went wrong.
• Online income generation as a news website is not easy. Most of the labels still have no clue what online means and still think in an old school way. 
• A small team means problems when one leaves or falls sick.
• A magazine accept slow reading, a website not.

Q: Do you’ve an idea who’s reading Side-Line and is there a kind of reader’s profile? 

Bernard: Actually I do, thanks to a combination of datasets, which are limited as I hate being followed myself. The last dataset of November shows that 31% is female, 67% is male and 2% identifies not as male or female. Most readers come from the USA, followed by the UK, Canada, Germany, France, Australia, Mexico, Sweden, Norway, Belgium, Italy, Spain, Brazil, Poland, Holland, Greece and Denmark. We got data from 45 countries in total once we filtered out the accidental and spam traffic.

When it comes to the profiles, we have data of a survey that happened a few months ago on our website. 8200+ respondents later we see that half (51%) has an office job, 36% has an outside or factory job and 11% is unemployed and 2% is enjoying their pension. 

The same survey also showed us info regarding age and it goes synchronically with the data from our Facebook page: 4% is between 18-24, 34% is between 25-34, 25% is between 35-44, 27% is between 45-54, 5% is between 56-64 and 3% is older than 64. That info again corresponds more or less with the survey we did.

It shows we have mostly a very active public between 25 and 54 years old.

Q: Back in time the Side-Line forum was quite ‘popular’, but unfortunately also a place for bullshit and conflicts. Did you expect this evolution and was it the main reason to stop the forum? 

Bernard: The Side-Line forum was indeed very popular and at times had 20 to 50.000 visits a day. It was so popular that it had become a full time task to keep the spammers out, to keep things civilized, etc.. The discussion there were legendary. Some were in it for the fun, others to learn something new, and others just to anonymously troll. It was the graveyard of subtleness though (laughs).

The Side-Line forum was the graveyard of subtleness…

It ran its course, but I was so glad I could kill that baby. Just with one click: bye bye! By the end it had become uncontrollable and we had to delete 90% of all posts because the trolling really went overboard. No loss, it’s part of history, but I still have to laugh when I think of the silliness of it all.

Do you know that we once launched a T-shirt line where you could have your nickname printed on it? We sold a few hundred of those… really fun times!

Q: In the meantime, you also became one of the owners of Alfa Matrix, which became one of the leading labels of underground Electro music. What’s your input and impact in the label activities? 

Bernard: I take care of the IT, web dev, communication and digital distribution. I leave the A&R to Seba, as we each have our own department. But we do have to agree all 3 for signing a band or not. I also often am abroad and try to hook up with the bands in real life.

Q: Let’s go on with a rather tricky question. I think it’s very confusing for a lot of people to understand you’re chief-editor of Side-Line and still one of the Alfa Matrix owners. That sounds pretty incestuous, don’t you think? How do you manage both activities without too much conflict of interest?  

Bernard: Nothing tricky at all. I have never hidden the fact that I’m also behind Alfa Matrix and I am proud of it. Actually, I am not the only label guy behind a magazine, check Blabbermouth for instance, it is also successfully run by label people, possible because we have intel on both sides of the medal.

As far as conflict of interest is concerned: there is none. I don’t intervene in the reviews at all, and that’s where there could be a conflict of interest because reviews are subjective an sich. When it comes to news articles, Alfa Matrix gets as much attention as for instance Metropolis, and I bring it as dry as I do with all the other articles: facts, facts, facts and no promo speech.. Actually, sometimes Alfa Matrix bands complain because they have not gotten a good score on Side-Line. I then have to explain that reviews are completely out of my control to keep a healthy balance in the magazine.

I have a very clean conscience.

That other people claim otherwise on Facebook or so is their problem. I have a very clean conscience regarding this. 

Q: It’s also interesting to see next to Alfa Matrix, Side-Line is actually releasing digital compilations; the magazine also became a kind of label! The “Face The Beat”-series became a real success story. What’s the main goal of this compilation series and how do you select the artists? 

Bernard: Well, the move is not so strange I must say. In the early days there was Side-Line Records, some kind of precursor to Alfa Matrix. Then Side-Line produced compilations to go with the magazines. I just brought it to the 21^st century when I took over and compiled and launched the first “Face The Beat” as a Facebook compilation, hence the name, 10 years ago. 

The main goal is reflected by what Side-Line has all been about even when Seba first launched it: get people to know music from established and new bands. It’s a vision I embraced since the start. I added an extra touch and that is that all revenue goes to charity. 

The compilations are compiled like this: I do a call for submissions on all channels we have, there is one reminder and then I lock myself up for weeks with the material that I have received, usually thousands of demos and completed tracks. Once a first selection is made, I go through the material again that is selected and do an extra selection to make sure the best tracks are included. After that I send out the necessary paperwork and then usually almost everyone responds quickly. There are usually only 2 or 4 bands that are too late or never respond. It’s always a race to meet the deadline I have in my mind, but I usually make it on time. In the meantime, I usually have worked on the artwork and worked through the material with Erlend Eilertsen from Essence Of Mind and Lights A.M to make sure the tracks get the best possible sound on the compilation.

After that I launch it on Bandcamp basically and the platform does its work, with some help of me (laughs). It’s all a very intuitive process where clear communication is king. 

A lot of labels and bands still haven’t learned from ecommerce.

Q: You definitely were one of the first from this scene to have understood the impact streaming platforms would have. I remember you got a lot of hard reactions about it, but today you can tell to all of your critics you were right! How do you look back at this period and how do you expect things evolving during the next few years? 

Bernard: Yes, I must say that the short sight of a lot of people in the record business was reflected in the harsh attacks I got in interviews, on radio programs and on social media. Some even went so far to send me mails accusing me of killing the industry, that I was a traitor. One of my biggest critics in the end contacted me back years later saying that he was wrong and that I was right. I still appreciate him till the day of today. Only great people can apologize and say they were wrong.

The thing is, it’s not that I like this or that evolution, it is that I just can see what is going to happen and where our music industry is heading towards. Some new techniques will never take off, but it is my job at Alfa Matrix to keep an eye on what is happening in the industry and what is going to happen and see if we should invest time and money in it.

My hunch that propriety was going to be over and done with except for a solid and loyal base has proven to be correct. The success of both Spotify and Bandcamp show that my theory on mixed digital music consumption was spot on and that my critics didn’t have a clue what was going to happen.

It’s actually not the first time that I have had a conflict with my colleagues in the music sector. Back when I worked at an ecommerce startup, some shop owners said that we were killing their business. But when I once worked together with such a critical shop owner annex distributor he was unable to deliver the goods… because we sold tenfold of what he was able to get (laughs). One of the biggest channels of sales for that ecommerce shop was actually Side-Line. To give you an idea, when Depeche Mode released their single boxes, Side-Line single handedly sold all, but literally all of the stock available in Belgium in just a few days. They had to restock with copies from all over Europe because they were in limited supply. The same for the Erasure single boxes. And as far as the Covenant boxset “Synergy: Live In Europe” is concerned. That is the release we sold 10 times what the Belgian distributor had promised he was able to get… (laughs). And still we were the bad guys (laughs even louder).

I have to thank Warren Harrison from Hungry Lucy for that way of forward thinking. He opened my eyes as far as digital music is concerned and taught me to dissociate my own wishes from that of a public’s wish, and to open my eyes for new technologies. I doubt he realizes the impact he had on me. Now he knows (smiles). A good guy he is, a pity we lost contact a bit.

And the future will continue, but more in the propriety field where things are moving rapidly, think of NFT’s. Len Lemeire planted that seed in my head actually. Add to that that we will sooner or later be faced with cryptocurrency payments on a larger scale. I have a few other new technologies in mind that might be big in the near future.

One thing though that will remain key, is data. A lot of labels and bands still haven’t learned from ecommerce –namely that it is an opportunity to know who your fans are, and  they are now again missing the boat as they have put all their money on Facebook and other platforms that lock their fans into their platform without offering you any way to communicate except via their own platform. Deadly on the long run.

There is a story to this actually. I was approached by at least 2 major Indie labels in the past few years asking if I would be willing to –listen well, sell all of Side-Line’s data in order to set up an own label of Electro-Pop music. And these are indies who have had BIG artists on their roster. But they have never ever gathered data, never had a decent newsletter, in short they were flying blind once things went sour. 

Having said that, I also see bad evolutions, the platforms work more and more via AI to push releases to people in order to keep them as much as possible on their platforms. It unfortunately also leads to tracks, which are made to trigger these AI powered algorithms. The first automatically generated tracks are very ‘promising’ and they have been released for quite some time now. I personally am not happy with this evolution, as it removes the human genius from it, but like I said, we risk to see this more and more.

Q: It all looks like ‘younger’ people show less interest to write for a magazine. Why is it and how do you expect things evolving? 

Bernard: If we look across the board, most print magazines from our scene are gone, and when we look to the online press, most online magazines from our scene are gone or are unable to keep up with the daily news pace like we do for instance. I often get requests from people if they can start writing for us, but their mail always ends with this question: ‘How much do you pay?’ Knowing that we have never received any money, it’s rather cynic that people who have never proven a thing think they can ask money… So I will repeat it again, THERE IS NO MONEY TO MAKE with an online magazine about Dark-Wave. 

As far as contributors is concerned, I am happy with the team I work with now. I can count on you and Jan-Ronald, basically the main contributors next to me. You both have a very professional attitude and we are friends most and first of all.

The evolution will depend on the fact if there will be more people willing to invest money and time in these kind of projects like running a magazine. We all know that nowadays you will not earn a living from it, on the contrary, you need some financial backup to keep a website up and running, pay the licences for plugings, data storage, and so on. And that’s without the hours of unpaid work on top each day.

Q: I already had discussions with people –including label owners, who no longer belief in the real impact of magazines today because of streaming platforms and other channels like YouTube. What’s your point of view and do you think magazines are enough taking care to adapt and renew themselves? 

Bernard: Well, this is not a problem for us honestly. Side-Line online is still about kickstarting new and young bands. And that’s mainly why people check Side-Line as we have the finger on the pulse to know what might become hot and what not. Remember Suicide Commando, Apoptygma Berzerk, etc..? They got pushed by Side-Line back in the days when they were largely unknown. Once we give these small bands an initial push they have to continue and work from their side as well and that’s when they get in the flow of things with the streaming platforms for instance nowadays.

Side-Line online is still about kickstarting new and young bands.

Take a magazine like Side-Line away and many small bands will never ever get a platform to develop. The same goes for our compilations, they serve to push smaller bands to a wider public. Consider us as an incubator for talents.

Know that I also regularly get contacted by the biggest bands in the scene directly with news, because they know we will publish it and they know we have a very good reach on a daily basis.

The AI used by streaming companies is a very big part in the music consumption and trying to trigger it is not something that is easily done especially with smaller bands on indie labels like I said earlier. The streaming Ais therefore still leave a lot of pearls untouched. Roughly 5 to 7 million songs on Spotify have never been played you know… That is HUGE.

That’s where magazines enter. Take me for instance, I basically have no time to start looking for new music, and I always look into our own review section for new material. So as a gatekeeper a magazine still has its purpose, at least from my point of view. I once did a test and played a few tracks and checked what the services would deliver as suggestions. They didn’t offer anything extra that interested me compared to what I got from your reviews, but instead offered a lot of junk extra so that I would have to weed out anyhow. It kinda proves that these Ais are still not capable of matching the human ear and feeling. Maybe that will happen in the future, I think so, or I would be really disappointed in our human genius (laughs).

That is of course as far as my own consumption goes. 

Now, I talked about the gate keeping function which has been the purpose of a good magazine. It’s my belief that a niche magazine which has a steady output of well selected news and articles will keep that gatekeepers function intact. Let me explain, most music magazines have over the years changed their focus on more popular bands, new music styles, added games, clothes, TV and showbiz in their mix just to get traffic. Look at NME for instance that is now ruled by clickbait articles and rubbish content. It has nothing left that reminds of the good old NME. All of its roots have been removed for the sake of clicks.

Another example is Techcrunch. This online tech magazine was the best back in time, but then it got taken over, and suddenly they started to pour out tons of clickbait articles, which had nothing to do with what the magazine was about in its early days and that was: talking about startups. I used to be a daily reader, I stopped simply because I couldn’t keep up with all the extra news being posted that was way out of the scope they had in the past. 

Less is often more, also for magazines. 

It comes to this, stick to your roots and make sure you have a continuous and regular number of articles posted.

From a label’s point of view, I have always worked on both. Now, since I usually work with new bands, it’s not always easy to have them launched rapidly like we could in the past. It now takes time. And I also understand the labels when they no longer see clear. There are roughly 1500 journalists out there that claim to have a magazine that handles Dark-Wave. 80% of which basically has a blog that has 10 visitors a day. Good for them, but I don’t believe in them. Basically, and we have to be very honest, there are close to no magazines left in this scene with a wacky team like ours that is day in day out constantly working to get a certain number of articles online.  

Those left still reach around 50.000 people daily on their websites and socials combined per day. And that’s a rough estimate but I’m very close, I think. Not exactly peanuts in a scene this small like ours. And quite a good crowd to for instance push smaller, unknown bands to.

In short, yes, I do believe in our future, as long as we stay loyal to our vision and mission. The numbers show it, we are reaching more people than ever, and not thanks to Facebook, but thanks to our daily newsletter, push notifications and all the other channels combined.

Q: Next to Side-Line and Alfa Matrix you’ve been also involved as organizer -and later as organizer ad hoc, of the now defunct famous Belgian underground festival ‘Eurorock’. A lot of things have been said about that festival. How do you look back at this event(s) with hindsight? 

Bernard: A bit like SABENA, such a bad experience never again (laughs). 

I’m still unable to talk about the first 2 editions I invested money in, due to some legal matters, but suffice to say you always have to look out who to trust. I lost a lot of money there, and evicted myself right on time from that very toxic situation. The 3^rd time, I was contracted – as I never wanted to be an investor again- but never got paid. In the end I had to solve most of the shit together with the stage managers who just like me were contracted and never paid. The shit thrown at us afterwards by people who have no clue is  exemplary yet not exceptional in this or any other scene. 

I made sure that every single band I had placed there was paid correctly. Most were grateful I made this happen, others cashed in and badmouthed me in public. So far for the thanks (grins). But I never forget… nor forgive (laughs).

Q: I know you prefer avoiding the question, but next to music you’re also politically engaged. What can you tell us about the subject?

Bernard: I’m not really trying to avoid it, I just think it’s not part of my work for Side-Line or Alfa Matrix, period. I always have tried to never mix it with both although some people are trying to frame me one way or another, usually because they don’t get my sarcasm. But now that you ask about it, yes I’m politically active in one of the biggest elected and ruling parties here in Flanders. That has been an excuse from extremists and activists to attack me in public, call my employer and frame me as ultra conservative, ultra catholic or even a pur-sang fascist. Well, sorry for those lunatics, but I’m as much a nationalist as any Norwegian hanging the Norwegian flag in their garden (that’s roughly every Norwegian with a garden) and as catholic as Macron. And as far as the other words used by ‘my’ critics, I don’t like the woke culture that is being pushed in our faces. Period.  

For the rest I’m happily married with a Mexicana, one of my best friend is a Turkish Muslim, one of my closest friends is transgender, and in my scarce free time I help people with learning disabilities to learn social skills. That should say enough. For the rest, I keep politics out of Side-Line and far away from Alfa Matrix because it’s basically not music. I don’t ask our readers about their political ideas either and I frankly don’t care.

However, I must say that over the years we never had remarks from readers when we post reviews or news from hardcore communist bands, but that we always get harassed by a very tiny group when a more conservative band is being covered. That’s a pure fact. I never discriminate, but I see some others discriminating people because they don’t agree with the ideas of this or that band. Rather disturbing…

I have a very good story actually regarding this. I once got an email from a guy, who started a rant because we had posted a review of a certain band on Side-Line. He called them fascists, racists, etc, etc.. But when I went checking his Facebook profile, I immediately understood why he was specifically attacking that band. His Facebook was filled with anti-semitic and anti-Israel rants… and the band he talked shit about had a Jewish singer. Shocking, but reality. 

The same for some BLM activists who have been attacking Side-Line in the past because we talk about –and I quote: ‘White men bands’. It is the same as attacking Motown Records because they have a  black repertoire. Most of the criticism can be explained by checking who is saying what about whom.

I know 2 famous bands in this scene who have made anti-semitic rants behind closed doors, I was shocked and told them this was really not right. One band member –member himself of a communist party, has since then been talking shit about me whenever and wherever he can, I guess in order to cover himself in case I make his name and emails with rants public. I also know bands who are very homophobic, but for the sake of things pretend they are pro LGTB-rights. In short, if I would write a book about the dirty wash I have witnessed over the years I think I would have a bestseller (grins). 

I personally don’t believe in left or right. I believe in doing good or doing bad.

Anyhow, I personally don’t believe in left or right. I believe in doing good or doing bad. I prefer doing good, under what political umbrella that may be. I also believe in taking responsibility for your own actions, and hard work. Locally I’m quite appreciated because I talk and listen to everyone, what their skin color, political belief or sexual orientation may be. And if they have a legitimate claim or need, I will try to help.

Q: Quite recently the Side-Line server crashed and you started a crowd funding to pay the costs. Your action was quite successful and Side-Line has been reactivated, which seems to prove Side-Line still means a lot to labels/artists and readers. How do you look back at this stressed period? 

Bernard: I was like ‘NOT AGAIN!’ when I realized it was not just an issue of rebooting the server when the server didn’t fire up as planned. We already had lost our previous site years ago due to a server issue and lost years and years of data… so you can imagine I was kinda stressed (laughs). But luckily enough, I had been working with this software engineer (editor’s note: Martin Rosselle) in another IT project. He is working for some of the biggest companies I know and he literally has made a name as being somebody who solves problems, a Winston Wolf in the software sector as you wish. I contacted him and told him we really needed the site back operational pretty fast and if he could help out. He canceled all his freelance work he had planned and asked me to come over so I could follow closely and help with the work. The error we had, was even for the engineers at our hosting company quite a real conundrum. Hell, they even asked us to please keep them informed as to how we would solve it because they had run out of options.

I took a 5 days unpaid leave, jumped in my car at 5 in the morning and drove 3,5 hours to set up shop at Martin’s place. In the car I was thinking of how to finance this endeavor… I’m already pumping thousands of Euros into Side-Line each year, but corona made that a lot of my income had completely vaporized so an extra financial blow like this was just very, very difficult. 

Then while I was having a coffee at a motorway restaurant, somebody sent me a WhatsApp message saying: ‘Hey Bernard, I saw your message that the site is down and that you guys are working on it. If you set up a crowdfund, I’ll gladly help!’ I was like, ‘really would people help out?’ So whilst doing the last hundred kilometers I was thinking ‘why not, if it gathers enough to pay half of the bill then that would already help a lot ‘. 

But it turned out to be really overwhelming… I’m still emotional when I think of it really… I saw the donations pouring in, from readers, bands, small labels, small PR companies, artists. I was actually very positively surprised that it were the smaller labels and bands next to lots of readers that came forward to support this crowdfund. I haven’t heard a word from the big labels… One of the biggest label bosses in this scene did send me an email… asking when their news would be up… no help, no question, nothing. It strengthens me in my vision that we have to stay an incubator for new talents and new and smaller labels, as they are definitely more connected with us… 

I did learn another lesson from this though, and that is that I need to delegate more. Jan-Ronald Stange has been helping with design, and I contracted Martin for our server maintenance and security so that we can intervene directly with the right people when needed. 

Q: What have been the best and worst memories from all the years you’ve been involved with Side-Line? 

Bernard: The worst: seeing others suffer. You know what I mean. 

The best: it is wonderful to stay friends for all these years with people with such different characters inside the team. And Side-Line also opened the gate towards other people I respect, I got in contact with Jan-Ronald Stange thanks to a lunatic groupie, so that ended well (laughs). And I shouldn’t forget Anne-Laure, Erlend, Marianne, Leydi, Simon and so many other people who have become close and reliable friends thanks to Side-Line.

Basically, working at and with Side-Line is the proof for me that one doesn’t need to stay in his/her own echo chamber to respect and be respected. You know that as well, I have told you that in a recent text message remember?

Q: Are you sometimes thinking about the end of Side-Line and also the end of Alfa Matrix? What should be the best way to say goodbye? 

Bernard: I have a pretty compulsive character, however, Side-Line has been a constant element in my life for the past 30 years. I always dedicate 2-3 hours per day to the magazine, writing articles, working on the site’s cms and machinery behind it, answering a ton of emails… It survived 2 marriages so far as well (laughs)! So no, it’s a part of me, and I haven’t really thought about stopping although there have been moments that I think, who the hell am I doing this for… But then you get a big thank you mail from a band or reader or label and that’s enough to kill off those negative feelings.

But if we would close shop, I guess it will be with a big bang (smiles). But so far so good.

If we would close shop, I guess it will be with a big bang.

The same goes for Alfa Matrix, as long as we can find good bands to push, we’ll continue.

Q: You and I have had some personal issues, but I think that thanks to Side-Line, we became and still are good friends. Any specific souvenir or anecdote you want to share? 

Bernard: Ah yes, we have gone through some turmoil you and me. I guess that is just part of good friendships, it’s like a marriage I guess, either you make up or you go to a lawyer (laughs). I guess we both learned from our private wars and have learned to respect each other. And that is what counts, we learned to see what unites us, not what divides us. And we never had to hire a lawyer (laughs)!

But speaking about the special moments… Well, racing on a German motorway at 200 km/h in a BMW to get home in time to drop of some equipment and then realize we could have delivered it 2 days later as well…. That was quite a memorable and especially dangerous moment we shared (laughs). Honestly, it was completely irresponsible, and I would never do it again, whatever the reason. Had we crashed, a magazine would have disappeared, a label and a few bands would never have seen the light of day and my sons would for sure never have existed and most importantly this: some others could have been injured or killed. I never drive fast nowadays, if I’m too late for a meeting so be it, but usually I start on time, it also avoids unnecessary stress and gives me the option to also have a coffee underway.

I also remember some sectarian veggie restaurant somewhere in Brussels where we ended up via John Sellekaers I think? That was quite weird for me… the food was ok though, but I’m not really into sects (laughs). But aside from that, I kinda miss sitting in a restaurant with all of us, you, Seba, Benoit, Cedric, and a few others which are still part of my inner circle, but who I don’t see enough. Luckily at least you and me did a good restaurant now !

Inferno Sound Diaries

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

www.side-line.com

Australian synth band Tycho Brahe have maintained a very busy creative schedule throughout the pandemic.

Co-founder Ken Evans says: “When Covid shut down live music in March 2020, it meant that my programming work for Peter Hook and The Light came to a temporary halt. So Georgina (Emery, co-founder) and I had the opportunity to focus on Tycho Brahe’s sixth album, which is now about 80% done, with about 15 additional remixes and edits of various songs from that album also completed for associated single/EP releases.”

There band is currently putting together a release schedule for that new album which will take them through 2022. At the same time, they’ve been working on a soundtrack for a short dance film by Australian choreographer and film maker Claire Marshall. It will be a seven track EP of music from and inspired by her film, “Love Song”. The soundtrack will be released, coinciding with the film premiere.

Fuck Off 2020 (and 2021)

In March already the band released new mixes of the song “Dreams of Dying” since it turned 25 years old. They also released a song at the end of 2020, their ode to the pandemic, called “Fuck Off 2020”, written in the shower and then recorded in a booze fueled frenzy over a couple of days. And as expected, the story doesn’t end there. Ken: “We’re considering a follow up at the end of this year since 2021 hasn’t been much better.”

Tycho Brahe also has a seven track EP, “The Rob Mitchell Remixes”, scheduled for release across all major digital platforms on November 4th, that’s tomorrow. Says Evans: “These are all remixes of songs from our debut album ‘Cassiopeia’, which was released way back in 2000.”

About Tycho Brahe

The Australian synth band Tycho Brahe was founded in Brisbane in 1993 by Ken Evans and Georgina Emery. Veterans of the Australian live music scene, Tycho now occasionally gig around their home city of Brisbane and beyond, either as a duo or augmented by additional personnel.

Between shows they retire to Tycho Central, a bunker full of vintage synthesisers, drum machines and science fiction memorabilia.

Tycho have had numerous releases, traded remixes with a number of bands, appeared on compilations the world over, and shared the stage with acts such as The Human League, VNV Nation, John Foxx, Covenant, Pseudo Echo, and Real Life. Ken Evans is also associated with Peter Hook & The Light as their programmer, making occasional onstage cameos with them in Australia, Canada, and at The Sydney Opera House.

More info at

• http://www.tycho.com.au
• https://www.facebook.com/tychobraheband
• https://tychobrahe1.bandcamp.com/

Bernard - Side-Line Staff

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

side-line.com

The 2021 edition of the Sinner’s Day Festival will take place from 30th October until 1st November 2021 at The Max in Heusden-Zolder, Belgium. About 53 new wave, EBM, industrial, post-punk, synth-pop and eighties bands are featured on 2 stages.

This year the line-up includes: Deutsch-Amerikanische Freundschaft (Robert Goerl & DAF world premiere), Gary Numan, Clan Of Xymox, Praga Khan, Covenant, Fields Of The Nephilim, Suicide Commando, Funeral Dress, The Arch, The Bollock Brothers, Your Life On Hold, Ground Nero, Absolute Body Control, A Slice Of Life, Astrasonic, Blancmange, Diary Of Dreams, Agent Side Grinder, Red Zebra, Siglo XX, The KVB, And Also The Trees, La Muerte, UK Subs, Glen Matlock, IAMTHESHADOW, A Split Second, BFG, Then Jericho, She Past Away, The Foreign Resort, Minuit Machine, Leaether Strip, Haujobb, Gene Loves Jezebel, Twin Tribes, La Lune Noire, Empathy Test, Jah Wobble and more!

There is also The Batcave, the dance-area where you can party while DJ’s spin their finest tracks 13h/day. A camping area is available if you want to stay next to the festival area at night!

Tickets can be ordered here

Be aware that you need to show a valid Covid certificate/Covid Safe Ticket to get access to the festival!

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

Format: Digital.

Background/Info: Finnish project Aeronaut V was set up in 2018. This year they released the single “Discovery” and this debut-EP –which rather looks like a mini-album, featuring six songs.

Content: The songs are clearly the perfect offspring between Electro- and Future-Pop music. One of the cuts still has a bass line reminding me of the softer side of DAF. The production reveals powerful sounds and multiple analogue-like sound effects. The vocals have something charismatic; all songs are sung in English. I don’t like comparing bands, but I think this music might appeal to lovers of Covenant.

+ + + : Aeronaut V took me by surprise; the work revealing a well-crafted song writing and professional production. This band stands for maturity and even if the sound isn’t that original it however has something personal and refreshing. The music has something retro-like and still features contemporary elements. The production of the vocals has something emotional. The work features 6 different tracks and except one, they all have a true potential.

– – – : EK Product is a label I’ve always connected with EBM and related genres. Aeronaut V sounds a bit different and definitely more into Electro/Future-Pop, which is the kind of music released by the label’s sub-division Space Race Records.

Conclusion: This debut EP by Aeronaut V is a pretty cool surprise; a great electronic production, which will appeal for lovers of Electro- and Future-Pop, but also some EBM heads. This is a name to keep in mind!

Best songs: “Too Much”, “Zero Zero”, “No Wonder”, “Into Two”.

Rate: 8½.

Artist: www.facebook.com/AeronautV

Label: www.ekproduct.com / www.facebook.com/EKProduct

Inferno Sound Diaries

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

www.side-line.com

By the end of 2020 Transmission unleashed the debut album “Cosmos” on Wave Records. The French solo-project is driven by Sandrine Deville. She’s dealing with a rather Minimal-Electro/Wave style with some violin tunes on top. It’s a fascinating- and accomplished experiment revealing an artist with a very own and creative approach. Here’s what Sandrine has to say about Transmission.

(Courtesy by Inferno Sound Diaries)

Q: How did you get contaminated by the music virus and finally come to set up your own music project?

Sandrine: I began to learn how to play violin at the Ferney-Voltaire regional conservatorium of music, in France, when I was ten years old, during four years. And, this was the time I listened to bands like A-Ha, Alphaville, U2, Pink Floyd, The Cure at the junior high school of my city, and, maybe one of the most influent band that led me to practice guitar, Dire Straits and the song “Money For Nothing”, for which I recorded a tape with this same only track, that I listened to for hours, showing me the power of music to immerse myself in a very special universe, at a high noise levels of my headphones.

I could define for Dire Straits a word that I will use to define my own music project: ‘soundscape’, when you discover landscapes from beautiful sounds. There also was Depeche Mode with the track “Never Let Me Down Again”, and, of course, Joy Division with the incredible bassline of “She’s Lost Control” were offering beautiful soundscapes to my ears when I was a teenager. Today I feel the same, but with other bands like Massive Attack, Bauhaus, Bowie, Linea Aspera, The Soft Moon, Kraftwerk, PJ Harvey, Nine Inch Nails, Kas Product.

On one hand, I wanted to play guitar in a band when I was teenager, but on the other hand, there were a lot of excellent guitarists and I was not, so, I decided to learn playing bass guitar. First, I was a bass player in a Funk/Folk /Psyche band called Hopupu and later on in between 2011 and 2016 in a Cold-Wave duo called Rive Droite Rive Gauche.

Then, I wanted to create my own music project and, after a few years of involvement with various bands, from Post-Punk to Punk, I decided to create the Electro/Dark-Wave solo-project called Transmission, recording first the track “Cosmos”.

Q: The name of your project is clearly reminding one of Joy Division’s legendary songs. Is it just a coincidence or clearly a link with some of your main sources of inspiration? What kind of sound did you’ve in mind when setting up Transmission?

Sandrine: Joy Division is one of my favorite bands. I adore all their songs and the atmosphere of “Shadowplay” gives me goosebumps each time I listen to this track. As I passed my bachelor in design in Toulouse (France) in 2018, I presented “Transmission”, the all white 3D printed Electro-Acoustic violin I created, inspired by pulsars shape, those mysterious white lines that we can see on the artwork of the LP “Unknown Pleasures” from Joy Division, and designed by Peter Saville. So, in this way, I could say that the name of my project is inspired by Joy Division, but mainly the white lines of the artwork of “Unknown Pleasures”. We can discover more about my violin called ‘Transmission’ on my own artist website here:

https://www.bluefactoriz.com/transmission

And we can discover more about my violin too, from pages 277 to 286 of the book of Pedro Peñas y Robles called “Joy Division, Paroles De Fans”, Editions Camion Blanc, 2018, here:

http://www.camionblanc.com/detail-livre-joy-division-paroles-de-fans-1216.php

Regarding the sound of my project, the effects are allusion to any effects used by the brilliant Martin Hanett for the soundscape of Joy Division, but, the kind of sound, the essence of the sound, come from a lot of references, as Kraftwerk, Nitzer Ebb, Covenant, Nine Inch Nails, Massive Attack, Linea Aspera, Boy Harsher, Buzz Kull, Minuit Machine, Years Of Denial, Kas Product.

Q: You last year released your debut album “Cosmos”. Tell us a bit more about the writing- and production process of this opus and what did you try to express lyrical wise?

Sandrine:The process of the composition was the same for all the tracks; I switched on my Korg Minilogue, synchronized with the little Korg Volca Sampler for the drums, and I tried to play live with this set up, recording a bass line using the Minilogue when I thought I could have something interesting. Then, recording this on my PC using Ableton software, I began to look for a structure, and sing the violin line, and the melody, or writing the words for the future track. Many times, I wasn’t able to record the exact bassline I wanted on the synth, and then, I tried to do my best with this new sound. Tracks like “Cosmos” and “Désuétude” both are like soflty spoken words; tracks like “De Stijl” or “Echouées” both are using punchy spoken words. As a reference, I could say that “Désuétude” is inspired by the way Anne Clark is ‘screaming’; “Cloud 9” and “Illusion” are both mixing spoken words, and a melodic chorus. I was very happy, too, in the way I used different languages: French, English, German, and Spanish too. For the lyrics, sometimes, first, I wrote them, and sometimes, they came after the soundscape, it depended of the feeling I had at the moment of the creation phase.

Q: I’m always wondered why there’re no more female artists composing Electronic underground music? Do you’ve an explanation and what have been your experiences as female artist in this scene so far?

Sandrine: I really don’t know why there are no more female artists composing Electronic underground music. Well, one of the most iconic is Anne Clarke, but today, we have the excellent solo-project of Alison Lewis called Zanias who’s also involved with the excellent duo Linea Aspera and Keluar. In France we have the excellent female duo from Paris, called Oktober Lieber. And there is also the excellent female solo-project called Hante from Hélène De Thoury who’s also member of the female duo Minuit Machine.  In the USA, even if it is a mixed duo, there is the excellent Boy Harsher. And I recently discovered the solo-undergound artist from New-York called Ani Klang. I also think to the excellent first LP “Push” from the L.A based Iranian producer and DJ Maral. In Germany there is in a dark, clubby style Ellen Allien.

So even if there are less female artists involved, I think that there will be more and more female Electronic underground artists. As I am beginning in this scene, I don’t have yet a lot of experience, the only thing I could write, is that I think that maybe women have to forget their shyness (if they are), and to prove by themselves that they can make Electronic underground music as well as male artists.

Q: Transmission has been introduced as a solo-project although you got some help to achieve “Cosmos”. Tell us a bit more about this collaboration and what has been the impact and bonus on the final result?

Sandrine: At the beginning of the year of 2019, I had a first demo of the track “Cosmos”, and I was wondering how to go on with this project. Thanks to my duo Rive Droite Rive Gauche I met a lot of people of the Gothic scene of Bordeaux who became good friends. In January, I went with two friends to the Nitzer Ebb gig in Bordeaux, and, then, we met a lot of friends of the Gothic scene of the city like Jean-Philippe Torres who has his Drone Studio. He is also one of the musicians of the excellent duo Dark Line Spectrum; Speaking with him, it became to me an evidence that he could be the most appropriate friend to achieve “Cosmos”. I sent him the demo of “Cosmos”, “Désuétude” and “Echouées” in order to know if this project could have an interest for him, and, as he was enthusiastic about this, then, we began a very friendly and productive collaboration.

The process was for each track the same; I sent to Jean-Philippe the ‘pre-mixed tracks’ by wetransfer, and then, he added his additional synths and old-school rhythm box, made the sound design and the arrangements, and the mix and mastering. It was perfect! I am used to comparing him to Martin Hanett. Martin Hanett defined the special soundscape of Joy Division, and Jean-Philippe defined the special soundscape of “Cosmos” and I think that he made my dream come true: having my debut LP realized on a good label.

Q: It’s probably a bit risky and also a true challenge to release a debut album during the ongoing pandemic. How do you –and Wave Records, manage this aspect and how do you expect things evolving considering live performances, further releases and  plans?

Sandrine: I really thanks so much Alex from Wave Records. I know that, in this special context of this long pandemic, the action of releasing albums for new artists, is a very risky business for the labels, moreover, for independents labels, as they don’t know how they can sell the albums and if people will buy or not a debut work.  Alex is doing his best for the promotion of the album with a large number of contacts, with an effective sharing on the social network, on Youtube too for the videoclips of various tracks I realized myself.

I gave my first gig on the 2^nd of July, thanks to the association Distopia Mutante of San Sebastian in Spain, and it was an unbelievable good moment as there was a good interaction between the public and me. It is since January that Distopia Mutante tried to organize a gig for my project. But finally we did it, at the beginning of July, and we hope that there will be others. I hope I will be able to perform at other places and in other countries, even if we don’t know what the future will be.

Thinking about the second album of Transmission, I will not change the way I am using to create the sounds, and I am thinking about around ten tracks that could explain a lot of feelings that we are facing to in a whole life, using various BPM’s.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: EBM, Body-Pop.

Format: Digital.

Background/Info:  First Aid 4 Souls’ mastermind István Gazdag is a prolific artist who also like collaborating with other artists. After last year’s released album “Fire” on which he worked with several of his compatriots, the Hungarian artist now released this work together with Belgian artist  ‘Vain Sacrosanct’ (Causenation). They know each other as István Gazdag already remixed Causenation and mixed plus mastered the last album.

Content: This work is clearly driven by EBM influences, which is a quite familiar style for First Aid 4 Souls. The main particularity is the vocals performed by Ivan Heyligen aka ‘Vain Sacrosanct’. This guy has a charismatic way of singing so in a way it creates a sonic illusion of FLA (for the music) meeting Covenant (for the vocals). But First Aid 4 Souls isn’t that typical EBM band, but always injects a very own input, which mainly comes through in the choruses of this work. You’ll notice somewhat Pop-refined choruses getting the record pretty accessible.

+ + + : István Gazdag never stops to impress me; he has the skills to adapt himself to the singers he’s working with. So each album has something different from the previous one although there’s a common thread, which is easily recognizable in every single production. There’s this darker EBM approach reminding FLA, which always comes back. “Broken Promise” is a good exposure of this ‘Canadian’ sound. I however prefer “Skin” for the mix of EBM and Electro-Pop and “B.R.O.”, which is a harder and definitely club-driven song with a Future-Pop touch on top. This album also is an opportunity to discover a talented singer involved with the promising Belgian formation Causenation.

– – – : First Aid 4 Souls is always in search of new ideas and experiences. But I’m personally missing the sound and spirit from albums like “Dark Tunnel” and “Keep This World Empty”.

Conclusion: This is one more new collaboration by First Aid 4 Souls and the least I can say is that this work sounds like a perfect match between the Hungarian sound master and Belgian singer.

Best songs: “B.R.O.”, “Skin”, “Broken Promise”, “Who’s Gonna Walk The Line”.

Rate: (7 ½)

Artist: www.facebook.com/First-Aid-4-Souls-180876236297

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

Inferno Sound Diaries

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

www.side-line.com

(By our Norwegian correspondent Jan Ronald Stange) June 25^th saw the release of ‘Terminal Love’, the third EP this year from the Norwegian industrial synth rockers Zeromancer, a worthy follow up to their previous releases ‘Damned le Monde‘ and ‘Mourners‘. In addition to interviewing the band about the EP, we also got hold of the guys behind the L’âme Immortelle and Architect remixes to get their thoughts on the song and the remix process.

Side-Line: ‘Terminal Love’ – feels like it’s a continuation of ‘Mourners’, like the next chapter or a different view of a similar story – an ongoing theme there? Or coincidence?

Alex Møklebust: Some of the continuation feeling you also get is probably how the song opens. Like ‘Mourners’ it starts with only synths and vocals, before the chorus hits. The chorus melody line on ‘Terminal Love’ is taken from a unreleased ZMR song during the making of ‘Sinners International’. Kim gave it another chance on ‘Terminal Love’ and the chorus finally made sense. Felt so good singing that melody line 12 years later. Never throw away ideas!

Kim Ljung: Alex has a memory like no other. All the time he surprises me with stories I have forgotten a long time ago. Though in this particular case I believe he’s a couple of years off 😉
The chorus of ‘Terminal Love’ is taken from a demo originally named ‘Collider’, which then again was a spin-off of an old Red 7 track (Lorry and Dan played in this band). Quite sure it was written in the aftermath of the ‘Death of Romance’ album. The pre-chorus of ‘Terminal Love’ I found on my phone where I always tape simple ideas with acoustic stuff, me singing on top. The date was June 26, 2014. One day later than the official release date which was about a week ago. Not so strange maybe, that musicians lose their minds carrying all this stuff around for years and years.
Regarding the connection with ‘Mourners’, I’m blind to those aspects. Just another Zeromancer song written in a fashion that suits that particular track.  What we always do. People has a tendency to ask what song or album we prefer ourselves. That’s irrelevant. I never set them up against each other. Not my job 🙂

S-L: When hearing the main synth melody line my first thought was “this is something Vince Clarke would’ve wished he made himself for a Yazoo song!”

AM: Thanks! I’ll take that as a huge compliment. The synth needed lots of movement to carry the first verse by itself. The modular setup works well for that and blends in with all the other instruments in a good way. The analogue imperfection is key.

KL: Word, Alex!
We had a lot of sessions at Room 13, Alex’s studio, where Alex sat and tweaked those knobs on the modulars. The idea was to create a signature sound for the intro of the song. Something significant that opens a track, and when you hear it, you instantly know which song it is.

S-L: The external remixes were both quite down-tempo and atmospheric, which also suits this track very well. Surprising that both chose this direction?

AM: It was a very pleasant surprise. Love the way it turned out. Both Thomas and Daniel had a short deadline, but managed to make two beautiful remixes. Thomas made it so personal that you immediately hear it’s a L’âme Immortelle remix. Respect.
Daniel also made ‘Terminal Love’ his own. The deep sub version takes you on this beautiful ride into Daniels universe. Love it. So talented musicians. We are so grateful for having friends all over the world collaborating with us. Musically, but also on a personal level.

KL: Both versions blew me away. I didn’t expect it at all. Pure genius. You can hear in an instant how much love and passion they put into this track. Fold my hands for those guys.

S-L: Alex, your alter ego SnifferGod ends the EP with an up-tempo remix, a good contrast to the other remixes, with great beats and rhythms! Some elements here puts me back to the end of the 80’s/early 90’s, like Nitzer Ebb doing a 90’s rave with S’Express and a touch of acid house, but layered in a 2020’s updated soundscape. Tell us what you did here!

AM: I had to work on this one in-between mixing the Zeromancer album. Mixing daytime and remixing nighttime.
You are absolutely spot on. Because of the high tempo, I wanted to get that 90’s techno feel combined with some 80’s EBM. Nearly all synths are from my modular and semi-modular setup. No samples, except sampling ourselves. It’s an up-tempo remix, maybe close to stress-techno, but the «party boy» Alex kicked in. Blame the late night sessions.

KL: Stress-techno or stress-synth. Hahaha….it’s an internal wordplay on a comment by the Foo Fighters-drummer in a recording session with good,  old Rick Springfield. He calls Springfield’s style stress-rock. And he does so as a kind of a compliment. However, who wants that type of label 🙂

Yeah, SnifferGod is Alex going back in time. A real killer version. Lots of raving flashbacks, with the God himself on the dancefloor.

S-L: Kim, where’s your mother this time on the cover photo? Vacation in the fjords, or where she’s originally from?

KL: This time the photo is taken on the roadside near Odda in Hardanger. The roads were obviously a lot more curvy back in 1957. Though they still are…
The family took these endless road trips from Sauda all around Norway every summer holiday. My mom is on the left, my uncle at the right of the photo. They are facing the glacier, Buerbreen. Both of them are carsick as hell. My grandfather took the shot, as he did with the previous singles.

I think the distance and the vibe of the photo suits perfectly with title of the song.

Check out this playlist of Zeromancer and SnifferGod remixes!

As with all three EPs this year, this one also features brilliant remixes, which made an easy decision to repeat the remixers part from the ‘Mournes’ article. Both Thomas Rainer (L’âme Imortelle/Nachtmar) and Daniel Myer (Architect/Liebknecht/Haujobb/Covenant etc.) had some to say about their contributions.

First off is Thomas Rainer from Vienna, Austria:

S-L: What’s your relation to Zeromancer before this remix?

Thomas Rainer: They already made 2 remixes for my band L’âme Imortelle and are also label mates, so it was kind of obvious that we would also collaborate the other way around one day. It also didn’t hurt that I have also always really liked the music of the band.

S-L: How did you like the new song ‘Terminal Love’?

TR: I really liked the song from the very beginning. The vocals immediately caught my ear, but after further listening I really enjoyed listening to all the small details in the very sophisticated production.

S-L: The other ZMR releases in 2021 – what’s your opinion so far?

TR: I enjoyed all of the new material so far especially since it shows an even more mature form of the band. Something I greatly appreciate.

S-L: What was your main idea with your remix?

TR: I usually approach all remixes by listening to the vocals alone first, and Alex’ stellar performance made it clear that it needs to be given as much space as possible with the music just being a supporting element. 

Check Thomas’ playlist of his remixes!

Next remixer were Daniel Myer from Leipzig, Germany:

S-L: What’s your relation to Zeromancer before this remix?

Daniel Myer: I’ve known Zeromancer since they came to the scene. It’s a fairly small scene, so of course you know every new act that comes out, especially back in the day;)

We also share the same booking agency, so I went to see them live quite often when they were in town or at festivals. I always liked their style and I really like the songs and Alex’ voice.

S-L: How did you like the new song ‘Terminal Love’?

DM: Terminal Love had a real anthem feel to me. That’s why I approached a friend of mine to do this remix with me. I wanted to make it really big, like a “Pop Hymn” in the style of Imagine Dragons. But my friends was busy with her release, so I did the remix by myself.

S-L: The other ZMR releases in 2021 – what’s your opinion so far?

DM: I haven’t heard it all, only the last single, and I love Krischan Wesenbergs remix. He is one of my favourite producers at the moment.

S-L: What was your main idea with your remix?

DM: For the remix, like I mentioned above, I had something big in mind, but I only had a very limited amount of time.
I was on vacation with my girlfriend and we had very specific plans for this time. I started the remix with this Imagine Dragons idea in mind and then send it off to my friend in NYC. She came back to me after a few days, telling me that she couldn´t work on it, so I had to finish it by myself. By that time I was in a very strange headspace, a lot of things went wrong on our vacation trip, so I was stressed out and I had to go see my mother.

So I actually finished the remix on the train to Bielefeld one morning, on the day of the deadline. Overall I had only 12 days to do the mix, Alex came basically in the last minute to ask me for it 😉 And my mother lives in the woods, so there was no good internet connections. I actually used the hotspot from my phone to deliver the remix to Norway! 😀

Check Daniel’s playlist of his remixes!

Listen to and buy the ‘Teminal Love’ EP from Spotify, Apple music and other services – click here!

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

www.facebook.com/jrstange

Biomechanimal and Sentinel Complex have joined forces and now release the single “Crown of Glass”. Musically it is a mashup of sounds and styles, from symphonic metal, midtempo to harsh industrial, dubstep, and more. The song deals with the negative side of our ego, how it can lead us to view others and ourselves in a distorted way.

Biomechanimal hail from London, UK and mix harsh vocals with massive bass and pounding kick drums. Active since 2013, the act has toured the UK multiple times and have played shows with Covenant, Hocico, Aesthetic Perfection, and many more. 2020 was a big year for the band, dropping 4 singles and multiple remixes, along with maintaining a strong livestream presence. Sentinel Complex from their side bring aggressive metal fused with modern electronic and traditional orchestral elements.

The single features remixes from Moris Blak and Dawn Of Ashes. Here’s the video for “Crown Of Glass”.

Bernard - Side-Line Staff

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

side-line.com

Stefan Herwig once started Kugelblitz Records and moved on with Off Beat. He set up Dependent Records in 1998. The label got an instant success thanks to famous bands like  VNV Nation, Covenant, Mesh, Velvet, Acid Christ And Suicide Commando. Dependent became a great home for intelligent Electronic artists. Other ‘big’ names like Pride And Fall, Seabound, Mind.In.A.Box, Rotersand, Click Click, Front Line Assembly, Decoded Feedback, Fïx8:Sëd8 ao joined in.

(Stéphane Froidcoeur / Courtesy by Inferno Sound Diaries)

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

Stefan: Yes, absolutely, there was a ‘label philosophy’ and it did evolve over the years quite a bit, it did actually evolve 3 times and it continues to evolve right now. When we founded Dependent we only had the plan to sign with 5 artists (hence the hand as a logo, originally) and work very intensively with those artists. We signed the artists for short-term deals, brought some of them to quite a big status and then found out that they used the first option to hop out of deals and sign with Major label companies for bigger advances. That was disappointing. Also, some artists developed a real problematic persona, when they became successful, and we struggled to deal with that as well.

So, as hard as it sounds: we had to ‘ditch’ the idealistic approach. On top of that came the industry crisis in the early 2000s, which made life as a record label very difficult. Well, to put it short: we learned a lot since then.

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

Stefan: Well, we are always looking for good vocals and a decisive artistic vision at first. The project has got to ‘make sense’ to us, not only the music, but everything. Sometimes we receive good demos, but they are all over the board stylistically, and then we will struggle to market this kind of stuff properly. But then again: GOOD VOCALS are one of our prime conditions. And yes, the dealings with the artists have to be smooth. If you dislike artists from the get-go, it will end up being a difficult collaboration, so if artists appear ‘difficult’ during the first talks, we will think twice.

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

Stefan: Well, all the promotion strategies, the timings, the ideas behind it, the distribution channels, etc… have changed -drastically. The music industry from 20, from 10 or even from just 5 years ago has little in common with what we do now. Be available on very channel, digital and physical. The one thing that has not changed is that we are being committed to great artists and releases in the long run.

Dependent has an own fanbase from people that have recognized this, this makes us very proud. But we also stick to physical release, vinyls and special editions. It is a better form to release music.

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

Stefan: Well, people stay more at home, so they also listen to more music. They buy a better stereo, buy albums on vinyl, etc. Also the shortfall of festivals means that some people have more money in their budget to spend on recorded music. It is kind of ironic, but the shortfall of concerts gives the labels and the recording artists a little boost. Obviously for everybody who is in the live performance and booking business, this situation is entirely catastrophic, and I sincerely hope that it will evolve soon.

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

Stefan: Well, it’s been a tough place for music magazines, especially printed ones for years now, and we have seen many big print magazines go under, that is no secret. I do have a soft spot for good journalism & good reviews that bring good music recommendations to the people. But I see that for instance streaming recommendation algorithms have become so good, that the air gets even thinner for music magazines. I hope the magazines and print people will evolve and survive. One step would be to curate own playlists on Spotify, to keep the magazine identity and recommendation function alive. But also better reviews would be helpful; some reviews are being too optimistic and not critical enough.

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

Stefan: Well, we have had our fair share of chart successes, and this is nice (and keeps us afloat, obviously), but the real accomplishment is to ‘develop’ artists to enable them to have a successful career and have a good input on the music scene, instead of watering it down. I think some labels are in the process of watering down the scenes’ identity instead of strengthening it. Artist development is STILL the goal, after all, we still love Electronic music. The moment from when you get a REALLY good demo is almost like the moment you fall in love with someone: your hair starts to stand up, the heartbeat is rising, you have this big smile on your face. It is amazing that music can do this to us still.

Inferno Sound Diaries

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

www.side-line.com

Metropolis Records was set up in 1994 by Dave Heckman. In no time the American label became a truly reference when it comes to Electronic and Industrial music. The label licensed –and still does, European productions, but also signed new artists. Among the Metropolis roster you’ll find bands as VNV Nation, Front 242, Front Line Assembly, Wumpsuct, Project Pitchfork, Juno Reactor, Assemblage 23, The Birthday Massacre, KMFDM, Numb, Haujobb, Leather Strip, Apoptygma Berzerk, Velvet Acid Christ, God Module, Covenant, Informatik and many, many more

(Stéphane Froidcoeur / Courtesy by Inferno Sound Diaries)

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

Dave: No philosophy per se. It was just something I wanted to do for a living, so I needed to go about things in a very professional manner and always stay focused on that goal.

I am going to presume you mean label activities as compared to my activities at the label, although I will go into both.

The first step is to find the talent and that has always been my job. I am the owner and the A&R guy. Then, of course, a deal needs to be worked out and again that has always been my job too.

After a deal is done, we have to assemble the assets for the release such as artwork, photos, masters, videos, and publishing information. This is all needed to setup the releases with our worldwide distributors and to manufacture the albums themselves.

Then comes promotion. Retail, club, radio, video, press, touring, social media, etc. A lot of this is done internally, but sometimes we hire outside companies, particularly for video, radio, press, and booking tours.

Finally, the royalty statements need to be processed and payments made. A tedious and important part of the business.

So, believe it or not, as much as the industry has changed, the setup and promotion is really quite similar to what it was years ago. The revenue just comes from different sources.

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

Dave: Not really. In general, I sign bands I like and there is no particular sound I am looking for. I cannot really tell you why I liked Numb or Project Pitchfork, I just did. When it comes to art, whether music, film, or paintings I cannot tell you why I like what I do. In some way it has to move me.

That said, I do have a tendency to like or lean towards things dark, edgy, and innovative. Some of the bands that I was interested in were never signed, because we could not come to an agreement. Sometimes the bands had higher expectations than I did and the advance they wanted was too large or we had different ideas on promotional aspects of a campaign.

Metropolis has released over 1200 albums with over 200 different artists, so I did not get to meet and know everyone. In the beginning I just licensed from a few European labels like Zoth Ommog, KK Records and Hyperium. So, my relationships were with my licensing partners. However, as things progressed and we brought the bands over to tour and I went overseas to festivals and conferences and finally met these artists, my relationships with them developed. Always liked to travel and visit the artists where they lived and liked hanging out with them during and after shows. As we got to know each other better it just made everything smoother.

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

Dave: The biggest change was the death of retail record stores. That was how I started consuming music as a 10 year old kid. I mean I just did not go there to buy music, but to discover it. The cool stores played cool music and I also would just go through the record bins to find something new that caught my eye. Retail was still a force in music in the 90’s, but went really downhill after 2002 or so. As I mentioned above, retail promotion was important, but now it is almost gone.

So, of course digital comes along and I knew tons of artists and labels that were vehemently opposed to the format. Don’t get me wrong I thought 128 bit rate MP3 played on a computer sucked compared to a Compact Disc on a good stereo system. However, that is the way people wanted to consume, so we sold digital downloads.

At present, hardly anyone buys downloads and streaming revenue is going through the roof. Of course, I have artists complaining about this. More arguments / discussions with artists about streaming than any other industry issue, but it has saved the industry not destroyed it. Illegal downloads and CD burning where the real culprits.

Spotify, Apple Music, Amazon Prime, Deezer, Pandora are great platforms. However, YouTube sucks. They pay a fraction of what everyone else does, but people are complaining about Spotify instead of them. That I do not understand.

The bottom line is to adapt fast to a changing industry.

The benefit of the digital world is the massive savings on manufacturing, storage, and shipping, which of course is also good for the environment.

As far as the economic downturn, we go through these all the time and readjust.

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

Dave: The pandemic has hurt the industry considerably. We had a dozen tours lined up for last spring including Lords Of Acid, Clan Of Xymox, KMFDM, Front Line Assembly, The Birthday Massacre, and many more. All cancelled and the bands lost money to varying degrees. However, the recorded music industry saw their revenue grow since almost everything is digital or online even including physical sales. In the long run and this intermediate period, nothing will change much, people will go back to their old habits for the most part.

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

Dave: Yes, that medium is still important. All promotional activity counts. You have to spread the word around wherever you can. However, I really cannot comment on my relationship with the journalists as I never really had one. I am talking about me, not the label. Publicity and press is one of the few things I have always delegated to someone else.

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

Dave: Even though I eventually worked with some big names in the industry what I liked most was taking bands that were once small and introduce them to the scene, promoting them and then selling reasonable amounts of records for them. Covenant, Haujobb, Velvet Acid Christ, Wumpscut, Combichrist, Apoptygma Berzerk, And One, Assemblage 23 were all selling just a couple thousand copies and eventually sold 20,000 to 50,000 albums in North America alone. These are good numbers for alternative music. VNV Nation sold even much more than that. Just to put it in perspective only one in a hundred artists sold over 10,000 copies back then no matter what the genre.

I have met my goals. As I mentioned I wanted to do this for a living and I did. Also, Metropolis has a good brand name and I got to meet a lot of great artists who are now my friends. I wish I could have pushed the boundaries more and could have done more outside the Goth / Industrial genre. However, that did not work out that well except with the a few bands like Mindless Self Indulgence and Electric Six.

I am content with the label’s accomplishments. The label is 27 years old and I was well into my thirties when I started in the music business. So, we will continue to do what we do and improve where we can, remembering that adopting to change is important.

Inferno Sound Diaries

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

www.side-line.com

Back in 1991 I started writing my first reviews for Side-Line magazine. I would have never thought to go on writing reviews and making interviews non-stop for 30 years. So 2021 is a special year to me, a kind of ‘celebration year’. I got the idea to celebrate this special event by interviewing people from the scene who all have a special meaning to me. I met Johan Van Roy even before I wrote my first review. He was busy composing music under the SUICIDE COMMANDO moniker. I liked the dark and tormented atmosphere of his early demos, which were reminding me of THE KLINIK. I got the chance singing on one of his early songs and we even set up together a music project. SUICIDE COMMANDO became one of the absolute leading formations from the Dark-Electro scene, playing as headliner at big festivals, selling thousands of albums and having an impressive word-wide fan base. Beyond the successful career hides an humble person. No star attitude, but an accessible and kind man who simply remains himself.

(Courtesy by Inferno Sound Diaries)

Q: Thirty five years ago now you started experimenting with Electronic music while setting up SUICIDE COMMANDO. What incited you back in 1986 to experiment with electro sounds and noises? How did that happened and what equipment did you use?

Johan: I grew up in the early 80s with the in that time booming New-Wave scene, listening to bands like THE CURE, SISTERS OF MERCY, but also more Electronic sounding bands like DEPECHE MODE or FAD GADGET … It was because of these bands that my love for Electronic music started. Not much later I discovered bands like THE NEON JUDGEMENT, FRONT 242 and THE KLINIK (in those days these bands even got airplay on national radio stations like BRT…).

These bands had such a big impact on me that I also wanted to start making Electronic music. And so I bought my first keyboard back in summer 1986, the now legendary Roland SH101, not much later added with 2 drum machines, the Boss DR110 Dr. Rhythm and the Boss DR220E.

Very limited gear, but in those days very expensive equipment, so it wasn’t that obvious to buy more equipment. For example samplers were extremely expensive and even with a sampler you only could record a few seconds of sound…

Q: People maybe don’t realize it took you years and a lot of patience plus perseverance to get some recognition. I get the impression you couldn’t maybe directly break through because of a lack of equipment. As you said, electronic equipment was very expensive and there weren’t the same facilities as today. How do you look back at this period regarding equipment, the multiple cassettes you released, the first compilation features etc?

Johan: It obviously were totally different times, not just only because of the cost and the lack of equipment, as I already mentioned before. But there also wasn’t any social media, so that means it took way longer to get your music spread around. Everything still had to be done by post, so things took much longer then nowadays.
Today’s possibilities are unlimited, but nonetheless I don’t regret I had to start this way. It gave you much more freedom and time to work on music. You also had to be way more innovative and inventive to create and write music. Today almost everything is already canned, get yourself a PC and some music software and in one day you can write yourself a complete album …

Many bands had to start like I did, writing music with very limited gear and releasing it on tape… bands like FRONT LINE ASSEMBLY, NITZER EBB… all started this way.
It also gave me time to improve and create my own style, something I do lack in today’s music scene.
So I definitely look back at it with pleasure.

Q: You became involved with LESCURE 13, which in a way -and right in the beginning became more recognized than SUICIDE COMMANDO. I was even sure LESCURE 13 would even become the Belgian ‘next big thing’, but it finally didn’t happen that way. How comes and what do you keep in mind from the LESCURE 13 experience?

Johan:I don’t think that SUICIDE COMMANDO was less recognized, but it was much harder to get the same recognition if you don’t do live shows, and I think that was the main reason why LESCURE 13 got picked up faster. Initially I never really planned on doing live shows with SUICIDE COMMANDO, but as our first live show with LESCURE 13 at the legendary Side-Line festival at ‘VK’ in Brussels became such a success, it convinced me to start doing live shows with SUICIDE COMMANDO as well. So in a way Side-Line is to blame for that 🙂

It was fun doing LESCURE 13 with Stefan Bens (STIN SCATZOR), but since SUICIDE COMMANDO got more and more successful in the years after, I got less and less time to focus on LESCURE 13, so on the long run the combination became too difficult and stressful for me. I’ll never forget our very first live show with LESCURE 13 in Brussels.

Q: I got the privilege to start another project with you, which was TOXIC SHOCK SYNDROME. How do you look back at this experience and a few other side-projects like DB.F and KOMBAT UNIT?

Johan:I enjoyed doing them all, but just like with LESCURE 13, time became the biggest problem. The combination of doing music with SUICIDE COMMANDO + work + family just became too time consuming and stressful.

But like I said, I enjoyed doing all these side projects. As SUICIDE COMMANDO was my solo-project I enjoyed working together with others from time to time, even though it requires a different approach.

With LESCURE 13 we still do some live shows now and then, and also KOMBAT UNIT with Jan (NOISUF-X, X-FUSION) never really stopped, but it’s all just a matter of time.

Doing TOXIC SHOCK SYNDROME was fun too, but in the end you have to make choices and set priorities, but I look back at it with lots of pleasure.

Q: The split-album/compilation “Induktion, Varianz Und Deren Folgen” released by Stefan Herwig on his early label Kugelblitz in 1993 made things change! Suddenly more people were discovering SUICIDE COMMANDO! How important was this compilation in the career and development of SUICIDE COMMANDO? And how important was Stefan Herwig who finally brought you to join his Off Beat label?

Johan: Oh, for sure this was a career changer and I’m sure that without Stefan Herwig, SUICIDE COMMANDO never would have become as big as today. I already knew Stefan Herwig for a few years after he discovered SUICIDE COMMANDO through my tapes released on the German ZNS tapes label, so when Stefan started his own label with Kugelblitz Records he soon invited me to join on his “Induktion, Varianz Und Deren Folgen” split-CD.

Not much later Stefan started working for the rising Off Beat label and so he was able to get me in there as well… and the rest is history I guess.

I’m aware I was pretty lucky, being at the right place at the right time I guess… so yes, without Stefan my career would have looked totally different I guess.

Q: SUICIDE COMMANDO was often compared to THE KLINIK, which has been one of your main sources of inspiration. What has been the real impact of THE KLINIK and eventually other bands –and maybe music genres, in the development and evolution of SUICIDE COMMANDO till today?

Johan:Well, no need to deny that bands like KLINIK or yet FRONT 242 (and others like THE NEON JUDGEMENT, FAD GADGET, SKINNY PUPPY, NITZER EBB…) had a major impact on me and my music throughout the years. They not only were a major source of inspiration, these bands also were THE main reason why I started doing ‘Electronic’ music in the first place. My older brother was playing guitar so my first steps into the music scene were as a bass player, but when I discovered bands like KLINIK, FRONT 242… a whole new world opened before my eyes (and ears).
Still in 2021 a band like KLINIK remains probably my biggest influence.

Q: You last year celebrated the twentieth anniversary of the “Mindstrip”-album. This production probably became the most successful one in the band’s history, but how do you look back at this album and did it make specific things/aspects changing?

Johan: Not sure if it was my most successful album, but it sure had the biggest impact on my career. We already gained some recognition with the huge success of “See You In Hell” and to a lesser extent “Desire” and “Better Off Dead”, but the release of the “Mindstrip”-album and the “Hellraiser”-single taken from this album certainly brought us to the top of the scene. Again I think Stefan Herwig had a big part in this success as he just started his own division with Dependent Records, gathering bands like COVENANT or VNV NATION… I think SUICIDE COMMANDO certainly benefitted from their success as well.

On top of that I think “Mindstrip” filled a gap between the at that time trending Future- and Synth-Pop acts and the more harder side of the Electro scene which was at a decline at that moment, and therefore “Mindstrip” marked an important milestone in the entire scene. All of a sudden bands started to copy SUICIDE COMMANDO and harsh electro was born. In the next years many bands would jump onto the harsh ‘Electro/Endzeit’ train.

So it not only marked the start of a new subgenre in the Electro scene, it also changed the expectations of the media and the crowd.

My follow up album “Axis Of Evil” was 8 weeks at the top of the at that time highly acclaimed German Alternative Charts (DAC).

Q: You’re organizing an interesting annual ‘SUICIDE COMMANDO poll’ where the fans can choose their favorite songs. In which way is it representative for your personal favorites and what are your favorite songs? And do you’ve some songs, which remained underrated?

Johan: It’s a good representation of what the fans consider the best SUICIDE COMMANDO songs, but that’s about all. It surely doesn’t reflect my personal favorites, even though a few of my personal faves are also in the top 10 of this list.

I’ve always enjoyed doing the more slower and atmospheric songs. A few of them like “God Is In The Rain” or “The Devil” also gained club success, but personal favorites like “Euthanasia” (1998), “Body Count proceed” (2000), “Until We Die” (2010), “Severed Head” (2010), “Repent Or Perish” (2013)… remained under the radar.

Q: SUICIDE COMMANDO became the absolute leading formation from the Dark-Electro scene! I can imagine it’s a deserved recognition for hard work, but what does this ‘status’ really mean to you? What has been the impact of this success on the person hiding behind the artist? In which way did it change your life?

Johan: I don’t think it had that much impact on me personally. I always remained (probably too) humble and down to earth. Of course I’m flattered by this recognition, but compared to some others in this scene, I always kept both feet on the ground. And let’s face it, compared with the mainstream Beyoncé’s and Madonna’s of this world we’re just tiny little dwarfs…lol

Q: Do you know how much SUICIDE COMMANDO-albums have been sold today? What have been the best-sellers?

Johan: With the rise of digital downloads and sales I have no idea anymore of actual physical sales. The market completely changed in the last 2 decades. Physical sales of CD’s completely collapsed and the digital market is so diverse that it’s hard to give any concrete numbers.

On platforms like Spotify… people don’t listen to complete albums anymore, they just pick their favorite songs. Not even sure if complete albums still will be released in 10 years from now…

So it’s hard to compare, I know an album like “Mindstrip” sold over 25.000 physical copies, but it never even reached the official album charts, while my latest 2 albums even made it to a position in the top 20 of the official German album charts, even though their physical sales are way less than the original “Mindstrip”-album for example, simply because digital sales totally took over the market.

Q: Is it possible for an underground artist to earn a living with music? How important is money when you’re a renowned artist?

Johan: Yes, (in non-Covid times!) I think it’s possible for the bigger acts in the underground scene, if you do it properly, which means doing regular live touring + releasing music on a regular base.

But it takes a lot of work, time and devotion. I’m still one of the lucky few who can live from music, but since I have a responsibility towards my wife and kid, I deliberately choose to keep doing a half time job to remain financially safe.

Q: SUICIDE COMMANDO is also a live band with a solid reputation. How important is it for you to play live shows and feel the interaction with the fans?

Johan: I find it very important and I realize it even more at times like these today with the pandemic. I do miss this interaction with the fans and the crowd. It gives so much satisfaction and energy to be on stage and interact with your fans.

Q: Torben Schmidt and Mario Vaerewijck are your long-time live mates. How does it happen when you guys are on tour and what makes the chemistry between you all (and the entire crew)?

Johan: I think we all enjoy it very much to be on the road, in a way it’s also our escape from boring daily work ‘eat-sleep’ routine. A big advantage also is that we’re not a conventional band, I mean, basically SUICIDE COMMANDO is just me doing all the music, so Torben and Mario only join in on stage, so we don’t have to sleep with each other (which does happen sometimes being on tour haha…).

Usually it’s all very easy going when we’re on the road and that keeps things pleasant.

Q: You played at numerous festivals and in very different countries all over the world. Do you see noticeable differences between countries and continents and are there some specific places/venues you would ever like to play?

Johan: There certainly are differences. Not specifically because of the crowd, although we do notice a difference between playing in countries where people hardly ever get to see live bands from other continents (like Mexico or Brazil…) or countries where you can watch the same band every 2 weeks (like Germany …).

The gratitude is  bigger in countries where you don’t get to play every month or year. I do notice more differences on the technical level. Clubs and venues usually are much better equipped in Europe then across the ocean. It’s a much bigger challenge to do shows in the US for example, but what counts in the end is the response from the crowd. I can be more satisfied playing in front of 100 people in a dirty basement with a crappy sound system then playing in front of 5000 people, as long as the people had fun I’m happy.

Q: What has been your biggest satisfaction and deception so far?

Johan: I’m overall happy that I could make my biggest passion a big part of my job and life. Music has always been my passion, so I feel privileged that I could make my music my (part time) job and life. I feel privileged that I can share my music and my passion with my fans, that’s probably my biggest satisfaction.

My biggest deception? Hard to say, maybe the fact that it also takes a lot of sacrifices to combine all these things (my daily part time job + music + family + …), it already got me into a severe burn-out few years ago, my knee is fucked up after the accident on stage in the US, my ears are fucked up because of the often too loud music on stages …

Q: A lot of things have changed/evolved since you set up SUICIDE COMMANDO in 1985! What’s your perception about it all and how did you see the scene and entire music business evolving throughout the years?

Johan: Oh for sure many things have changed throughout the years, it’s really been a technological revolution… The technological possibilities became endless, maybe not all for the best though.

We’re living in an ever faster society and that’s even reflected in our music. In 1985 a song had to be 120 bpm maximum, today we’re living at a speed of 135 bpm or more… lol

The rise of the digital media totally killed the CD and vinyl market, but also brought new possibilities, so I also try to see the positive effects of it.
Social media became the new normal and brought music & bands closer to their fans, but also gave us a shallow and resentful society.

So it all has it’s pro and cons… and there’s no way back.

Q: Do you sometimes imagine the end of SUICIDE COMMANDO and are there other things in life you would like to accomplish?

Johan: I don’t think SUICIDE COMMANDO will ever stop. I tried to split several times, but it’s so hard being a one man project…lol. No seriously, I can’t imagine my life without music, so I probably will continue writing music till I drop dead. 

Q: What might we expect from SUICIDE COMMANDO for the next few months?

Johan: I’m currently working on a new album, but I don’t want to rush things, so no idea when it will be finished.

I certainly do hope we can start doing live shows again sometime this Summer, so I’m really looking forward to that.
And there might be some more surprises coming up, but wait and see…

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: EBM, Dark-Electro.

Format: Digital, 2CD.

Background/Info: Three years after the debut-album “The Worst Dream” (2018) Rebirth strikes back with a double album featuring twelve new songs and eleven remixes. Rebirth is Bruno Ruch (Sleepwalk) and singer Olivier Moser.

Content: The main disc reveals solid EBM bass lines, powerful rhythms, carrying choruses and harsh-spooky   vocals. “System:Error” reflects a cold production, which is mainly created by icy sequences and –atmospheres. The vocals are in German and English. There’s one instrumental song somewhere in the midst of the work, which appears to be a break.

The second disc reveals remixes by Atropine, Rotersand, Oldschool Union, Covenant, Struck9, Frozen Plasma, Pyrroline, AD:Key, KIFOTH, Deadly Injection and Onenine.

+ + + : I was not a huge fan of Rebirth’s debut album, but this new work sounds definitely more convincing. Bruno Ruch improved most aspects of the production, but the song writing is just better. The album features several great songs, but I especially recommend listening to “Ultimate Sin”, “Teufel In Mir” and “Streets Of The Damned”. The sound treatments reveal a professional approach. I especially like the fusion between power and haunting atmospheres on top.

The bonus disc reveals great names, but also great remixes. I especially want to mention Rotersand, Oldschool Union, Struck9, Pyrroline and KIFOTH as the most inspired cuts. Onenine is a noticeable feature as this is a solo-project of Axel Kleintjes (formerly involved with Page 12, Cyber Axis, Cycloon, Mindware).

 Last, but not least I also want to say a word about the great and artistic digipak format of this work.

– – – : This work is just missing an absolute hit to speak about a real masterpiece, but we get a real great number of songs instead. I expected a bit more from the Covenant remix.

Conclusion: “System:Error” is a work I fully recommend to all lovers of sophisticated dark EBM.

Best songs: “Ultimate Sin”, “Teufel In Mir”, “Streets Of The Damned”, “Letzte Schlacht”, “R.I.P.” + “Streets Of The Damned – Rotersand Rework”, “Teufel In Mir – Struck9 Remix”.

Rate: (8).

Artist: http://rebirth-music.ch / www.facebook.com/Dr.Tinitus

Label: www.ekproduct.com / www.facebook.com/EKProduct

Inferno Sound Diaries

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

www.side-line.com

Belgian dance electronica act Llumen finally returns with a new 6-track EP, “The Dark In Her Eyes”, announcing a more than promising new full length CD “The Polygon Heart” for this Summer. Llumen is the project by the versatile Belgian artist Pieter Coussement who used the EP as a therapy to talk about some serious health crisis moments he went through the last few years.

With this new EP, you get two new songs, the super catchy dark beat driven “The Dark In Her Eyes” (one of the best electronica tracks from the year so far as far as we are concerned) and “The Path That Leads Me Home” which offers a more uplifting melody. These two tracks surely raise the bar in electro land and make us look forward to what the full album will bring. For Mesh, Covenant or yet Assemblage 23 fans this release is mandatory.

The EP also features an effective club remix by Implant of “The Dark In Her Eyes”, and a an electropop take of that same track by the USA based act Entrzelle. We were also very impressed by the Auger mix with a very stripped down take on the title track. Antibody from their side took the B-side “The Path That Leads Me Home” into a more trance direction.

All in all a very enjoyable 6-track EP that shows why Llumen is a band to look out for. The release is for now exclusively available via Bandcamp for immediate download.

Previous releases

Bernard - Side-Line Staff

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

side-line.com

Swedish industrial project The Below and vocalist Aaron Sutcliffe have teamed up for an anti-war song, “No Place is Safe”, to be released on January 15, that’s today. Originally written in the midst of the 2014 Gaza conflict, it was not finalised until now.

You can also grab the track from Bandcamp.

About Aaron Sutcliffe

Aaron Sutcliffe is an alias of Johan Malmgren (of S.P.O.C.K) used for recording electronic covers of classic rock songs. Aaron Sutcliffe is presented as an entirely separate person from Johan, with a fictional backstory claiming he was the frontman for an American rock band called The Rebel Trousers in the 1980s.

The first Aaron Sutcliffe album focused on covers of Elvis Presley songs and was produced by Eskil Simonsson (of Covenant), while his second album featured covers of The Beatles and was produced by Andreas Tilliander.

About The Below

The Below is a solo project from the bass player of the infamous industrial ensemble Dr. Evil & The Boys From Below (active between 1985 and 1992). After the group disbanded there were no plans to continue playing and all instruments were either trashed or stored away.

But a couple of years ago bad health struck the musician with part-time / long-term sick leave as a result. To fill the time The Below was born. Some old instruments were dusted off, and the possibilities of the iPad were explored. Since then a couple of singles have been released sporadically. The previous single “Change is Coming (feat. Felix Lidforsen)”, a tribute to Greta Thunberg, turned out to be a bit controversial. Check the video below.

A lot of new material has been written and we might see a couple more songs, and maybe a complete album, released during 2021.

Bernard - Side-Line Staff

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

side-line.com

Sweden’s electropop act Covenant has covered the Yazoo song “Winter Kills” which was written by Alison Moyet. The band’s Andreas Catjar originally covered the track for a theatre piece, and when Eskil Simonsson heard it he decided to release it under the Covenant flag with his vocals.

Until the 1st of January 2021, 50% of the proceeds of the sales will go to #lauterwerden supporting the band’s crew and people working behind the stage making all the magic possible.

Backing vocals on the track were secured by Andriana Seecker while Joakim Montelius mastered the whole. Elise Fritzson delivered the artwork.

Bernard - Side-Line Staff

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

side-line.com

Out now is a brand new video from the industrial bass music act Moris Blak, called “Complicate”. “Complicate” is taken off the band’s newest EP “Irregular Revisions Vol 1” which is out now on Negative Gain. The EP features collaborations with grabyourface, SØLVE, Cellmod, Big Time Kill, Gor Flsh, Blood Wolf, and Truly Significant.

The new 8-track EP “Irregular Revisions Vol 1” is collection of remixes from Moris Blak’s 2019 label debut, “The Irregularity of Being” and two brand new songs, “Complicate” and “Dead Line”. Below is the video for “Complicate” featuring grabyourface. It’s indeed the same grabyourface who previously worked with Covenant on their song “False Gods” last year.

You can check out and download the full EP below.

About Moris Blak

Operating out of Boston (MA) the band debuted in 2017 with the EP “Dead Summer” on Blind Mice Productions followed by another EP “At The End Of Exile” in 2018. In 2019 the band released the single “The Hunt” together with Slighter on Confusion Inc. before launching their debut album on Negative Gain Productions in November 2019.

Bernard - Side-Line Staff

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

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The LA based post-punk band, Crying Vessel, is releasing its third music video from the album “Pleasures For The Wicked”, released on Cleopatra Records in August of this year. Entitled “The Third Covenant” the video showcases the talents of dancer Son Bao Nguyen moving in hypnotic slow-mo through a series of poses that cross back and forth between ballet and martial arts.

The video was created by Neon Ray Films and can be viewed below.

Each song title on “Pleasures For The Wicked” is a part of a story, which can be heard in its entirety as a bonus hidden track on the CD only. It can also be read on the inside of the CD sleeve while listening. The album took 2 years to create and is the first time that Slade and Basil worked together in the songwriting.

Bernard - Side-Line Staff

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

side-line.com

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

Format: Digital, CD.

Background/Info: This German duo saw the light of day in 2000 and self-released the album “Interemontional” in 2008. They split one year after and reactivated the band in 2014. They self-released a few singles and finally joined hands together with Infacted to unleash their official debut album.

Content: The album features 10 songs plus 3 remixes. The previous singles have been featured. After a somewhat Kraftwerk-ian intro cut, “Trust” (their last self-released single) reveals an overwhelming sound production mixing elements of EBM and electro-pop together. This song sounds a bit like the imaginary offspring between Covenant and Rotersand. It’s however not representative of the album, which is rapidly moving into evasive electro-pop compositions. The songs remain danceable and sometimes melancholic while the influence of Depeche Mode is easily recognizable. One of the last songs (cf. “Disease” is getting back to EBM elements.

Remixes have been accomplished by ES23, Outsized and Kaos!.

+ + + : The work takes off an impressive way by the outstanding “Trust”. This song stands for pure electronic sound intelligence, driven by aggressive sequences and great sound treatments while the clear, but charismatic vocals are the cherry on the pie. I also recommend the other ‘harder’ cut “Disease”, which might appeal to early And One fans. So Digital Energy clearly has potential, but they’ll mainly appeal to synth-pop lovers. “Mirror” is for sure their best song in the genre.

– – – : The Depeche Mode inspiration is too much at the forefront and that’s a pity as this band clearly has much more to offer. I expected a bit more out of the remixes.

Conclusion: Digital Energy is a band showing two faces. There’s nothing wrong with that, but I think they better have to leave the Depeche Mode inspiration a bit more behind.

Best songs: “Trust”, “Disease”, “Mirror”.

Rate: (6½).

Artist: www.facebook.com/digitalenergymusic

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Future-pop, body-pop, electro-pop.

Format: Digital, CD.

Background/Info: This new EP by the German Eisfabrik is meant as an appetizer to their new full length album. ‘Dr. Schnee’, ‘Der Frost’ and ‘Celsius’ are back on track unleashing a main song plus a bunch of remixes and a B-side cut. The EP also is their first work released by RepoRecords –which has also been joined earlier by Funker Vogt (featuring Gerrit Thomas aka ‘Der Frost’).

Content: The main song “And Nothing Turns” is a somewhat surprising piece by the Eisfabrik gang. It’s a slow cut, which is driven by solid electro-pop arrangements and dreamy passages. It has something of a future-pop song. The “Club Version” boosted the song to a harder dancefloor edit. Remixes have been accomplished by Covenant, Schattenmann (adding guitars), Beyond Obsession, Robotiko Rejekto and Rob Dust. The remixes bring a real diversity to the song.

“White Sheet” is not what I would call a B-side cut, but a solid body-pop song getting you to dance. The arrangements are once more typically Funker Vogt-like –or should I say typically Gerrit Thomas-driven. Frozen Plasma made a remix of the song as well.

Dr. Schnee is still singing a rather clear and charismatic way.

+ + + : I have to admit the title song didn’t convince me with the first listen. It has something surprising, a bit reminding me of these songs the audience spontaneously put their lighters on in the air (today their mobiles) and sing along. But the track has something elevating due to the heavenly lead and the crescendo like music. Most of the remixes are adding a little extra like the minimal version by Covenant or the empowered with guitar remix by Schattenmann. Beyond Obsession injects some reverie, Robotiko Rejekto brings a retro touch to the work while Rob Dust gets you to dance. I can’t say this EP features a B-side as “White Sheet” is a solid body-pop stomper. Eisfabrik remains inspired creating great sound treatments, elevating leads and danceable rhythms.

– – – : “And Nothing Turns” needs a few listenings before you really get into the song and start to sing along.

Conclusion: This is a perfect way to announce a new full length; releasing a great song with cool remixes and an extra danceable cut.

Best songs: “And Nothing Turns – Club Version”, “White Sheet”, “And Nothing Turns – Schattenmann Version”, “And Nothing Turns – Covenant Version”.

Rate: (8).

Artist: www.eismusik.de /  www.facebook.com/eisfabrikofficial

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

Inferno Sound Diaries

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

www.side-line.com

Out on December 13 is the newest studio album by Liebknecht. “Produkt” comes in limited edition of 500 hand-numbered copies and contains three additional bonus tracks compared to the digital version.

For the younger generation which probably doesn’t know who is behind this project, Liebknecht is the brainchild of Daniel Myer who is also the founder of Haujobb, Architect etc. and a member of the current line-up of Covenant. Via Liebknecht Myer brings a mix of techno, dancefloor elements and dark textures.

Below is the album teaser.

On tour with Nitzer Ebb

Liebknecht is the tour support of Nitzer Ebb during their European Tour. Below are the dates.

• 07.11.19 D-Berlin
• 08.11.19 D-Dresden
• 09.11.19 D-Hamburg
• 10.11.19 D-Magdeburg
• 12.11.19 D-München
• 14.11.19 D-Oberhausen
• 15.11.19 D-Oberhausen
• 16.11.19 D-Langen
• 17.11.19 F-Paris
• 18.11.19 F-Strassbourg
• 19.11.19 NL-Heerlen
• 20.11.19 B-Sint-Niklaas
• 22.11.19 GB-Glasgow
• 23.11.19 GB-Manchester
• 24.11.19 GB-London
• 13.12.19 E-Madrid
• 14.12.19 E-Barcelona

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Future-pop, electro-pop.

Background/Info: Blume is an Italian trio, which released their debut album “Rise From grey” in 2010 on the defunct A Different Drum. They next joined hands together with WTII Records unleashing “Autumn Ruins” in 2013. “Ashes” is their third album, which has been released by the end of 2018.

Content: Getting back with a new opus after a hiatus of five years is not an easy thing, but “Ashes” will definitely appeal for all lovers of electro/future-pop music. It’s a powerful composition mixing astral influences together with hard, danceable beats. The vocals of Enrico Filisetti are pretty charismatic, which creates a right balance with the power-pop sound of the band. “Ashes” sounds as the imaginary fusion between Covenant, Syrian and Neuroticfish.

+ + + : This ‘come-back’ truly sounds as a real tour de force. This is great and modern future-pop music carried by mature song writing, carrying melody lines and ultra-danceable vibes. On top of it all you’ll discover a great vocals production. Even if this album is ultra power-pop driven I also noticed an accomplished, emotional-like song (cf. “Desolation Road”). But as I said I prefer the danceable side and recommend the somewhat darker “Nightmare”. There’re some superb, naughty sound treatments running through this song.

– – – : The only single reproach I can imagine is the somewhat repetitive sound- and song formula.

Conclusion: I remember the more hesitant debut album from Blume. It was not that bad, but “Ashes” clearly sounds as their most accomplished work to date. This is great and refreshing future-pop music!

Best songs: “Nightmare”, “Scarlet”, “Iron Age”, “Desolation Road”.

Rate: (8).

Artist: www.facebook.com/blumemusic

Label: www.wtiirecords.com / www.facebook.com/WTIIRecords

Inferno Sound Diaries

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

www.side-line.com

(By our Norwegian correspondent Jan Ronald Stange. Interview photos by Sigrid E. Ø. Reinertsen)
Apoptygma Berzerk, the first leading exporter of electronic music in the synth/EBM genre from Norway, are still celebrating their 25th anniversary for their debut album ‘Soli Deo Gloria’.

This time by releasing a reworked edition named ‘SDGXXV’ – already out on CD and Bandcamp, and also released on several double vinyl versions and streaming platforms April 18th. We’ve gotten some hints about the process the last year, understanding it’s been a hectic year with a lot of collaborators involved, so an interview about this was overdue. As the Apop guys lives on the opposite side of the Oslo fjord than me, we decided to meet in the middle in the ferry town Horten, where we occupied my mothers dining room for a few hours (thanks Mum!).

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

Side-Line: Was there a plan behind this rework album, and how did you end up with all these tracks and collaborators?

Stephan Groth: The short version was that the 25th anniversary for the ‘Soli Deo Gloria’ (SDG) album last year triggered it. But there’s no short versions anyway for this story, so…. First we wanted to release a 12″ maxi single with two tracks from SDG involving new, relevant musicians we like, to mark the event. This caught momentum, the list of people we wanted to work with grew and now it would be a four track EP. Everyone we asked in this process said yes and was eagerly exited.

Per Aksel Lundgreen: And when we reached 7 or 8 positive answers we decided to do the whole album – all tracks from SDG! And we still had an abundance of collaborators!

Stp: Some tracks are repeated several times on the CD version, and this led to the somewhat thematically splitting of the album, Part I, II and III, in order to distribute the songs a bit and make each part a sub-album/EP that could be listened to by itself. We also ended up in a curious situation regarding our cover of ‘All Tomorrow’s Parties’ – how to make a remix or rework of someone else’s song…?

PA: The funny thing when that situation arose was that we asked Naked Lunch to work on this song – luckily this was a favourite of theirs and the exact song they would have asked for themselves!

Stp: … and it somehow seemed destined to happen. First, we found out a Naked Lunch producer and live member also had a past in the band Sudeten Crèche, which once supported Nico on tour, and she did the vocals in The Velvet Underground’s original version of ‘All Tomorrow’s Parties’. Then we found an old flyer stating Naked Lunch also played with Nico. So there’s a connection there, making this full circle for several involved.

Someone else we must mention is Erik Wøllo, who was a very important part of making SDG in 1992-93. He released several electronic albums in the 80s and 90s before we met him.

PA: The ones on Cicada Records triggered our interest as they were on a sub-label of what was to become Tatra Records, so when we found out he had a synth studio in Fredrikstad we were quick to get in contact with him via mutual connections.

Stp: We ended up in the studio, having him helping us with technical issues and teaching us a lot, also lending us synths, drum machines and other equipment. Having access to three times more synths than we started out with helped shape SDG towards the final result, so having Erik back doing a SDGXXV track was great – and he wasn’t hard to ask either!

Erik, like Beranek and Bal Pare, hadn’t done many (or any) remixes/reworks before, so part of the collaboration became sharing my knowledge of that part of making music with them, as I’ve been doing remixes half my life.
Basically, I told them to think about how you would do this track yourself, in your style or fashion, and still keep the gist of the original.

I’d met Beranek on a few occasions, that excellent Geek Night (#1: SYNTH) at Popsenteret and a NOTAM synth meet-up, and we started thinking about doing something together.

PA: As a lead up to Stephans first meeting with Beranek it’s also worth mentioning that when Beranek curated the Norwegian Spotify list ’20+5′, where artists picks 20 favourite Norwegian tracks and 5 of their own, Beranek chose TWO Apoptygma Berzerk tracks. So, we knew already then he was a fan, and he later confirmed that at a record signing session, stating “it was to emphasize the seriousness of the situation – this is some of the best music made in Norway!”.
[Check out the list here!]

Stp: I grew up in Denmark and never got the initial buzz of Beraneks breakthrough single ‘Dra til hælvete’, which cause a lot of fuss and were banished from Norwegian radio in the 80s. Hearing it years later, I was yearning to do a remix for it, but Todd Terje beat me to it. As I considered Beraneks debut album as the first Norwegian synth album, and I’m a fan, it made sense to invite him to collaborate on SDGXXV.
‘Arp’ was one of the tracks not picked yet when Beranek was to be invited, and after I’ve listened to Beraneks album ‘Sound of danger’ on vinyl I accidentally had the record player set to 45 RPM, not 33 RPM, when I wanted to hear ‘Can’t go to sleep’. That gave me some ideas which I pitched to Beranek, and a week later I got his beautiful version in return.

The whole album was made this way, not just as another remix album, but more like reworking the tracks with others, me contributing more than in usual remix settings, so we have deliberately avoided using the work “remix” at all for this project.

PA: And “rework” is definitely fitting, because about 50% of the old tapes and discs were unusable, some even found moldy after being stored in lofts and cellars for years, so a lot had to be re-created.

Stp: The earliest work was made on Atari floppies and cassette tapes, maybe a DAT for the final masters, media not so easy to access in this digital age. Combined with several relocations and storing this in various environments we found a lot had to be made from scratch again, borrowing samplers, trying to read old diskettes and so on. And even the vocals had to be redone, and as I wasn’t an English professor 25 years ago, I also had to recreate grammatical errors, making it as true to the original as possible.

PA: There was lots of feedback going back and forth to the collaborators, something that became a fun part of the project, seeing the music making evolve like this.

Stp: … and that’s also why it took so long to finish! Adding to the process itself, much of the people involved aren’t exactly your average people , so it was sometimes demanding to incorporate everyone’s working methods, available hours etc.

S-L: When and how did this project start?

Stp: I know exactly when: It started in January 2018, when Ole-Espen had booked Ancient Methods to play at The Villa in Oslo. I remembered seeing them streamed live from a Boiler Room event in Berlin, mixing hard techno with old EBM, something that made a lot of sense to me. I wanted to have an Ancient Methods remix, and during an Indian dinner I explained my ideas, something Michael Wollenhaupt really turned on to. That was the first confirmed collaborator for SDGXXV.

PA: Then we thought about asking The Invincible Spirit, I sent an e-mail to Thomas Lüdke, got a positive reply, and from that point on the ball really got rolling.

Stp: After that it’s been a lot of work – music, the cover, everything – more or less a year.

PA: Another special thing for us regarding the 25th anniversary is how some parts around us haven’t changed; Tatra Records are involved again, both with the SDG re-issue and SDGXXV, just as they were with the original 25 years ago. Halvor Bodin, the designer of the original cover, worked with us on the new cover too. Morten Lund from Masterhuset did the mastering yet again, Erik Wællo got involved again, and of course Stephan and I are still here. A reunion bringing us all together again!

Stp: Yes, that really brought forward a kind of trueness that made the whole project feel even more “right” for all of us. As SDG was the first Norwegian EBM record, which opened a lot of doors for other Norwegian bands, doing this now felt important. But it’s also been a tiresome process that I don’t see myself repeating anytime soon, so don’t expect a the same treatment for ‘7’ 😉

PA: We paved way for others with SDG, making Norwegian bands eligible for records companies, distributors, concert promotors and so on, in a time where electronic music wasn’t very appreciated. We had some backing from people in the Norwegian music industry. Worth mentioning among these are Helge Gaarder, a musician who also distributed money from Rikskonsertene, which made it possible for us to have our first concerts.

Stp: Someone else we hold in high regards is Arvid Skancke-Knutsen, a music journalist who’s been writing about us from the very start – and even had an extensive review of our first maxi single!

S-L: Any favorites among the tracks?

Stp: … that’s a hard one -– there are favorites all over the place! The Beranek version of ‘Arp’ is just so beautiful, Ancient Methods’ ‘Burning Heretic’ is outstanding, and Bal Pare’s ‘Ashes To Ashes’ is insane – so far from the original in the minimal wave soundscape. But really, I’m so happy with all the tracks, couldn’t ask for anything better.

PA: What I found exiting is that Alex Dahl from Atropine, when asked which track he’d like to work in, answered ‘Borrowed Time’, which isn’t even on the album, but as the B-side of the ‘Bitch’ single. His version really blew me away!

Stp: Alex is a genius – amazingly good at what he does, and I think he’s not getting the credit he deserves in Norway.

S-L: How has the interest for SDGXXV been so far?

PA: SDG have had several reissues, but always on CD, so having it on vinyl now is long overdue. Pre-sales have been OK, but can’t really tell before after the release April 18th. Check the links below to get your copy!

Stp: Next up is my very delayed “normal” studio album, which has been put on hold for years now. Partly due to personal reasons, but also some musical reasons, which led to the “Exit Popularity Contest” album, something I needed to do to get back to my roots. And finally, this project, which really grew beyond expectations – from a couple of tracks to an four track EP, and finally an extensive album. The songs for the next album are written, some new inputs need to be digested into what kind of music I want to play. Both of my latest releases give hints of my future direction, going back to the more analogue roots of the music I like, using many of the same instruments as my heroes from the 70s. I’m very thankful now that I’ve hoarded synths for the past 30 years!

After hearing Stephans and Per Aksels stories about the making of SDGXXV, inputs from some of the collaborators felt natural to include here.
Say what you want about Facebook, but undeniable a great place to get in touch with people. I sent some messages asking about their relationship or history with Apop, also about the process and collaboration with Stephan on this project, and got great responses in return!

Espen Beranek: ARP (No Sleep Mix by Beranek)

I’ve been a longtime fan of Apop, and was very flattered to be asked for a contribution on SGDXXV.

I got both audio and MIDI stems from Stephan, and he told me I was free to change both pitch and tempo if I wanted to. I (and Stephan too I think) wanted to tint this version with some tonal colours from my early works. I therefore started to experiment with the MIDI stems together with my old non-midi equipment like the Korg KR55 rhythm box and my old trusty PE-1000. It became obvious to me that I needed to slow down the pace in the song in order to make space for my tonal intentions. After hearing my first edit Stephan got inspired and he sent me some fresh vocal tracks with some spacey effects. They fitted in perfectly and from there on it was kind of a simple edit/mix job.

Tony Mayo, Naked Lunch: All Tomorrow`s Parties (Evolve Or Die Mix by Naked Lunch)

We have been FB friends with Stephan for several years and not only have we known Per, (an original Apop member) for years, we have met him in person, and he was our tour manager when we toured with Covenant in 2015. Per is a personal and professional friend.

Per got in touch and asked if we would do a remix for the album and gave us a choice of which track to do. We are massive Velvet Underground fans, loved the Apop cover, and reworking ‘All Tomorrows Parties’ was a work of love for us. Funnily enough, back in the 80’s, within a few days of Naked Lunch headlining the Venue in Victoria, both Nico and John Cale headlined on separate nights too.

Håvard Ellefsen, Mortiis: Walk With Me (FRXTA Skyline Mix by Mortiis)

I´ve had some collaborations with Stephan from time to time since 2003 or so, and it´s always been a pleasure. He´s got this high energy approach to music that I really like.
Of course, since we live on the same street, he knew I´d burn his house down if he didn´t include me on this album. Haha!

Jarle Hansen, Substaat: Bitch (Weil Mix by Substaat)

I didn’t discover Apop until I heard ‘Kathy’s Song’ on Norwegian radio, even though I lived only 30 km away or so. It was a great experience to discover that “this sound” had survived through the harsh conditions of the 90s, when a lot of my favorite bands turned industrial, rock or techno. Apop has been a great influence both for the sound and for the strong melodies since.

I was told that we were asked to do this collaboration with Apop because Stephan liked our version of ‘Circling Overland’. He liked that old school sound in a modern production. We had a close communication and ideas were sent back and forth. Besides vocal, Stephan contributed with the cold industrial choir and the vocoded voice rumbling in the background – and, of course, general “guidance”. Anyone knowing Stephan, knows that nothing is left to chance.

alx, Atropine: Borrowed Time (Sublime Mix by Atropine)

The story behind the remix of ‘Borrowed time’ goes back to 1991 when I was working on various projects and we listened to Stephan’s 1st release ‘Ashes to ashes’. We played that record to dust. Later came the single ‘Bitch’. ‘Borrowed Time’ was my favorite on that release, I was thrilled to be able to remix that particular song since I think it’s one of the best songs from that period, and it only exists on that single. Stephan was for a period having a studio next door in Oslo, and that’s how I got to know him.

When I received the file it was only as a mp3. I wasn’t able to work with that, so in order to make the remix I had to recreate the song again from scratch. I recorded the exact song, and Stephan had to sing on it again and record the vocals. Once the song was recreated in its original form I could finally start to take it apart again and add my personal musical view to it. While Stephan gave some musical input during the process I often decided to do the opposite – and he even liked it much better! We had good communication during the process, and I ended up sending 2 different versions.

Steven R. Sellick: Like Blood From The Beloved (Part 1) (Interpreted by Steven R. Sellick)

I moved to the synth capital of Norway, Fredrikstad, in ’92. Stephan worked at a record store 3 minutes from my flat, and we soon bonded over our mutual love for shoegaze and synth music.
We also shared a fondness for beer and dancing to 2 Unlimited in crappy discos. I remember him working on Soli Deo Gloria, I loved listening to the tracks as they evolved.

Stephan approached me and told about his idea for SDGXXV. I was honored to be asked, and I especially liked the fact that he wasn’t looking for a remix. He gave me a bunch of old midi files and I re-recorded and re-arranged the track using old synths and drum machines. He wanted a certain German vibe and I think we nailed it.

Ole-Espen Kristiansen: Stitch (Patched & Processed by O/E)

I met STP around 12 years ago, we have become very close friends and work partners. We have the exactly same taste and understanding of electronic music and music in general so we work very good together creatively. The story in a whole is way too long…

I chose ‘Stitch’ to remix since I love the bassline and vibe in the original track. I wanted to do a more modern club friendly version, but still keep some of the “old school” Apop vibe to it. A lot of the noisy atmos and effect loops in the track are heavy processed parts from an 128k MP3 file of the original track.
Besides that STP and I had close talks through the whole process with compiling the album, adjusting some mixes, some mastering details etc.

As music journalist Arvid Skancke-Knutsen also was mentioned as being there from the very start, his input would be a perfect closing to this story.

Arvid:

I was working at the Norwegian music monthly Puls Magazine at the time. I was probably the first mainstream writer to pay them any attention, in connection with the release of the ‘Ashes To Ashes’ twelve inch. I liked their attitude and their enthusiasm, and also truly enjoyed the music itself, which was very original and energetic compared to the music scene in Norway. Since then I have been following them pretty closely, enjoying many records and concerts along the way.

Apop is also very present on the net and digital platforms – choose your poison! 🙂

Homepage / Bandcamp#1 / Bandcamp#2 / European Webstore / US Webstore / Songkick (Tourdates) / Spotify / iTunes / Instagram / Twitter / YouTube

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

www.facebook.com/jrstange

The Swedish electropop act Covenant has a new EP, “Fieldworks”, of unexpected sounds collected over time and woven into tracks. The sounds consists of field recordings of great and small things from tours across six continents, mixed with the everyday noise of living.

Aptly titled “Fieldworks: Exkursion” it will be available for digital download on April 1 (it better won’t be a joke then).

The EP is the first release of an upcoming cycle of records attributed to the theme “Fieldworks”, it also features one track written by each member of the band and a strong collaboration with French electro-industrial newcomer Grabyourface.

In the below video Covenant’s Joakim gives a quick insight into the text for “All That Is Solid Melts Into Air” (from the “Fieldworks: Exkursion” EP) plus some clips from the show at der ANKER in Leipzig.

Tracklist

• Pantheon (Lyrics by Montelius, Music by Montelius)
• All That Is Solid Melts Into Air (Lyrics by Montelius, Music by Simonsson*
• False Gods (ft grabyourface) (Lyrics by Marie Lando, Music by Myer, Simonsson)
• Popol Vuh (Traditional, Music by Jonasson)
• Das Nibelungenlied (I. Abenteuer) (Traditional, Music by Catjar)

Song by song background

“Pantheon”

Derived from a field recording made by Joakim Montelius in Rome, May 2014. This is his story: “I had spent the day walking around Rome and came down from the Spanish steps as darkness fell, arriving at the Pantheon just before closing time. So I went inside this marvelous building thinking about how it was once a temple to ALL gods, in the tolerant spirit of the ancient Romans, only to be monopolised and “purged” by the Christian Church and consecrated to the only god it allowed. In the ceiling of its mighty dome, for many centuries the largest unsupported dome on this planet, the empty eye of the Oculus offered a glimpse of the stars above and I suddenly felt very sad. I felt the weight of the ages on my shoulders and the absence of all the wonders of the human imagination, swept away by intolerance and thirst for power, over and over again.”

“This melancholy always hits me when I’m in Rome because the city is so steeped in history and it’s like being in a freaked out time machine, jumping wildly through time, leaving you dizzy and disoriented. But there are few places where it’s more present than in the Pantheon. And while I was standing there, lost in my thoughts, they closed it for the day. I quickly got out my phone and managed to record the speaker voice announcing that the Pantheon is now closed, kindly asking us to leave. And that felt so symbolic that I immediately sat down outside to write down the lyrics.”

“All That Is Solid Melts Into Air”

Video of Joakim Montelius talking about the impetus of this song: “The title is a quote from Karl Marx and also the title of an academic text by Marshall Berman from the 1970s, in which he deals with social and economic modernization and the contrasting relationship to modernity. The second part of the song borrows from Romanticist poet Percy Bysshe Shelley (1792-1822): “all that is solid melts into air, for its very name has grown to an echo all your own.” “

“False Gods”

Intense, hard, hammering song collaboration between band member Daniel Myers and French electro artist Marie Lando, aka Grabyourface.

“Popol Vuh”

Band member Daniel Jonasson crafted “Popol Vuh” borrowing from the homonymous Holy Book of the Quiché-Maya in Guatemala. To subtle tribal-like sounds, Simonsson recites lines from an English translation of this “book of advice” that tells the mythology of the Maya, the creation of the world, the people of the gods, the emergence of languages, cults, and rituals. “A quiet, withdrawn track that takes you a long way back in the history of humanity.”

“Das Nibelungenlied”

Band member Andreas Catjar’s contribution, “The Nibelungenlied (1st Adventure),” fits in with his work last year at the Staatstheater Mainz, where he was responsible for the music in the Nibelungen production (the Friedrich Hebbel version) by Jan-Christoph Gockel. Nearly seven minutes long, this lengthier track features a spoken recitation by Eskil Simonsson.

Bernard - Side-Line Staff

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

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Opera Multi Steel can be considered as truly ‘veterans’ from this scene. Set up in 1983 by the French trio Franck Lopez, his brother Patrick L. Robin and Catherine M. Marie the band started releasing their music on the good-old cassette format. Later on they released vinyls and CD’s while today you can find their work at digital platforms. Their band feels like a safety home where they can accomplish their very own music style and their taste and passion for literature, poetry, paintings ao artistic formats. They last year released their newest album “Au Fief Des Rémanences” on Meidosem Records. It also was an opportunity to speak about Franck Lopez and Patrick Lopez Robin about the past and the present.

(Courtesy by Inferno Sound Diaries)

Q: Opera Multi Steel started in the early 80s. Even today the 80s remain a real reference for artists and music lovers. What did this decade evoke to you and how did you see yourself as band and musicians evolving throughout the years?

Franck L: The 80s will remain for us the decade that saw us setting up this band. After the 70s, dominated by symphonic- and progressive rock that gave birth to virtuoso musicians, the arrival of punk and his sudden death combined with the democratization of the drum machines and synths injected a new breath to rock and pop. This fact uninhibited many people who could, without being expert in their instrument, engage themselves in music and composition. We were part of this generation. Thanks to the latitude from that time our musical and literary imagination could emerge at the surface without any censorship or a specific, increased musical knowledge. The emergence of new creative artists initiating new styles, still present today, was a great stimulant for us. After all, if they could do it, why don’t we?

Electro-pop, synth-pop, cold-wave, new-wave and so on come from this decade; this era was not monolithic stylistically speaking. The fact that we are still here today, besides that creating is vital for us, is the proof that the styles initiated in the 80s were constantly rediscovered in the following decades and that the audience managed how to renew itself. Therefore many groups born very recently can claim this aesthetic, that’s the proof of a flagrant vivacity. Over the years, Opera Multi Steel has evolved together with the influence of emerging musics without losing the singularity that draws in the sound of some vintage instruments; a way of making songs undoubtedly very eighties-like mixed with everything we have been able to digest over the years and throughout our human respective experiences, which are not without any influence on our lyrics and compositions.

Q: Opera Multi Steel went through several breaks, the members got involved in different side projects, but in the end you’re still alive and kicking. What has been the impact of it all on your music and the newest album “Au Fief Des Rémanences”?

Franck L: We indeed have been involved in various projects outside Opera Multi Steel, but we have always returned to the original band despite some judgments that we never considered final. Some projects have even been run concurrently with Opera Multi Steel. In fact, it is the O Quam Tristi project that mobilized us most during the 2000s because we still made four albums under this name and all Opera Multi Syeel members without exception were part of this heavenly medieval electro act under various pseudo names.

Apart from that I also sang in the Franco-Brazilian electro pop band 3 Cold Men with which I recorded three albums. These two projects were the most engrossing ones but, together or separately we have collaborated or still collaborate in many other formations (Collection d’Arnell Andréa, Thy Violent Vanities, Seven Sobs Of A Sorrowful Soul, Tiramist …) These experiences outside Opera Multi Steel are for us the opportunity to deepen styles that we only touch on with our heterogeneous group. These different experiences came to feed the evolution of the group, but without altering its deep roots. That said, the mix of electric- and acoustic instruments was already present in the beginning of the band as well as our love for folk- or ancient music (Middle Ages, Renaissance). We can also find them all in our last album. “Au Fief des Rémanences” includes very pop songs, very dancing ones, some others more oriented towards introspection, some darker ones, some cold-wave like, others more folk… We are ‘multiple and various’, the band’s music is the reflection of this diversity without any form of restraint. What binds the pieces between them is the treatment and use of particular instruments that we have never really abandoned over the years and albums (Elex keyboard, Casio VL1, bass pedals, recorders etc …) and the very special lyrics that Patrick writes in his so special style.

Q: The title of the album is quite intriguing and dark, but what’s the deeper meaning of the title and the lyrical themes running through the album?

Patrick L. Robin: At the beginning of this Century, only a few days went by without the media echoing technological innovations of all kinds. Occultism and witchcraft are two particularly affected areas, often wrongly.

To restore the balance and cope with the noises that run, we needed to reclassify all this and relativize the phenomenon or rather those unexplained phenomena with sounds that move and thus with chants that speak in a fief protecting these metaphysical values which come and go, go back and come back like past like recurring membership and which still are perceptible from Before to Now and from Today to Tomorrow (Remnants). Hence the title of this album.

Once open those different doors of the Below, we have compiled eight ones that correspond affectively to our metaphysical concerns towards the Hereafter. Each one of this title composes a part of the album: “Les Litanies”, somber stubbornness that, by a trance or beliefs effects, can lead to the inner revolution and perhaps to the madness of adoration in a “Chapelle Sixteen” or various small churches that are often the subject of “Représailles” from the biggest ones.

Fortunately for us, no need to bury ourselves in caves where to scratch the walls. We can, thanks to the artistic genius of the great painters, contemplate and then illuminate to surpass ourselves and finally pour into the wonder where we can find “Solutions De Félicité” in the absence of anything else.

Affect is a way of relaying our visions with the help of “L’ Emotionnel” which rises in arrows among various societies with all the upheaval that it may cause, rightly or wrongly (unreasonably elsewhere), leading us unknowingly towards our last home where to be chastised (“Le Châtiment Ultime”). Thus, redirected to an imaginary and morbid purgatory, we will be able to get out of it or not, especially if we manage to avoid the Fatal Judgment, “Le Coup De Grâce”. We could, then re-illuminated, stay on our guard in a stronghold under a high spiritual supervision.

Q: I always have seen Opera Multi Steel as a ‘total artistic concept’; it’s much more than only the passion and love for music and lyrics, but there always have been references to painters, sculptors, poets etc…. What means this artistic exposure to you and more especially the ‘artistic freedom’? And do you think artistic freedom has some limits?

Franck L: The group is not only for us a way to expel our fantasies, our neuroses and psychoses more or less well digested. We do not miss to use it for that through our texts in particular!

But Opera Multi Steel is also the big patchwork of everything we are passionate about in our everyday life outside of music. The covers and jackets of our discs reflect our inclinations for symbolist-, mystical- or Sulpician painting, among others; our songs are dotted with references in the form of sound effects that evoke near or far artists or eras of which we are nostalgic, but also events or situations that only make sense for us and that ends up as a kind of sound memory album with which we try to share our universe which can sometimes seem hermetic to many people.

The different labels that have trusted us have always left us free of our artistic choices. Effectively artistic freedom has its limits which are those of cutting us off from an audience that could not understand the meaning of our texts, who could sometimes find our songs too different from each other by their style or who think that we do not enough obey to the precise dogmas of certain musical movements or who could be allergic to our iconoclastic imagery. It is true that by embracing here and there all genres that please us we end up either with a non-style, or with a too marked style that could cut us off from a wider audience. But the main thing is to make us happy, to have fun and to give with each of our albums some good time to all those who apprehend our music as a ‘total artistic concept’, to use your expression, or simply as a ‘quite’ normal band providing more or less pop songs or more or less dark tracks… Music has never been our way of getting rich, it is our way of feeling alive. This is probably the main reason why Opera Multi Steel has survived the years.

Q: “Au Fief Des Rémanences” appears to me as one of your most ‘electronic’ works to date although still featuring the use of ‘authentic’ instruments. What did you try to accomplish sound-wise and where do you place this album in the band’s discography?

Franck L: I do not know if this album is really the most electronic one. It depends from the point of view. We have always used ‘authentic’ electronic instruments (TR 606, TR 808 mainly) to realize our rhythm tracks, our synths being also electronic in some kind of way… Now we use a lot more sampled sounds, but we remain faithful to the instruments that we used at the beginning of the group even if we do not use them as physical units. Perhaps it is easier to judge this situation for someone outside the band. One thing is for sure, we are huge fans of ‘electro-pop’ music even if it not always an explicit way in our sound.

Covenant or VNV Nation both are part of our flagship groups although they’re not from our generation and their music is much punchier than ours. The fact that we always use acoustic instruments (guitars, recorders among others …) tempers our electro inclinations, but perhaps we will slightly move to something more ‘radical’ in our future works. Who knows?

Q: I already evoked the ‘darkness’ running through your composition, but it often feels that authentic it rather appears to be ‘torment’ and ‘despair’, but still a kind of ‘therapy’ to exorcize internal demons. What does music and especially this band really stands for?

Patrick L. Robin: It is an “Initiatory journey in the land of Music and Magic” (Norma Bowl in Paranormal Sciences Institute Review 1983). This is indeed what makes me think your question contains already  the answers that I will briefly raise and summarize, in spite of all  false ideas of what we think or would like to convey … The “Curious”, the “Worrying”, the “Irrealist” are often found inside our lyrics.

‘Darkness’ and ‘Despair’ are indeed recurring and allow us to adhere to the walls of a well which we would like to reach the bottom, to raise the head, to raise the eyes towards the Sky, to help us to redirect our existence and why not the listener’s ones who would gain by this introspection a kind of mind therapy and to wake up then as transformed. We would not speak of true exorcism, but rather of dispossession of loose ideas, commonplaces and standards that only clutter the eyes and ears of the non-blind and the non-deaf that we are, insensitive to the point of not wanting to read between the lines and unable to change our point of view when it’ s still time! Alas, this well is without bottom and we find ourselves  facing the “Appearances Of The Inaudible”, “The Remanences Of The Invisible” because they goes hand in hand. This self-proclamation remains the best solution, final or terminal for a new life, a new ‘elsewhere’ towards infinity and beyond!!!

But all of this remains fundamentally ver-ti-gi-nous!

Inferno Sound Diaries

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

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Genre/Influences: Electro-pop.

Background/Info: “Technophobic” must be the sixth full length album by Swedish artist Tobias Bernstrup. Every single album has been released on a different label so for “Technophobic” the artist joined hands together with Nadanna. Notice by the way the work is also available as vinyl format.

Content: Tobias Bersntrup is a talented electro-pop artist who’s also linked to disco-pop. “Technophobic” is pure electro-pop, getting us back to the great 80s with something contemporary on top. But you also can hear this artist belongs to the great ‘Swedish electro-pop class’. The songs might remind you of  Elegant Machinery, but also has something pretty refreshing.

The CD format features remixes by some great artists such as Covenant, Makina Girgir, Techniques Berlin, Confrontational, Noa Katafushi,  Italoconnection, Flemming Dalum and 23^RD Underpass.

+ + + : I’m first of all deeply impressed by the great production skills revealed on this work. There’s a great mix and sound quality. The songs have been meticulously crafted, mixing vintage parts together with a more refreshing approach. The result is a genius piece of music featuring multiple outstanding cuts. I want to tip “Utopia” (also released as single), “Night In The Science Zone” and “Hear Me Calling”. The title song is another noticeable cut. Among the remixes I noticed some real interesting contributions. My favorites we’re accomplished by Techniques Berlin, Confrontational and Italoconnection.

– – – : From a very personal point of view I would have liked to get less remixes and more extra songs.

Conclusion: Tobias Bernstrup remains one of those less recognized artists from the electro-pop scene. He’s a real great talent who maybe has never found the right label to promote his work a decent way. I hope for him Nadanna will make things change because this is a great piece of music.

Best songs: “Utopia”, “Hear Me Calling”, “Night In The Science Zone”, “Technophobic” + “Technophobia – Techniques Berlin Remix”, “Utopia – Italoconnection Remix”.

Rate: (8½).

Artist: www.bernstrup.com / www.facebook.com/TOBIASBERNSTRUPOfficial

Label: www.facebook.com/NadannaItaloSynthRecords

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Body-pop, EBM, IDM.

Background/Info: Earlier this year Torben Schmidt –  Alfred Gregl and singer Huw Jones released the third Binary Park album. “Life On Lines” is a sophisticated and high-tech electro-work, which revealed the genius of this trio. And I’ve to say I now like the album even more than when it was just released. This EP features next to an intro six songs from the album all in an extended format.

Content: The main difference with the original songs is that they’ve been seriously extended. I can’t say they’ve been reworked, but you will discover longer instrumental passages like accentuating the visionary sound treatments of this group. While the vocals of Huw Jones are sometimes reminding me of Dave Gahan, the music remains a fascinating fusion between Haujobb, Lassigue Bendthaus and Covenant.

+ + + : This extended version format can be seen as a way to empower the pleasure, at least for all of those who like Binary Park. I think the EP is a nice extra to the original album. I’m still impressed by the sound intelligence of this group, mixing elements of pop, EBM and pure IDM together. The vocals inject an extra sexy touch on top of the production.

– – – : The EP brings nothing really new and is therefore first of all a release for the fans. I would have liked to get an album with totally reworked songs by Binary Park themselves.

Conclusion: This EP is a cool, little extra for all of those who have liked the “Life On Lines”-album. Binary Park is without a shadow of a doubt one of the most intelligent electro-pop formations from the scene or just the most poppy-inspired IDM group.

Best songs: “Faith Never Let Me Down – Extended Mix”, “Bad Connection – Extended Mix”, “Your Own Great Nation – Extended Mix”.

Rate: (8½).

Artist: www.binary–park.net / www.facebook.com/binarypark

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

Inferno Sound Diaries

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

www.side-line.com

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

Background/Info: Set up in 2008 by Enrico Filisetti (vocals & lyrics, composition), Ivan Savino (composition, electronics) and Daniele De Fabritiis (guitar), the Italian trio Blume released their debut work “Rise From Grey” (2010) on the now gone A Different Drum. Three years later they joined hands together with WTII Records to unleash “Autumn Ruins”. “Ashes” is their third full length, which appears 5 years after the previous work.

Content: Blume moves on with their electro-pop driven sound, which often serves as cornerstone for a more open-minded sound mixed with future-pop and/or body-pop influences. The songs are well-crafted and might sometimes remind you of an imaginary fusion between Covenant and Assemblage 23.

+ + + : I was literally blown away by the impressive and powerful sound production. It clearly reflects a mature and professional formation taking care of any little detail in the sound. The songs are well-crafted and especially the most powerful cuts are pure lust for the ears. The opening songs are mind-blowing!

– – – : After an astonishing debut part the songs are progressively stagnating. They’re still cool and well-crafted, but maybe a little less too similar.

Conclusion: Blume clearly hasn’t the pretension to take the listeners by surprise. They just deal with a great electro-pop sound carried by a genius sound production. If you like the opening song from the album you are going to like the others as well.

Best songs: “Scarlet”, “Blackening”, “Iron Age”, “Spleen”.

Rate: (7½).

Artist: www.facebook.com/blumemusic

Label: www.wtiirecords.com / www.facebook.com/WTIIRecords

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: EBM, body-pop.

Background/Info: Binary Park strikes back with their third full length album in the band’s history. Driven by Infacted label owner Torben Schmidt (Lights Of Euphoria and Suicide Commando live keyboarder),  Alfred Gregl (who has been involved with an endless number of projects) and singer Huw Jones, this new opus appears four years after the “Singularity”-album.

Content: Binary Park has been always something part. It’s not exactly what you can call a ‘cliché’ band, but an intelligent music format composed with electro-pop and EBM influences. Some of the songs make me think to an imaginary crossover between Depeche Mode (for some vocal parts), Haujobb and Covenant. There’s a constant switch from electro-pop to EBM, but both elements are still coming together.

A few songs have been driven by energetic rhythms, others are carried by groovy sequences while a few other songs are featuring alluring EBM bass lines.

+ + + : I remember the magic from the first album “Worlds Collide”, which comes a bit back at “Life On Lines”. This is a styled and elaborated composition bringing different influences together. The songs have been accomplished with different great effects revealing all the intelligence and production skills of the band. Next to the music Huw Jones also is a talented singer who sometimes reminds to the sensuality of Dave Gahan. One thing is for sure, Binary Park is a formation with a very personal sound and musicians revealing themselves as great sound architects.

– – – : The complexity of the production is maybe a reason why some dark-electro pop lovers will turn their back to this great, but sophisticated work. Don’t expect Binary Park to compose mellowing melody lines and catchy, danceable pop-songs. I’ve to admit there’re just a few sweeter sounding songs, which aren’t my personal favorites.

Conclusion: Electronic music is sometimes comparable to mathematics; exact sciences where every single detail sounds right! That’s precisely what “Life On Lines” is all about!

Best songs: “Welcome Home”, “Cropper II”, “Machine Core II”, “Your Own Great Nation”, “How Strange”.

Rate: (8).

Artist: www.binary–park.net / www.facebook.com/binarypark

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

Inferno Sound Diaries

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

www.side-line.com

Set up in 1993 by Ken Evans and Georgina Emery, Australian formation Tycho Brahe recently released the “Triplex [complete]”-album on ScentAir Records. It’s without a shadow of a doubt their most accomplished work to date. The songs will probably ravish 80s synth-pop lovers, but it first of all is a great production the band might be proud of. This was a real good reason to organize an interview with the band.

(Courtesy by Inferno Sound Diaries)

Q: Tycho Brahe saw the daylight in 1993. What have been the main facts about your career and how much of early Tycho Brahe do you still recognize in your writing today?

TB: We started off as something different and evolved into our current form. The consistent thing about us though, is that we have always approached every situation with a total sense of self-belief. We’ve never been afraid to take a risk and do something ‘crazy’ or to do the impossible when others might say it can’t be done eg like organize an international support in 2 other states with 5 days’ notice when we haven’t rehearsed in five months. Or organize an interstate gig for an international or interstate band whose promoters let them down with one weeks’ notice.

With this never say never and can-do attitude, we’ve ended up playing shows with other notable acts like The Human League, John Foxx, VNV Nation, Covenant, Real Life, Psyche, Pseudo Echo etc and made many great connections and strong relationships within the industry. We are self-taught in everything, including playing our instruments, programming, recording and production…everything…but have never seen that as a disadvantage. Through self-belief and determined application we have succeeded.

Compared to the earlier Tycho Brahe songs, some of the more recent work has been more unusual in structure (eg “1985” and “Valerie Perrine”), and that has been a deliberate decision to try and keep things interesting. There’s also more confidence these days in being more personal about song lyrics. But the biggest difference between the early Tycho Brahe releases and the more recently recorded work is the level of production we’ve achieved in an independent studio setting. We feel that “Triplex [complete]” is easily our most accomplished body of work so far on many levels.

Q: I noticed your early work has been released on cassette format. What does that evoke to you and what’s your perception about the evolution of technology (recording techniques, instruments, social media, streaming etc)?

TB: Our first two releases were on professionally duplicated cassette in 1996. This was the most affordable format at the time. We’d spent a lot of money in professional studios before that, which was fairly normal for a band in those days, however we made those recordings ourselves very cheaply on a borrowed 4-track system, with the intention that they would be used as demos. We were playing a lot of live shows, and we needed to be able to make our music available to promoters as well as fans, so we put the best of these recordings on a cassette – that first release is literally called “The Promotional Cassette”. The reaction was great, and we realized that for our purposes it didn’t matter if we recorded in a 24 track studio or on a home 4-track system, as long as the music was good, and was recorded and produced to a suitable standard. This appealed to our self-taught ‘do it yourself’ manifesto, so we decided to completely move away from expensive professional studios, and instead invest that money into achieving self-sufficiency for recording and producing. We were early adopters of the digital recording revolution, and the freedom to experiment with recording and production on our own time schedule was a total revelation. Our debut album “Cassiopeia” (released in 2000) was recorded on a PC running very basic 8-track recording software on Windows 98. Our studio setup has now evolved to the point where we’re able to integrate and centrally control all of our vintage hardware synths, drum machines, effects units, DAW software and VST’s etc quite seamlessly. We are living in a golden age of digital recording.

Social media is the great enabler for independent bands which allows us to not only connect globally with geographically dispersed fans, but to connect with other musicians and producers, creating great opportunities that otherwise wouldn’t exist. Before social media, in the early days of the internet, it was still difficult as an independent act to grow beyond our local area and we were still reliant on local gigs, press and radio to generate interest and connections, which of course is very limiting. Streaming services like Spotify are both a blessing and a curse – whilst they deliver practically no income for the artist, people who otherwise may not have listened to acts like Tycho Brahe can hear the music very easily for no cost. It’s just one aspect of the modern democratization of music distribution, although as an artist it is painful to see very little financial return on the recorded work through these streaming services.

Q: Your newest CD-album “Triplex [complete]” features your 3 latest digital EP’s. How important is to have these songs released on CD format and how did you get in touch with Russian ScentAir Records?

TB: Digital distribution is obviously a far more pragmatic way of distributing music, but it is killing the album format. The recordings on the “Triplex”-EP’s were originally intended for a cohesive album, so from an artistic perspective we feel that presenting them in a physical format such as a CD album encourages people to listen to that entire body of work rather than hearing random individual songs from a digital playlist, and that is very important to us. And to have a business external to the band share a belief in the recorded work to the point where they’re willing to invest money into manufacturing and distributing physical copies of that album is a very affirming and validating process.

We became aware that there was a synth-pop scene happening out of Russia, when we stumbled across a pirated Russian synth-pop compilation which we were on with the likes of Depeche Mode, Beborn Beton and Camouflage. It was completely illegal but somehow flattering. So our curiosity was piqued, and we investigated the Russian scene a little further and realized that our musician friends Empire State Human (ESH) had recently released an album through ScentAir, who appeared to be one of the few remaining independent synth-pop labels still releasing CDs. Tycho Brahe had previously collaborated with ESH/The Garland Cult when we remixed each other, so we contacted Aiden from ESH. After he said very positive things about ScentAir, we decided to directly approach them with the idea of compiling the “Triplex”-EP series into the proper complete CD album. This had been our original plan and ScentAir were very keen to do it, with distribution through Poponaut. We’re very happy in our relationship with ScentAir, and would like to release further albums through them in the future. If we could ever do so, we’d also love to tour in support of those releases in Europe, but living in Australia makes that a very expensive proposition.

Q: I’ve to admit I’m deeply impressed by this album revealing a perfect balance between electronics and guitar while featuring bombast and refined bleeps, alluring bass lines and catchy choruses, typical 80s arrangements with charismatic vocals on top. Tell us a bit more about the writing and recording of this masterpiece?

TB: Thank you, we’re glad that you like it! “Triplex [complete]” is our fifth album, and we actually started work on it immediately after our “Atlantic” album in 2006. The first song to be completed was “Loveless”, which debuted on Myspace way back in 2007, before our “Transatlantic”-remix album was released, and that recording set the writing and production standard that we wanted to achieve for the rest of the album. We were playing and refining songs from “Triplex” at live shows with bands like The Human League, Psyche etc, and that live work plus other commitments slowed progress on recording the album…

Before we knew it, four years had passed, and then our studio was flooded, completely submerged, under 4 metres of filthy flood water in the devastating Brisbane floods of January 2011. We saved all of the equipment, but then we were basically demolishing and rebuilding for the next year, but then decided to relocate to higher ground anyway as we were post-traumatic from losing a studio and a home to the flood… every time it rained we would freak out. The flood cost us two years of progress, and around that time Andy Walls (live keyboards and co-writer), decided to leave to ‘take up gardening’ which was another setback. We had a semi-functional temporary studio which wasn’t really set up for vocals during this time, so in 2012 we recorded and released the novelty song “Sex Rocket” as a single – which is one reason why it has a vocoder in place of vocals… it was remixed by Parralox, Neuropa and Psyche, we also did a follow up song in a similar style, “Super Hot Robot”, another fun novelty song but not representative of our usual work. (Both songs have videos on Youtube and were created by another talented member of the Tycho family, Thomas Evans.)

So as fate would have it, the album was shelved until we could get our studio and our lives back in order. When we finally re-established the studio and got back to the album, we found that we were being perfectionists wanting a very high production standard, and recording was slow and painstaking, so we became impatient to release something. That is when we decided to split the album into three parts, so we could complete four songs at a time and release three EPs over a longer period, maintaining some output. Georgina came up with the name “Triplex”, which means ‘having three parts’, or a house divided into three residencies. We digitally released each EP ourselves, with artwork by our friend Stig Olsen in Denmark, who has also done graphic design work for The Human League, and on our “Sex Rocket”-CD single. Each EP was mastered in Sydney by Kathy Naunton at dB mastering, who has worked on albums by Severed Heads, Boxcar, Midnight Oil… the songs themselves range from very personal, such as “No Love”, to “Castaway” which is about not fitting into society, to “Valerie Perrine” which is about the hot tub scene from the Village People movie, “Can’t Stop The Music”! Our favorite track on the album is probably “Metropolis”, the intro has a mobile phone recording from a New York subway which sets the mood perfectly.

Q: “1985” is an interesting song with references to the 80s. Are you guys nostalgic and what has been the impact of the 80s on you as teenagers and later on as musicians?

TB: We’re massive ‘80s fans, obviously music especially but also movies like “Buckaroo Banzai” and “Electric Dreams”, video games (Georgina has a vintage Galaga arcade machine), musical equipment… most of our synths are vintage ‘80s machines like the Prophet 5, Emax sampler, Juno-106, LinnDrum, Simmons, etc because we love how they sound… even the registration plates on our cars… Georgina’s is “80-MIX” which is the music she’s always playing in the car – a mix of ‘80s stuff; Ken drives a Mustang convertible with the plate ‘FAC-73’ which is the Factory Records catalogue number for the “Blue Monday”-single, the song that made him want to create music way back in 1983. Most people’s formative years are their teens, and the ‘80s certainly had a huge impact on us, but it was a groundbreaking era for music, with all of that incredible new technology becoming available and affordable in the post-punk years.

The song “1985” is deliberately nostalgic and is about specific events experienced in the ‘80s with various friends…”Park Avenue” is referenced in the song, it was a Hi-NRG club in Adelaide that played Man 2 Man, Dead Or Alive, early Stock Aitken & Waterman… we would actually dance all night and emerge at daybreak; the song is quite personal and about still being anchored to that era. In 2011 we were able to work with Giorgio Moroder’s 1980’s bass player/programmer Arthur Barrow, and we released a remix single for the song “1985” in the production style of Moroder in 1985, with Arthur Barrow contributing parts using the same bass guitar and Jupiter-8 synth he used with Moroder, and our LinnDrum loaded with custom Giorgio Moroder sounds used around the Scarface/Electric Dreams era. There might even be some sneaky “Back To The Future” samples hidden in that song too…

Q: I’ve to ask you a last question about a real exciting project consisting of doing some programming for the upcoming tour of Peter Hook. How did you get in touch with each other and what is it all about?

TB: We became friends with Peter Hook and The Light when they toured Australia in 2010, when we shared drinks and stories with them after their Brisbane show, and we’ve since caught up with various members socially and travelled to see the band play overseas. They’re wonderful people and an amazing, hardworking band, and one of our favorite live acts of all time. Some of the New Order songs that Peter Hook and The Light play require pre-programming and digital multi-track playback onstage (also known as backing tracks) to re-create the complex vintage sequenced synth and drum machine parts. Peter Hook initially became aware that Ken was an expert in recognizing the distinct New Order sounds and the synthesizers that made them, when he sought his help in clarifying how some early New Order equipment would have worked on certain songs for his latest book. Ken had also assisted in setting up a live vocoder system for their keyboard player, who also knew that Tycho had been covering “Bizarre Love Triangle” live. This led to Ken being asked in 2015 if he’d like to attempt new programming and backing tracks for “Bizarre Love Triangle” for them, as they weren’t particularly satisfied with what they’d been using. They were very happy with the result and so Ken has been creating backing tracks for Peter Hook and The Light ever since.

About half of the New Order songs from their recent international “Substance” tours in 2017 and 2018 featured Ken’s work. He’s been working on new backing tracks for the “Technique” and “Republic” albums since late 2017, for a tour commencing in September 2018. By the end of the current project, Ken will have re-created the synth and drum machine parts for over 30 classic New Order songs. It is incredibly challenging work, as everything has to be completely made brand new, from scratch, without access to any of the original source material due to legal reasons, with only the released versions from albums etc as a guide. The most complex of these can take around 60 hours of work, and it involves researching the original equipment used, detailed sound design, forensic listening techniques, and then the actual programming, sequencing, mixing and production to essentially build a new multi-track recording of the electronic parts, as close to the original as possible. Ken has set up a separate business called Tycho Sound Design to accommodate this work, and he has also now done similar work for Australian ‘80s band Machinations.

Tycho Brahe literally would not exist if not for New Order releasing “Blue Monday”, so to be working with Peter Hook brings us full circle and is a huge honor. Last year in our home town of Brisbane Ken was invited on stage to sing “Bizarre Love Triangle” with Peter Hook and The Light, which was a very surreal and emotional moment.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro-pop, indie-pop, EBM.

Background/Info: GunMaker is a Hungarian trio which released their debut-work “Headmaker” in 2015. This album revealed an electro-metal sound with some pop influences. The successor “Daymaker” was released in 2017 revealing a male vocalist instead of the female singer who has left the band. Notice by the way this album was produced by Rob Dust.

Content: “Daymaker” is a different album, which is more carried by pop elements. I can’t speak about a ‘typical’ electro-pop album as “Daymaker” goes much further. The songs are sophisticated, catchy and empowered by guitar riffs. Solid bass lines and impressive electronic treatments (which even remind me of Sebastian Komor) are the main electronic ingredients of this work.

The album also features a rather surprising Covenant cover (cf. “Like Tears In Rain”) plus a few remixes by Rob Dust, Atomzero, Strongmaker and Diskonnekted.

+ + + : “Daymaker” reveals a great evolution compared to the debut work. The songs have been composed with intelligence. I like the carrying- and melodic aspect of the songs while the guitar play inject some extra power. There’s a real great balance between all the different layers and especially between electronics and guitar. I also like the vocals when produced with some minimalistic, robotic effect on top.

– – – : The only single point that can be improved are the vocals on a few songs. There’re missing conviction and especially passion. That’s maybe because of the line-up change.

Conclusion: “Daymaker” is a real interesting album for avoiding the big electro-pop cliché. It also reveals a band that has made an interesting move towards more indie-pop driven influences.

Best songs: “I Swear”, “I Swear – Rob Dust 80s Forever Mix”, “Trust Me Or Lie”, “Like Tears In Rain”.

Rate: (8).

Artist: www.facebook.com/Gunmaker-474227946012195

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

Inferno Sound Diaries

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

www.side-line.com

From 15th until 19th August 2018 the third edition of the W-Festival takes place at the festival-area in the Rue Couture d’Orroir in Amougies, Belgium. More than 60 new wave, EBM, industrial, post-punk, synth-pop and eighties bands are featured on 3 stages.

This year some of the confirmed artists are: Bauhaus (Peter Murphy 40 years of Bauhaus celebration feat. David J.), Anne Clark, DAF, Clan Of Xymox, DIE KRUPPS, Dive, Front Line Assembly, Suicide Commando, Covenant, Lords Of Acid, Vive La Fête, A Split Second, Project Pitchfork, Trisomie21, She Past Away, Chameleons Vox, Red Zebra, Kim Wilde, Paul Young, Marc Almond, Midge Ure, A Flock Of Seagulls, Heaven 17, ABC, …

Besides watching concerts you can also visit markets and merchandise shops, signing-sessions, afterparties and other exclusivities like the daily screening of “Industrial Accident – The story of Wax Trax ! Records” documentary (94 min.) from the 16th till the 19th of August at 10:30am.

Side-Line gives away 10 free tickets (for 4 days)! Just enter the contest below. We will choose the winners on June 18.

Information and tickets can be found here

Genre/Influences: Electro-pop.

Background/Info: Elena Alice Fossi and Angelo Bergamini truly are veterans of the electronic underground scene. Active since the early 80s Kirlian Camera never stopped taking their fans by surprise. Mixing genres and hardly to define this new opus is the first new studio album in 5 years time! The band made a remarkable comeback by the EP “Sky Collapse” featuring Covenant’s front man Eskil Simonsson.

Content: “Hologram Moon” is still dominated by the danceable “Sky Collapse”, which remains one of the best songs of the Italian duo in history. It also sounds pretty Covenant-like and not only because of Eskil’s vocals. If you expect an entire album in this genre you for sure going to be disappointed, but there are more danceable cuts featured. Eskil Simonsson got however featured at another song.

The work mixes evasive electro-pop music together with more danceable pieces and the unavoidable experimental flavor on top of the production. I was also surprised by the track “I Don’t Sing” featuring Angelo Bergamini on vocals and dealing with funny lyrics as a declaration to Elena Fossi. Notice by the way John Fryer has produced this work.

+ + + : “Hologram Moon” is a surprising return for Kirlian Camera, which has accomplished one of their most noticeable albums in history. The album is more ‘poppy’ and ‘danceable’ than any other work although it’s much more than only ‘dancefloor’ music. Kirlian Camera fans will recognize the ballad and evasive style of the band accomplished with experimental sounds and arrangements. The work remains carried and blessed by Elena’s sensual and bewitching timbre of voice. But a great singer also needs a talented musician and that’s what Bergamini illustrates. He’s an old-school driven musician who still likes analogue experiments this way creating unique sound treatments.

– – – : There’s a hiatus between the most danceable cuts and the rest of the tracklist. It for sure injects diversity to the work, but it’s not that evident to switch from a danceable track such as “Sky Collapse” into a piece of reverie and later on the electro-ballad sung by Bergamini.

Conclusion: Kirlian Camera remains a particular experience in sound! A band you can’t compare to another, but simply moving on exorcising their own sonic ideas. This is for sure one of their best releases to date.

Best songs: “Sky Collapse”, “Kryostar”, “Haunted River”.

Rate: (8).

Artist: www.facebook.com/kirliancamera.official

Label: www.dependent.de / www.facebook.com/dependent.records

Inferno Sound Diaries

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

www.side-line.com