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

Format: Digital, CD.

Background/Info: This is the first Torul album in four years and the Slovenian formation’s seventh full length to date. The album deals with the frustration which came through during- and after Covid19 times; a message to take care of ourselves.

Content: Torul moves on composing a very distinctive Electro-Pop sound; a well-crafted opus mixing dark sounds with minimal arrangements and choruses driven by atypical, minimal- and retro, leads. On top there’s a sensual timbre of voice. The last part of the work sounds a bit harder featuring potential dancefloor killers. I also noticed a groovier cut.

+ + + : Torul has already accomplished great productions but maybe never got the deserved international recognition. This new piece only confirms the huge potential and talent of the band. I like this band and their new work for their own sound approach; it’s definitely Pop-like but with a personal touch on top. The sound treatments and some of the leads are quite noticeable. And then there’s this captivating, charismatic, and sensual voice. The work features cool songs but especially the final part is total ecstasy; “Hello Hello” and “Next Generation” both are brilliant tracks but I also want to mention “When I First Saw Her”, “The Only Way” is a great opener and “Resonate” has a retro-like feeling reminding me of Gary Numan.

– – – : The last track which is a kind of outro and rather sounds as a poorly inspired song.

Conclusion: Torul strikes back with a bang; styled, danceable, sensitive and sexy Electro-Pop.

Best songs: “Next Generation”, “Hello Hello”, “When I First Saw Her”, “The Only Way”, “Resonate”.

Rate: 8½.

Artist: www.torul-recordings.net / www.facebook.com/torul

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

Listen to “End Less Dreams”:

About Torul

Torul is a Slovenian project set up in 2010 by Borut Bernik, known as Torulsson. The band mixes elements of dance music and techno with electro and indie-pop, and has gone through several line-up changes, with Maj serving as its third frontman. “End Less Dreams”, released through Infacted Recordings on February 17, 2023, is Torul’s seventh full-length album and the band’s first in four years, written by Torulsson during the Covid-19 pandemic.

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

Czarina is a project driven by Vero Faye Kitsuné. This New-York (USA) native artist is now based in Spain. She this year unleashed her second full length album entitled “Arcana” (darkTunes Music Group). Her work makes me think to an imaginary fusion between Qntal (for the Ethereal approach) and Pop/Rock influences. It’s a styled- and artistic production which I can only but highly recommend.  

(Courtesy by Inferno Sound Diaries)

Q: You’re dealing with different artistic forms; being involved as music composer and producer, designer, filmmaker, performer and creative director. Do I forget something? I can’t get away from the idea you must have a true artistic background, right? Tell us a bit more about it and what means artistic expression to you? 

Vero: Growing up in a very artistic and multi-faceted family, I have always had one foot in music and performance arts, the other foot in visual arts and design. I played in a Prog-Metal band in my early 20s for several years. However, during the last 2 decades, I have been serving as a creative director and designer in the fashion and footwear industry, while my musical endeavors receded into an on-and-off passion project. Ten years ago, I launched my own footwear and fashion label called Ivy Kirzhner, through which many of my followers actually have come to know me first. 

However, after a series of challenging chapters, I regret to say that my life went through a cataclysmic shift, and I was forced to fold this remarkable golden era in my career early 2018. Even though I continued to consult in the fashion industry, I found solace in making music again -writing, composing, producing and being fully creative without being tethered to a business construct. I’ve always felt that I was handed a very complex tapestry of life experiences to substantiate into a myriad of creative and artistic expressions. Thus, just like a phoenix rising from the ashes, Czarina was born.   

Q: Is it possible for you to earn a living with your artistic activities and especially with music? And do you think there’s enough recognition and support for contemporary (underground) artists? Do you see main differences between places and countries? 

Vero:  For me (and for now), it has always been about achieving a balance between earning and artistic passion.  I work as a creative director and designer for a living, whereas what I do in Czarina -music production, filmmaking and visual arts -are primarily for the sake of artistry and creative expression. 

I’m in my 4th year with this project, and I’m only beginning to see some quantifiable return in the investments, which is promising. What matters after all is fulfilling a vision and being fulfilled.  I’m finding that a lot of contemporary underground artists similar to me who are unique, genre-bending, carrying a refined point of view, and refusing  to fit in any bucket are often overlooked, only because we are hard to place in the current algorithmic system.  But I don’t think it’s impossible to make a breakthrough. It takes a lot more work and effort, but tapping directly into a pool of like-minded folks who are looking for more uniqueness out of art and music generates a much more fulfilling and rewarding experience. 

I think most artists are fixated over streaming metrics -which is fine, even if streaming often entails passive listeners. But I believe in developing a real tangible, fire-breathing, supportive fan base who genuinely connect with the music and craft. 

After moving from New York to Spain, I definitely have noticed that Europe in general tends to provide a more supportive and healthier incubation space for innovative, emerging artists.  Especially after signing with darkTunes Music Group, it’s the first time I felt both my music and I are finally getting embraced, and I am finding myself to be at the right place.  

Q: What kind of music project did you want to set up with Czarina? What have been the main sources of inspiration and how do you try to transpose these influences into music? 

Vero: When I started, I wanted to establish an artistic and creative DNA that is entirely unique to who I am and all my facets, and can transcend several adjacent genres and media. The project revolves around my music, songwriting and production, but it is intended to be a pure, artistic kaleidoscope containing layers upon layers of visual and experiential storytelling across several media.  I want folks to know and feel right away that it’s me -my very own sound, aesthetic, perspective, and vibe -free from prevailing constructs. A lot of my music and songwriting all contain particular messages and philosophies that honestly speak of my experiences -products of self-reflection and generated awareness and openness. My sources of inspiration change from time to time depending on where I am in life, but the thematic common denominator that ties everything together and keeps the project grounded is spirituality and wisdom gained thru a very vast and yet very specific set of life experiences. 

Q: I noticed an impressive evolution in sound/production from your debut album “Painted Holograms” (2018) towards “Arcana”. What happened in between both albums and how do you perceive your own evolution in the writing- and production process? 

Vero: A tremendous amount of growth has definitely happened. My records are true reflections of where I am in life. When I decided to work on Czarina early 2018, I was still living in New York City -raw and coming out of a very difficult period following a shatter. The songs in my debut record “Painted Holograms” were written and produced during this time, and they carry out themes of healing and piecing one’s life back together. I had just started dabbling with synths and was very much into nostalgia, so I decided to blend Cinematic ‘Neon Noir’ inspired by tech noir films like “Blade Runner” with contemporary Industrial, Trip-Hop and Dark-Wave. It was also my first time producing a full record, still harnessing my DAW (I use Logic Pro), grasping techniques in music production, and leaning on a couple of good friends to help bring it to the finish line. I would say that “Painted Holograms” truly represented where I was at the time.

Then the years that followed were remarkable –ultimately finding love, getting married, getting ushered to a much better place and turning my life around. In the midst of the COVID19 pandemic, my husband (the artist DeadlyKawaii) and I decided to live our dreams and move to his ancestral homeland in Galicia, Spain.  And this has been a massive turning point for me. Galicia is so beautiful, raw, and has a very magical vibe. I could not help but be inspired by my new home and this new-found elevation in life and spirit.  Shortly after the move, I was contacted by Raphael Beck of darkTunes Music Group and was signed to the label. I took the opportunity to redefine this project and allow its evolution to synchronize with where I now stand. If “Painted Holograms” was about piecing one’s self back together after a shatter, then “Arcana” is about finally becoming whole and completely renewed. I was feeling very confident, ambitious and resolved. I wanted a big new, monstrous sound that is inspired, ethereal yet heavy-hitting. I returned to my Prog-Metal roots, brought out all my guitars and my affinity for chamber music, new age choirs and Gothic-Rock –all to create a unique new sound that I can finally call my own.  

Q: How do you look back at the writing and accomplishment of “Arcana”? What have been the main challenges in the accomplishment of this opus and are there elements you’re not entirely satisfied with? 

Vero: I’m tremendously proud of “Arcana.” I felt really empowered the whole time I was writing, composing and producing it. I feel like I achieved a very particular and finite vision and intent. Everything felt aligned.  However, the ambitiously grandiose nature of its production definitely has posed challenges on the technical sound engineering end. The writing and production are very complex, with a lot of stems and sounds that needed to be mediated properly -guitars, chamber orchestra, drums, choirs, etc. It was not an easy task. I brought in my good friend Von Hertzog (VHxRR, Information Society) as co-producer, mixing and mastering engineer to bring his expertise, and harness and finesse the vast dynamics of the record.  He also provided additional production input and atmospheric sound designs on some of the tracks.  As much as I feel I reached a new summit with “Arcana,” I believe I just scratched the surface. There is still a lot of room for growth. I could now see where I could have pushed and also pulled more. So, I’m very excited to see where the next record will take me. 

Q: I’ve been also deeply impressed by the imagery and the clips which I can imagine are just two others facets of your creativity and art. It’s styled and revealing mystic- and ritual elements, right? What do you try to express by these aspects of your work and what’s the connection between music and imagery? 

Vero: I have been following occult, esoteric, mystical and new age studies and all things arcane. I often take inspiration from global mythology, legends and all sorts of wonders from the ancient world. Something about the wondrous nature of those worlds just fascinates me and keeps me inspired, curious and hopeful. Also Costa da Morte in Galicia where we live is actually known for its sorcery, magic and actual living and breathing mages. I definitely went through a shift when I moved here as though I answered a particular calling. So a lot of what has inspired me spiritually and philosophically, I try to embed them in my work. Art is magical and alchemical already on its own. Might as well take it to the next level and constructively embed rituals and magic into the music and imagery –may they help uplift spirits and call on others who can do the same.

Q: What are the further plans? 

Vero: I am very excited to showcase the universe within “Arcana” in its entirety. I am working on bringing “Arcana” to life as a full live stage performance, which I hope to be ready come fall. I am slated to drop at least 2 of them this year and the rest next year. I’m slated to drop 2 new music videos this year as well. So lots of fun stuff in the works. I feel like I’m only getting started.  

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

“Jab # 3​,​1415926535​.​.​. [Ain’t gonna fuck with my brain]” is the title of an all new 8-track strong EP by the female fronted dark electro pop act Diffuzion.

Lead singer Xev explained the title as this: “‘Ain’t Gonna Fuck With My Brain!’ is a quite usual expression we use in Russian language when somebody annoys you with repetitive and unnecessary information. So why not make a song out of it.”

Combine that with the the highly frustrating Covid19 lockdown situation with a physical separation of over 7000 km across the Atlantic ocean between both members and you get the idea where this comes from. The whole resulted in an excellent cut!

Besides the title track we also get an excellent, but really an excellent, rework by Aesthetische of “The Blessed”. The title track was reworked by First Aid 4 Souls, Cubic, Aesthetische, Matthew Creed, Neikka RPM and Acylum vs. Aengeldust.

You can download this rather attractive release below, first on Bandcamp, later on on all other services.

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 Claudia Schöne) We were informed earlier today that the Amphi Festival 2021 edition has again been canceled and postponed to 2022 for which a new date has also been announced: 23 and 24 July 2022. All tickets remain valid. The reason for the cancellation: the ongoing Corona pandemic.

In a reaction the festival PR team says that “the (also politically) ever-changing pandemic situation still leaves a multitude of uncertainties and question marks, all of which could spoil our great reunion and the intended festival enjoyment literally up to the very last minute.”

As it seems over 90% of all bands from the present line-up would have already confirmed to play next year. “Meanwhile we are diligently in contact with the remaining bands and will presumably be able to give you the final state of the line-up at some time in June 21,” so the festival says.

All purchased Amphi-, Call The Ship To Port- and Pre-Party-tickets of 2020 and 2021 will remain valid.

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 Dag Stinus) Out on June 11 via Bandcamp and Beatify Audio (and one week later on all other digital platforms) is the newest single from the Danish synthpop duo SoftWave: “System Failure”. SoftWave consists of the duo Catrine Christensen and Jerry Olsen.

The track is a clear reference to how the Covid19 crisis has affected people mentally around the world. Singer Catrine Christensen explains: “System Failure” describes the duality of being isolated in many months without associating with others, and how much life with a computer can disturb the mind and even provoke frustration, depression and in rare cases – anger.”

The band formed in 2014 and debuted in 2016 with the EP “Together Alone” which was followed by “Together Alone The Remixes” in 2017. Their debut landed in 2019 with “Game On” which also got the remix treatment on “Game On 1Up” (re-released in 2020 with bonus tracks on Electro-Shock-Records).

After touring with OMD on the Scandinavian leg of their “Greatest Hits – Souvenir Tour” (feb, 2020), SoftWave was invited by Erasure’s Andy Bell to produce remixes for his forthcoming Andy Bell is Torsten project “Club Torsten!” among Vince Clarke, Bronski Beat and more.

Below is the band’s “Game On 1Up” release including a live track from their OMD support show at Oslo’s Rockefeller venue.

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 Mothmeister) The Belgian EBM cult act Front 242 has announced an update on their forthcoming USA tour dates for 2021 and you can assume that these dates will not change anymore as the USA is currently one of the few countries who have managed to get the pandemic under control.

Fully vaccinated Americans can also now discard masks and the need for social distancing outdoors and in most indoors settings, so the CDC (Centers for Disease Control and Prevention) said Thursday in an announcement after months of mostly cautious measures.

A person is considered fully vaccinated against the coronavirus two weeks after getting the second Pfizer or Moderna shot or the same length of time after receiving the one-dose Johnson & Johnson vaccine.

The new announcement represents a major step toward a return to normalcy after a pandemic that has lasted more than a year but which however never reached the disastrous figures like in Europe. Just to give you an example, Belgium for instance is one of the worst hit countries in the world if you look at the number of cases per 100.000 inhabitants.

So here are the concert dates for Front 242 in the USA.

• September 15 2021 Usa New York Tbd
• September 17 2021 Usa Philadelphia Tbd
• September 19 2021 Usa Tampa The Orpheum
• September 22 2021 Usa Denver Oriental Theater
• September 24 2021 Usa Minneapolis Fine Line
• September 25 2021 Usa Chicago Metro Cold Waves Festival
• September 29 2021 Usa Mesa Club Red
• September 30 2021 Usa Los Angeles The Mayan Theater Cold Waves Festival
• October 02 2021 Usa San Francisco Tbd
• October 03 2021 Usa Portland Hawthorne Theater
• October 05 2021 Usa Seattle Neumos
• October 06 2021 Usa Salt Lake City Metro Music Hall
• October 08 2021 Usa Dallas Canton Hall
• October 09 2021 Usa Houston Numbers
• October 1o 2021 Usa San Antonio Sam’s
• October 12 2021 Usa Baltimore Soundstage

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

Tony Young started writing music under the AUTOCLAV1.1 moniker in 2004. Since the first album released in 2005 on Crunch Pod, the creativity of the British artist has no limits. AUTOCLAV1.1 is a prolific project releasing new material nearly every single year. Dealing with different, but related music genres and influences like IDM, Industrial, Electro-Ambient ao Tony Young released his albums on different labels; the already mentioned Crunch Pod, Tympanik Audio,  but also Hive Records and WTII Records. EP’s were released on other labels. This year AUTOCLAV1.1 joined hands together with Audiophob to unleash the new album “Nothing Outside”, which is without a shadow of a doubt the most intimate work so far. I talked with Tony Young about his new work and a few more things.

(by Inferno Sound Diaries)

Q: “Nothing Outside” has been released during the Covid-19 pandemic, which clearly also inspired this work. How do you as citizen and as artist experience this situation?

Tony: Yeah, this was written as the initial lockdown took hold over here. It’s been tough for everyone really; but I do have the luxury of enjoying my own company. As far as writing music is concerned, there has been little difference for me. I spend a lot of time just messing with music and not really recording it; and this album just came into being. I remember thinking I may write an EP of just piano and Ambient music and when I started I just got out the bass guitar and then of course, beats followed. Covid-19 or no Covid19 there would have been a new album; just probably with a different concept if there hadn’t been a pandemic.

Q: The album also wants us to reflect about what is going on in the world, but I’m afraid less politicians and/or leaders feel really concerned. What’s your critical perception about it all and how do you see things evolving? Do you also see positive things evolving?

Tony: Well, it’s more about my own experiences and environment really than asking anyone else to reflect. It would be cool if it has meant something to anyone else though with regards to his or her own personal experiences in this time. As far as how the pandemic has been dealt with… well, our government has been shocking from start to finish.  They’re a bunch of over privileged Tories who just look out for their own; and are now maxing out on an opportunity to stamp out those less fortunate. I wouldn’t have expected anything less from a UK Conservative government. I don’t see anything positive on the horizon really. It makes me wish I lived in New Zealand. The UK really is a shambles; and with the compete clusterfuck of Brexit tag-teaming with the pandemic, it’s only gonna get worse.

Q: I’m not affirming that you reinvented the AUTOCLAV1.1-sound at “Nothing Outside”, but the composition sounds more intimate and Cinematographic than ever before, which is probably due to the piano play and arrangements. What did you try to accomplish and did you handle specific references and/or criteria to compose the album?

Tony: I do try to make each release different, but in all honesty, when I start a new album I have no real idea how it’s going to end up sounding at the start, with just a general impression of what I am after.

I wasn’t really planning of having a lot of piano in my newer songs; and “Makeshift Splint” was my first in a while where I only utilized it a small amount. However, I was having an afternoon just playing around with piano giving my fingers a workout, so to speak; and I just hit record and it went from there. I really enjoyed making this one. Song titles are personal reference points in my home environment, apart from the non-piano track “Hiraeth”, which was a nostalgia-fest for me personally speaking. There’s so much I write that I normally just bin; but for the first time ever, I was genuinely happy with everything I was writing. There’s so much I have released in the past that was below par; and if I had chance to re-write a couple of those albums with what I know now programming wise, I would.

Q: You’re a prolific artist, but you don’t exactly repeat yourself; it feels like every single album reveals new ideas while it remains difficult to label your music as one specific music genre. How comes you’re that prolific and where does this eclecticism comes from?

Tony: I listen to a lot of styles of music; and this keeps new ideas forming in my head. I haven’t listened to anything really Industrial in a long time and a lot of my songs are written in the formula of a lot of music I listen to. I listen to more guitar-based music than electronic really. Don’t get me wrong, I still listen to Dark-Ambient and stuff like that; but you’re more likely to catch me blasting out New Model Army, The Wonderstuff, PWEI and The Mission over any Industrial band nowadays. Although I still adore Coil and Swans. 

I like to think an appreciation of different styles means I am going to be more adventurous when I write. Although I know I can’t write as well as half the bands I listen to.

Q: As I just said you’re a prolific artist and even started a side-project NATURA EST together with Andreas Davids from XOTOX. What does this project bring you next to AUTOCLAV1.1 and what makes the chemistry between you and Andreas?

Tony: Andy is one of my best friends. We don’t see each other much, but it doesn’t really matter. I always wanted to do a Dark-Ambient project, knowing one day I will stop writing Autoclav1.1; so I wanted a project that seemed more fitting of someone growing older. 

I knew Andy liked his Dark-Ambient stuff too. I asked him just the once, if he wanted to do this and got an emphatic ‘Yes!’ immediately. We work well together and I don’t see it as a side-project. It is its own beast, running on its own steam.  The possibilities are endless; and we cannot wait for “Real Seasons” to be released. I think because Andy and I have a different style of writing on our respective solo-projects, it filters into a different kind of Dark-Ambient when we combine the stems we write. “We both have had the same vision when writing each album too. I am really proud of the project and I know he is too. There’s a lot of snobbery within Dark-Ambient circles as with other scenes, but we appear to have got our followers now.

Q: Covid-19 is definitely a curse for artists, but don’t you think it’s also a kind of blessing? An opportunity to work on new material, remixes, clips, revisiting old- and/or unachieved songs? What brings the future for AUTOCLAV1.1?

Tony: In no way, shape or form is this a blessing; but I think I see where you are coming from. As far as writing goes, it shouldn’t have an impact on anyone writing Electronic music as most have their own home studios. But I can definitely see how it affects bands playing live. I have missed many a show this year and I am sure I won’t see many next year either.

The future of Autoclav1.1? Who knows? I always say after each release that it will be my last; but I always find myself playing my bass or keyboards one miserable Yorkshire afternoon, where I more often than not, hit the record button once more.

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

The Belgian goth rock act Star Industry has issued a vinyl edition of their cult debut album “Iron Dust Crush”. Initially planned as a special fan product exclusively available during the band’s tour and nowhere else, the COVID19 pandemic decided otherwise so the vinyl is now available online as well via the band’s label store. The vinyl comes as an exclusive clear vinyl edition.

Originally released in 1997, “Iron Dust Crush”, Star Industry’s debut full length album holds the major new wave club hit “Nineties” which launched them into the goth rock scene and even topped the Israeli alternative music chart the year after.

The Belgian act is currently working on their 6th studio album.

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 GNY) “The Earth Keeps Spinning, Without Being Noticed (Original Ambient Soundtrack)” is a brand new ambient album by the Belgian electro pop act Psy’Aviah, which can be downloaded now from Bandcamp.

The material on the album is inspired by the work of Belgian photographer GNY (aka Gwenny Cooman, also known for her work in the band Mildreda). She recently organized an exhibition of her work under the conceptual title “Steden Schuilen Niet Wanneer Het Regent” (Cities don’t seek shelter when it rains) in Wetteren (B). The dark ambient soundtrack was played during the exhibition.

Under the current Covid19 crisis that limited the number of visitors and forced the cancellation of the planned live performance of Psy’Aviah at the closing of the exhibition, it was decided to make this soundtrack available for everyone showcasing Psy’Aviah dark ambient side and GNY’s photographic work.

Check it out below. The album download holds a selection of pictures taken by Gwenny Cooman for you to enjoy. Expect an interview with both artists in the next days.

You can also download the release straight from Bandcamp below.

Bernard - Side-Line Staff

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

side-line.com

Austin, Texas-based artist Curse Mackey (Pigface, My Life with the Thrill Kill Kult) will perform his first solo livestream on June 26th at 9pm CST. The event is entitled “Curse Mackey: Live Exorcism” as Mackey will be performing material from his album “Instant Exorcism” along with a with live chat, post-show Q + A and virtual art gallery showing of Curse Mackey original art pieces.

Before the COVID19 pandemic caused wide sweeping cancellations for artists around the world, Curse Mackey enjoyed a successful 2019 that saw the release of his solo album “Instant Exorcism” on Negative Gain Productions. Mackey was also poised to extensively tour the US throughout 2020 and into 2021. Fast forward to June 2020 where to this point, Mackey has had over 60 shows cancelled. The cancellations began in March as Curse was mid-tour with Clan of Xymox and the decision to cancel the rest of the tour was made on March 15th.

If not live in person, at least live in virtual

In collaboration with Rona Rougeheart of Austin dark electronic act SINE, Mackey began to build a micro soundstage and TV studio in their rehearsal space. Mackey and Rougeheart went live for the first time on June 5th with an eighty-minute live program that debuted the new SINE single “Desolate District” and featured a guest appearance and interview with Chris Connelly (Ministry, RevCo, Pigface etc).

The forthcoming livestream concert will be Curse Mackey’s first solo livestream concert. It can be viewed on the following channels and will take place on June 26, 2020 9pm CST.

www.twitch.com/cursemackey
www.facebook.com/cursemackey1
www.youtube.com/c/cursemackey
www.facebook.com/villianswearblack

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 year 2020 will forever be marked by the global Covid19 pandemic and its related unprecedented health and economic crisis and the mandatory home confinement for many of us. The Brazilian duo Aesthetische decided to grab the lock-down situation by the horns and give a positive twist to that historic catastrophe for mankind.

Unable to meet in studio to produce new songs, Fab and Gui decided to revisit classic Aesthetische songs under quarantine, sharing files, sounds and sequences back and forth from distance and even went the extra mile by involving good old friend and former Aghast View member Denis Rudge. The result can be found on the 8-track EP “MMXX”.

Included are 6 of their most famous songs fully recreated starting from the vocal lines. You’ll find new versions of “One In This World” (featuring Mari Kattman on vocals), “Les But More”, “Byprodukt”, “Brennbar”, “Cold Bliss” and “Red Trackers”. Icing on the cake, the duo added a new version of their recent club hit “Barking Up The Wrong Tree” (featuring Sascha Klein of Neuroticfish on vocals) plus the exclusive instrumental track “Ascension”.

You cand ownload the EP right here on Bandcamp. Read the review of ‘MMXX’.

Side-Line also covered Aesthetische’s ‘Overflow’.

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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