danse macabre &#8211; SIDE-LINE

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

Malecnom – Anhedonie (Digital/CD Album – Danse Macabre Records)

Inferno Sound Diaries — Tue, 22 Oct 2024 07:00:00 +0000

Malecnom is a German project led by Sven Hegewald. Their debut album features dark, atmospheric influences reminiscent of the golden era of German Gothic and Electro-Wave. The use of German vocals, often presented as a male-female duet, enhances the strong 90s vibe that permeates the album. While the album shows potential, many of the tracks feel incomplete, as though something crucial is missing. In summary, it’s an intriguing debut that could serve as a solid foundation for further development. (Rating:6½).

Listen to “Dominance + Submission”:

https://nightinathens.bandcamp.com/track/pressure

Night In Athens – Wasted Reflektions (Digital/CD/Vinyl/Cassette Album – Danse Macabre Records / Wave Records)

Inferno Sound Diaries — Mon, 21 Oct 2024 07:00:00 +0000

Night In Athens is a Greek project based in London, UK. Following their self-released album in 2021, they return with a new collection of 9 tracks that dive into an Electro-Wave sound. Their music draws heavily from 80s influences, evoking an electronic version of The Cure, paired with a feminine, sterile vocal style reminiscent of Anne Clark. The minimalist production, with its icy strings, may sound simple, but it’s undeniably effective. This album is a cool discovery, packed with several catchy songs. (Rating:8).

Listen to “Pressure”:

https://groundnero.bandcamp.com/track/the-risen

Ground Nero – Blood Never Sleeps (Digital/CD Album – Danse Macabre Records)

Inferno Sound Diaries — Sun, 20 Oct 2024 07:00:00 +0000

Belgian band Ground Nero is back with their first new album in 5 years -or is it four? “Blood Never Sleeps” was released digitally nearly a year ago, and now it’s finally getting a physical release through Danse Macabre. The main change is for sure that the band welcomed British Mark Sayle as new vocalist. Despite the lineup change, the band’s signature sound remains intact, rooted in the dark and moody influences of iconic ’80s bands like Bauhaus and The Sisters of Mercy. Ground Nero’s music blends pure Dark-Wave with an added touch of Rock, with several tracks driven by soaring guitar riffs and accented by synth lines that provide an extra burst, particularly in the choruses. This new release, already teased by several singles, includes standout tracks that are sure to expand the band’s fanbase. (Rating:7½).

Listen to “The Risen”:

https://scanner-dd.bandcamp.com/track/dna

The Saint Paul – Interference (Album – Digital/CD – Scanner / Dark Dimensions)

Inferno Sound Diaries — Tue, 03 Sep 2024 07:00:00 +0000

After debuting with an album released by Danse Macabre, followed by three more under Infacted Recordings, the German duo The Saint Paul returns with their fifth opus, marking their first release on Scanner. Their signature style continues to blend clear, explicit Electro-Pop elements with harder, more menacing EBM influences, creating a dynamic interplay between the two genres. While I personally gravitate toward the edgier, more danceable tracks, the softer side of the album doesn’t resonate as strongly with me. Overall, the album is an enjoyable listen, featuring some standout tracks, but I can’t shake the feeling that they have even more to offer. (Rate:7).

Listen to “DNA”:

Inline Sex Terror announces new album ‘Re:boot’

Bernard - Side-Line Staff — Mon, 19 Aug 2024 17:56:12 +0000

The Greek dark electro band Inline Sex Terror (IST) has announced the release of its third full-length album, “Re:boot”. The new album is set to launch on November 1, 2024, via the German Minusbeat label.

The album marks the band’s return after a 13-year hiatus, bringing a fresh take on old-school industrial EBM. The 11-track album, including titles like “No Regrets (No Rewind),” “Pulse of the Machine,” and “Grime and Gears”, explores themes of restarting, reflecting on past decisions, and embracing the inevitable changes that shape the future.

To support the album, Inline Sex Terror is preparing to release two music videos ahead of the album’s release and is planning a tour—their first in over a decade. You can already check out the title track below.

About Inline Sex Terror

Inline Sex Terror, originally formed in 2002 under the name Zerstorwut, began as a solo project by George.h, a DJ and promoter in Athens, Greece.

After five years, DV/h shifted his focus to music production and in 2008, the project was rebranded as Inline Sex Terror (IST), and the debut album “11:11” was released. The album, signed under the German label Danse Macabre Records, was followed by a first European tour, opening for Das Ich. The project also remixed the Das Ich song “Kannibale” for the Kannibale EP in 2008.

In 2010, Inline Sex Terror released the “Distorted Life” EP, which featured three new tracks and ten remixes by various artists, including Leather Strip and C-Lekktor. A second album, “The Architecture of Madness”, followed the next year and was released under the labels DSBP and Minusbeat.

In 2011 the project took a break largely due to personal issues DV/h faced and only two new songs were released during this period. In 2024 the project was revived the new album “Re:boot”. It will be followed by a European tour.

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!

Inline Sex Terror to return with new album and tour after 13 years

Bernard - Side-Line Staff — Wed, 03 Jul 2024 09:51:01 +0000

After a hiatus of 13 years, the Greek dark electro act Inline Sex Terror is making a comeback with a new album and a European tour scheduled for this winter. These upcoming shows will mark the band’s first performances in 15 years.

The band was formed in 2002 under the name Zerstörwut as a solo project of DV/H alias George.H, who was a resident DJ and promoter in Athens, Greece, at the time. After 5 years, DV/H decided to make fewer appearances in the club scene and focus on creating and producing music for Zerstörwut.

In 2008, the project changed its name to Inline Sex Terror. The band signed to the German label Danse Macabre Records to release their debut album in August of the same year: “11:11”. Two years later, the project returned with the “Distorted Life” EP holding three new tracks and ten remixes from bands such as Leaether Strip, FabrikC, Supreme Court, Beati Mortui, Implant, C-Lekktor, Kadaver Acht, V2A, Without Recognition, and Concrete Rage.

Shortly after releasing the EP, DV/H returned to his own studio to begin working on the next album. In 2011, the project released the album “The Architecture of Madness” under a new label (DSBP/Minusbeat). Over the following years, Inline Sex Terror became dormant due to personal problems of DV/H. Only two new songs were created and released on compilations, and in 2017, DV/H declared Inline Sex Terror inactive.

Fast forward to 2024, DV/H has brought Inline Sex Terror out of its coma and is working on a new album. After the album is released, a European tour will follow, marking IST’s return to the stage after 15 years.

Pecadores – Diabo Que Me Carrege (Album – Danse Macabre Records)

Inferno Sound Diaries — Fri, 16 Feb 2024 08:00:00 +0000

Genre/Influences: Industrial, Electronic, Ritual.

Format: Digital, CD.

Background/Info: Brazilian formation Pecadores originally released “Diabo Que Me Carrege” in 2022 by Wave Records. The album has been re-released by the end of 2023 in Europe by Danse Macabre. One of the important and essential aspects behind this work is the involvement -mixing and production, of Fernando Nahtaivel.

Content: Pecadores has seriously reworked and improved their sound, evolving towards a heavier, Industrial-driven work carried by haunting atmospheres. Several songs reveal a deeply, Ritual side while one of the last cuts is an adaptation of a renowned Jewish Folk song. A few parts are moving into a Cinematic approach but most of the cuts are mixing Industrial, Electronics and Ritual music empowered by guitar. The vocals have been sung in Portuguese.

+ + + : I like the obscure and ghost-like atmosphere hanging over the work. The sound is hard to catch but clearly bringing different influences together. Pecadores has achieved a meaningful production featuring several noticeable cuts. I recommend listening to the title song for its hostile atmosphere, “Velhoamigo Seudiabo” for the Cinematic approach and “Penitência 2022” for its Ritual side.

– – – : It’s hard to label this band and album so this is probably not the most accessible work although an interesting one to pay attention for.

Conclusion: I’m not sure Pecadores will conquer the European market by this album but it will however appeal to open-minded, curious, listeners. I like it!

Best songs: “Diabo Que Me Carrege“, “Velhoamigo Seudiabo”, “Penitência 2022“, “Velhoamigo Seudiabo“.

Rate: 7½.

Artist: www.facebook.com/pecadoresofficial

Label: https://dansemacabre.de / www.facebook.com/dansemacabrerec

Totentanz Strumpfsockig – Totentanz Strumpfsockig (Album – Danse Macabre Records)

Inferno Sound Diaries — Thu, 15 Feb 2024 08:00:00 +0000

Genre/Influences: Medieval, Ethereal.

Format: Digital, CD.

Background/Info: Debut album for this German collective which seems to gain name and reputation in their homeland. The self-titled opus features eleven songs.

Content: From the very first notes you’ll recognize the typical ‘troubadour’, Medieval style of this formation. The songs have been composed by a mix of acoustic instruments and synth parts while you’ll get dreamy, Ethereal, female vocals on top. The sound reminds me of an offspring between Qntal and Corvus Corax.

+ + + : This band doesn’t bring any innovation but deals with a well-crafted interpretation of Medieval music which has been adapted into a freestyle. There’s a place for a crossover with other influences and genres. Instruments like flute and bagpipes inject a part of mystery and fascination while the vocals are elevating some passages to a higher dimension.

– – – : I sometimes get the feeling the band is still in search of their own sound. Some parts of the album sound like a melting pot of influences but it’s not really a point.

Conclusion: Totentanz Strumpfsockig bring us an interesting and (free)-styled interpretation of Medieval music.

Best songs: “Totentanz Strumpfsockig”, “Bisik Ciri”, “Deine Zeit”, “Der Gekrönde Knecht Des Todes”.

Rate: 8.

Artist: https://totentanz-strumpfsockig.de / www.facebook.com/totentanzstrumpfsockig

Label: https://dansemacabre.de / www.facebook.com/dansemacabrerec

Click Interview with Darkness On Demand: ‘More Free To Communicate In Belgium Than In Germany’

Inferno Sound Diaries — Wed, 20 Dec 2023 18:00:00 +0000

“Digital Outcast” is the third album by German formation Darkness On Demand which is available now on Bandcamp and on CD via the Alfa Matrix webstore. After having released two albums on Repo Records ‘Falgalas’ and Gary Wagner signed to Alfa Matrix where they released the “Final Way” EP, the “Hang On (Winterhart remix)” and the “White Clouds” EP. The former Dance Or Die-members now strike back with “Digital Outcast”, a powerful, sophisticated and engaged EBM work. I talked about the album and other things with front man Gary Wagner.

(Courtesy by Inferno Sound Diaries)

Digital Outcast by DARKNESS ON DEMAND

Q: After a successful career as Dance Or Die you guys are now busy for a couple of years under the moniker Darkness On Demand. Do you perceive significant changes and/or evolutions between both bands or is just a natural evolution? And do you sometimes miss Dance Or Die?

Gary: We actually don’t miss anything of our former career with Dance Or Die. Falgalas and me played together since 1993 and the old producer and composer, who did not go on stage, had not enough material for new songs anymore… that’s why we decided to continue our story under the new flag Darkness On Demand.

The idea was to leave Dance Or Die as a Cult to start with the new material Falgalas had composed. The new songs are more Industrial and EBM and got much more melodies than before. The development of the new tracks started with our first longplayer “Post Stoneage Technology” continues the near future items. Just like the second one “Detoxination” which is concerned with man-machine themes we march on in that genre to keep Science Fiction alive. The astonishing thing was that the old fans expected the new start straight away. We still are the guys they know from stage and the short logo DOD is still up to date.

Q: I was surprised you signed to a Belgian label –Alfa Matrix. Why this move from a German label to a Belgian one and are there also plans for your side-projects?

Gary: Well the main reason for signing abroad was that Belgium is the Walhalla of Electronic Body Music. We are definitely inspired by Front 242, Klinik and A Split Second which come from Belgium. We planned to get the thing more international.

The former label was more concerned with Germany which was pretty all right for the start. But the fact that we were popular in countries such as Sweden, Mexico, USA and the European East pushed us forward to be promoted worldwide. There were music colleges who recommended Alfa Matrix to start that enterprise. We are very happy about that and we know that the label believes in our work.

By the way we still work on our other project Winterhart which is Martial, Industrial and Dark-Folk orientated.

Q: Over now to “Digital Outcast” which is the third full length by Darkness On Demand. The lyrical themes are –once more, very engaged and introduced as an ‘ invitation to reconnect with nature and reality, to escape from that digital world dominated by artificial social medias and credit card consumption’ is really interesting to me. I can imagine it’s a very personal reflection but can you give us more details? And how do you see it regarding the digital world and social media which is that important today for labels, bands etc…?

Gary: “Digital Outcast” is the digital answer to the digitalized world. We fight fire with fire, like we use Electronix for creating our answer to Goth-Rock. Real life turns into a cyberworld which is mankind created and has nothing to do with the real world outside.

In Kraftwerk’s “Computerwelt” you heard the warning of observation and a transparent mankind. The more data they get the more you are controlled by them. The problem in Germany is that they consider you as a conspiracy freak when you know and talk about this. You can have an attitude but the mass medias tell you what your attitude has to be. Quite complicated for bands that came from Punk-Rock .

This moment I feel much more free to communicate with you in Belgium than in Germany.

Q: How do you look back to the writing and production of “Digital Outcast”? Do you’ve any experiences and/or anecdotes you encountered that come directly into mind?

Gary: During the lockdown we found ourselves in ghost towns. Everything was closed, life stood still people were ill and lots of people died. It was a terrible time, we hope it won’t repeat. But in somehow it changed the attitude towards the government. Some were absolutely into the rules of authority, the others questioned it like they did before. Feelings such as loneliness and depressions came to our mind and that influenced our album conception.

One day during that period they closed Schleswig Holstein after we finished our singing recording and I had to leave this Bundesland for a return to Berlin. What a strange situation…

The EP “White Clouds” exactly describes this time I mentioned before.

Q: “White Clouds” sounds as a solid addendum to “Digital Outcast”. Is there anything more you want to say about the EP?

Gary:The EP “White Clouds” exactly describes this time I mentioned before. In some of these happy pills you find a little picture of grey clouds turning to white to take the medicine regularly. Sometimes pretty necessary to avoid a serious illness. Anyway… we still stand for the idea to make great Clubmixes on our EP’s. The dancefloor is still an important fact to communicate with the fans, besides the live activities.

Q: Gary and Heiko, I think you’re now working together for thirty years –or even more. What makes the chemistry between both of you and how do you perceive each other as ‘artist’ and the person behind the artistic creation?

Gary:As I already mentioned we both played the Dance Or Die shows since 1993. After a long break in the early 20th we decided to make new music together. Falgalas created lots of material with Classic sounds and instruments. We added real acoustic guitars and trumpets to form Winterhart. We released our albums on Danse Macabre Records. But then, once upon a time we were a little frustrated that Dance Or Die stood still. Therefore we found Darkness On Demand to return to Body and Industrial music.

Those days Falgalas lived in the middle of Berlin and we worked together at new songs every afternoon. Then he moved to Tönning near the North-Sea und built-up a New Studio he calls Dreiklangstudio. So I got to travel to the North for singing recordings. Less helter skelter than in Berlin. Silence enough for our future stories to keep the Dark Side alive. We turn Future into Reality

www.facebook.com/milicentmusic

Milicent – Myrsky (Album – Danse Macabre)

Inferno Sound Diaries — Wed, 08 Nov 2023 08:00:00 +0000

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Genre/Influences: Dark-Wave, Ethereal.

Format: Digital, CD, Vinyl.

Background/Info: German formation Milicent was founded in 2022 by Valerio Kuhl (ex-XTR Human), Simone Mayer and Janey Schumacher. “Myrsky” is the band’s debut album featuring eight songs -the CD format featuring three extra cuts.

Content: This band is driven by good-old 80s dark-Wave influences featuring guitar play reminding me of The Cure. Guitar and electronics have been mixed as a perfect match; guitar to inject a dark spirit to the work and electronics to make it all more melodic. On top of the composition you’ll discover heavenly, powerful, female vocals by Simone Mayer. One of the most surprising cuts is the adaptation of the French popular song “A La Claire Fontaine”. The bonus tracks from the CD are alternative edits of 3 album songs.

+ + + : The sound and influences aren’t innovating but I like the result. There’s a perfect balance between guitar and electronics while the vocals inject an extra dimension to the work. There’s an artistic touch emerging at the surface created by sound treatments reminding me of violin. Some parts have been driven by harder, menacing, bass lines while other cuts are moving into dreamy sensation. So the work stands for diversity with graceful vocals on top. Next to the female vocals you’ll also notice male vocals accentuating the diversity.

– – – : The work is missing a true hit while I also notice a very few cuts which are less inspired.

Conclusion: Milicent has released a graceful and promising debut album mixing Dark-Wave together with Ethereal.

Best songs: “Cosmic Joke”, “Unhappy”, “Helsinki”.

Rate: 7½.

Artist: https://dansemacabre.de/artist/milicent /

Label: https://dansemacabre.de / www.facebook.com/dansemacabrerec

Nova-Spes – Rise (Album – Danse Macabre)

Inferno Sound Diaries — Sun, 18 Jun 2023 07:00:00 +0000

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

Format: Digital.

Background/Info: German formation Nova-Spes moved back to Danse Macabre Records to unleash their newest opus. They already worked together with Danse Macabre but the previous albums were released by the Russian label ScentAir Records.

Content: “Rise” is a varied opus inspired by the world -or should I say European situation, of today. The band’s engagement has been exposed into different kinds of songs; sometimes harder and danceable and next softer and melancholic which is even resulting in Electronic ballads sort of. The main source of inspiration remains Electro-Pop now and then spiced with EBM elements.

+ + + : The album sounds diversified so in the end everyone will find songs to its taste. Diversity is also noticeable in the vocals mixing English and German sung songs. I’m more into the ‘harder’ cuts like “The Monster Calls” and “Bitte! Bitte!”. I also enjoyed the explicit Electro-Pop driven “Nothing” reminding me a bit of X Marks The Pedwalk.

– – – : The main point I always experienced with Nova-Spes is fully enjoyable listening music without potential hits. That’s definitely what this work is missing.

Conclusion: Easy- and varied Electro-Pop music with neither true depths nor highlights.

Best songs: “The Monster Calls”, “Bitte! Bitte!”, “Nothing”, “Alle Gegen Alles”.

Rate: 6½.

Artist: www.novaspes.de / www.facebook.com/novaspesband

Label: https://dansemacabre.de / www.facebook.com/dansemacabrerec

Kontrast – Programm: Deluxe Edition 2022 (Album – Danse Macabre Records)

Inferno Sound Diaries — Sat, 04 Feb 2023 08:00:00 +0000

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

Format: Digital, 2CD.

Background/Info: This album is a re-edition which comes to celebrate the twentieth anniversary of Kontrast’s debut album “Programm” which was originally released by UpScene. The original songs of the album have been featured on the first disc while the second disc is a bonus one.The German formation would release four more albums.

Content: “Programm” is an eclectic piece of music which is clearly inspired by good-old Electro/Wave-Pop but still experimenting with other elements like EBM, Industrial sound treatments and a more atmospheric side as well.

The bonus disc brings alternative edits; some have been released formerly and others later on. But you’ll also discover extra songs like remixes -two have been made by Massiv In Mensch.

+ + + : This is an opportunity to (re)discover a great production featuring cool songs which even 20 years later are still dancefloor killers. But Kontrast also stands for a deeply artistic side which is coming through sound arrangements and delicate melody lines. Some lyrical parts are still hilarious but also a bit prophetic when listening to “Einheitsschritt” which became a hit. The second disc is quite interesting as well revealing darker versions like the “Freiheit”-edit together with Nebelgeist which sounds like pure :Wumpscut:. The original edit of “Freiheit” remains a beautiful song as well.

– – – : Kontrast got some recognition in Germany but remained a rather unknown name outside. That’s truly a pity when you’ll hear this great piece of music.

Conclusion: “Programm” hasn’t lost its original magic and remains a great and diversified piece of Electro/Wave-Pop.

Best songs: “Einheitsschritt”, “Freiheit”, “It’s More Fun To Kontrast”, “Todeskünstler” + “Freiheit – Duett”, “Einheitsschritt – Original Isecs Version”.

Rate: 8.

Artist: www.facebook.com/kontrasteinheitsschritt

Label: https://dansemacabre.de / www.facebook.com/dansemacabrerec

Top 25 albums of the year 2022

Inferno Sound Diaries — Sat, 31 Dec 2022 18:08:55 +0000

(By Stéphane Froidcoeur for Inferno Sound Diaries/Side-Line Reviews) 2022 has been once again a sad, bloody and terrible year. Living in a mad world music once more remains a true therapy to appease pain and frustration. Concerts and festivals came back; the perfect place to meet friends again. Artists remain prolific releasing great studio work. So I’m once more closing the year by a personal selection of my very own ‘best of’-albums of the year.

Over 700 productions have been selected while 540 reviews have been made all over the year. Some productions have been refused because the style of music didn’t fit, while other reviews will be postponed to 2023. I’m really grateful to all labels, bands and promoters considering my work and efforts and I hope you’ll go on providing me new promos next year.

I one again have to express my deepest gratitude to Rich Bova (NEIKKA RPM) who for years and years now is reading, correcting and improving my reviews. Without Rich there would be no reviews. I also want to thank Bernard Van Isacker – chief redactor Side-Line Music Magazine – for the successful collaboration.

Up now to 2023. I already reduced my activities this year and will move on reducing it in 2023. I made my first reviews and interviews back in 1991 (!). Some of the readers and artists weren’t even born when I wrote my first review for Side-Line. So after more than 30 years non-stop activities I think it’s not that strange to move on slowly.

I also want to express a big ‘F*** you’ to so-called ‘artists’ and label owners who don’t realise and appreciate the work I’m doing by making reviews and preparing interviews to get them in the spotlights. The attitude and less of respect shown by those people – luckily a very few number – is just unacceptable… but I’m afraid it reflects the world we’re living in… Behind a genius artist is not always hiding a great person… It’s quite strange to realise the ’biggest’- and long-time established artists from this scene often are the most accessible ones.

Writing reviews remains very ‘subjective’ and always a source of discussion, but keep in mind it will be always the perception of the reviewer. I can assure you I’m always trying to argue my reviews the best as possible. A review will be never objective, but has to be honest!

Like every year I’ve made a selection from the best albums of the year. This ‘TOP 25’ covers different styles like EBM, Dark-Electro, IDM, Synth-Pop, Ethereal, Dark-Ambient, Industrial, Cinematographic, Gothic, Post-Punk, Cold/Dark-Wave, Dark-Techno and a few related genres. It remains an exciting but tough exercise.

This ‘TOP 25’ is taken from the promotional material I got while compilations, ‘best of’-productions, EP’s and singles were not considered.

So, here’s my ‘TOP 25’ from 2022 and don’t forget to share it with your friends….

Top 25 albums 2022

IVARDENSPHERE: “Ragemaker” – Metropolis Records
DIE ROBO SAPIENS : “Robo Sapien Race” – Alfa Matrix
EBE04 : “Inrush – Give/Take
CALDON GLOVER: “Labyrintia” – Cyclic Law
ROME: “Hegemonikon” – Trisol
NEIKKA RPM: “Scorpio In The Hourglass – Alfa Matrix
VANGUARD: “Spectrum” – Infacted Recordings
SUICIDE COMMANDO: “Goddestructor” – Out Of Line
ELM: “Penetrator” – Alfa Matrix
OBERER TOTPUNKT: “Totentanz” – Danse Macabre Records
THE BIRTHDAY MASSACRE: “Fascination” – Metropolis Records
BLACKBOOK: “Confessions Of The Innocent” – DarkTunes Music Group
BEYOND THE GHOST: “Sundown” – Cryo Chamber
THEN COMES SILENCE: “Hunger” – Metropolis Records
PRINCIPE VALLIENTE: “Barricades” – Metropolis Records
DAWN OF ASHES: “Scars Of The Broken” – Artoffact Records
MONSTERGOD: “Ozymandias” – Space Race Records
STATIQBLOOM: “Threat” – Sonic Groove Records
AXIOME: “Field Guide To Alien Planets And Other Disco Balls – Audiophob
REICHSFEIND: “Darken” – Alfa Matrix
FIRST AID 4 SOULS: “I Am The Night” – Alfa Matrix
ORDO ROSARIUS EQUILIBRIO: “Nihilist Notes And The Perputual Quest 4 Meaning In Nothing” – Out Of Line
KILL SHELTER: “Asylum” – Manic Depression Records / Metropolis Records
JAGATH: “Svapna” – Cold Spring Records
KILL YOUR BOYFRIEND: “Voodoo” – Shyrec

A X Amun – Re-Terminate (Album – Danse Macabre)

Inferno Sound Diaries — Sat, 22 Oct 2022 07:00:00 +0000

Genre/Influences: EBM, Industrial.

Format: Digital, CD.

Background/Info: “Re-Terminate” is the second full length of Bavarian (Germany) based A X Amun.

Content: “Re-Terminate” sounds like the perfect offspring between EBM and Industrial music; the imaginary hybrid between Tyske Ludder and KMFDM. The songs are driven by electronics and empowered by solid, menacing, Metal, guitar riffs and the vocals are deep growls.

+ + + : A X Amun doesn’t innovate but creates a perfect match between EBM and Industrial. I like the album’s diversity -which you’ll also notice in the mix of German- and English vocals, but of all I like their heavy, powerful cuts boosted by guitar adrenaline. “Blutoase” is a great smasher illustrating the album’s power.

– – – : I’m missing a few elements to speak about a fully successful work; maybe a carrying melody line and/or uplifting chorus.

Conclusion: This is an enjoyable work which might appeal to lovers of different genres; from EBM to Industrial heads.

Best songs: “Blutoase”, “Death Marks The Spot”, “Ctrl-Z”.

Rate: 7.

Artist: www.facebook.com/A-X-AMUN-an-unknown-agony-mixed-under-noise-326227111567040

Label: www.dansemacabre-group.de / www.facebook.com/dansemacabrerec

The Spiritual Bat – Mission:Create (Album – Swiss Dark Nights)

Inferno Sound Diaries — Wed, 05 Oct 2022 07:00:00 +0000

Genre/Influences: Gothic, Dark-Wave.

Format: Digital, CD, Vinyl.

Background/Info: This is the fifth studio album by Italian Gothic formation The Spiritual Bat. Previous works have been released by Alchemisti Music and mainly Danse Macabre Records. A live album was already released by Swiss Dark Nights.

Content: The album sounds in the tradition of the band. A perfect mix between Dark-Wave reminiscences reminding me of The Skeletal Family (for the guitar playing) and a Dark-Goth/Rock approach. The songs are driven by female vocals injecting a true bewitching effect to the production.

+ + + : The Spiritual Bat stands for passion, which is emerging from the vocals and the guitar. There’s a bombastic touch running through the work creating a very personal approach. This is a fully enjoyable production without real potential hits, but cool songs.

– – – : The songs are missing little details to become potential hits. It’s maybe about choruses, which don’t have a true elevating effect. I also regret that the album features only 9 songs.

Conclusion: The spiritual Bat is a warrant for well-crafted Goth-Rock music with a personal approach.

Best songs: “Sanctu”, “To The Kuiper Belt”, “Heroes Anymore”.

Rate: 7½.

Artist: www.facebook.com/thespiritualbat.band.page

Label: www.facebook.com/Swiss-Dark-Nights-Records-348565442615812

System Noire – Zeitgeist (Album – Danse Macabre)

Inferno Sound Diaries — Fri, 05 Aug 2022 07:00:00 +0000

Genre/Influences: Dark-Electro, EBM.

Format: Digital, CD.

Background/Info: Four years after the official debut album “Do Not Pass That door” German duo Björn Miethe (vocals) and Daniel Gosewisch (machines) are back on track unleashing the second full length of System Noire.

Content: The main sources of inspiration remain pretty similar to the debut album, but the global writing- and production process both have been improved. The songs are carried by danceable vibes and melodic sequences reminding me of Mordacious. The songs have been sung in English and German. There also is one cut featuring female vocals.

+ + + : The music sounds pretty cliché, but there’s an audience for it. This is danceable Dark-Electro spiced with EBM elements. I like the production of the vocals which create a zombie-like effect. It makes the band easily recognizable and that’s for sure a very positive evolution. System Noire will appeal to lovers of Stahlnebel vs. Black Selket and Suicide Commando.

– – – : This band brings nothing new so the work becomes quickly predictable.

Conclusion: System Noire has seriously improved the production and has even accomplished a few potential dancefloor killers.

Best songs: “Tarantallegra”, “Katharsis”.

Rate: 7½.

Artist: www.facebook.com/SystemNoire

Label: www.dansemacabre-group.de / www.facebook.com/dansemacabrerec

‘Click Interview’ with Oberer Totpunkt: “I´M Not The Biggest Fan Of Complete Computer Generated Electro-Music”

Inferno Sound Diaries — Sun, 10 Jul 2022 17:00:00 +0000

Set up in 2006 by Bettina Bormann and Michael Krüger the German formation Oberer Totpunkt doesn’t release new albums at regular basis. They this year strike back with their sixth opus “Totentanz” which is the band’s first album in five years. It became an eclectic work although dominated by an interesting mix of ‘Neue Deutsche Härte” and EBM. The work is their most accomplished production to date revealing multiple great songs. I talked about this masterpiece with both core members.

(Courtesy by Inferno Sound Diaries)

Q: Oberer Totpunkt is now active for numerous years so what have been the main facts in the band’s history and how do you see the band today compared to the early beginning?

Bettina: We started in 2007 as a duo. A friend of us suggested us to bring our creativity together –that was when Michael played in bands as a drummer for years and I have been writing stories for years. So we tried it out –and Oberer Totpunkt was born! Just the two of us made the first shows on stage. Later we worked together with double bass player David Nesselhauf who accented our brand as a kind of sophisticated band.

In the next step we wanted to experiment with performative elements, so the idea of a ‘living stage design’ was born. We worked together with Gunter Laudahn on guitar and harp who since years is touring with artists like The Gregorians and Sarah Brightman. Then we had a longer period with Stefan Frost, who influenced our sound with his metal guitar. Also we have the live-keyboarder Denis Scheither and Performer Reaktor 4 in our staff for big stages or videos. Unfortunately Stefan could not accompany us when we were touring with the band Das Ich in the USA in 2019. This circumstance at last brought us back to our roots: Performing as a duo.

Each album is a contemporary document which shows the themes which we deal with in a certain phase of our creative work. The psychedelic-hypnotic song “Dystopia” describes the mood I was in while dark and disturbing incidents happened. What I appreciate is the fact that we present our very first song “Scharlachroter Schnee” on the new album “Totentanz” in a new dark-romantic shape. And for the very first time we made love songs!

Michael: All Oberer Totpunkt-albums are conceptual albums with a master-idea. Every album is a cocktail of music, lifestyle, experience you make. I´m always looking for the next song and album. “Totentanz” has a lot of tom-based drumbeats, melodic and dark elements and danceable songs. Emotional, dark, kicking and also experimental stuff like “Dystopia” (Psychedelic-Rock) or “Rien Ne Va Plus” (Jazz). By the way, our first song we ever made was “Scharlachroter Schnee”.

Q: What kind of work did you want to compose with “Totentanz”? What is the album all about and how did the production took shape?

Bettina: In my eyes “Totentanz” is our most poetic album. The songs tell about human basic themes like fears, loneliness, fear of loss, fear of life, fear of death, but also love and longing –it tells about the demons in ourselves and around us. A line from the song “Rien Ne Va Plus“ describes the basic melody of the content: ‘We long for hope –and for the end of darkness.’

“Dystopia“ is about crisis, “Fake Leben“ tells about embellished life plans, flattering self-portrayals, skillful poses, staged images –behind this is the question: ‘Do we still feel who we really are?’ Or the song “Die Krieger”; so many self-proclaimed warriors roam our time coordinates, fighting for ‘what’s right.’ Bossiness, inability to tolerate and loss of a healthy sense of proportion included. We considered whether this song could be misunderstood in the current global political situation. But ultimately it is probably obvious that the ‘warriors’ are meant here in an ironic way.

Tracks like “Dia De Los Muertos”, “Totentanz“, “Fake Leben” or “Die Krieger“ clearly show: The spoken word rocks and lures onto the dance floor!

Michael: I love classic arrangements and loop songs with rhythmic shifts! For most titles the song comes first. Bettina selects which pieces she can relate to or has an idea for a text. For other titles like “Auf Der Dunklen Seite Des Mondes“ (“On The Dark Side Of The Moon”) and “Mitten Ins Herz” (“In The Middle Of The Heart”) she had ready-made ideas for the lyrics and ideas for the song. I usually start with the keyboard, then play the bass and then the drums. Most of the time, the song gets fatter and more complex –that doesn’t always work. With “Mitten Ins Herz”, an emotional framework turned into a wall-of-sound bombast that crushed the great lyrics. Then I went back and just used the piano with organ and soft strings –less is sometimes more. We also took out the beatbox on tracks like “Totentanz” and “Scharlachroter Schnee”. Of course, the song is less pushy, but once you get used to it, it sounds a lot more interesting and complex to mine, Bettina’s and Tom’s ears without the obligatory dancefloor dance drum.

In 2020 we recorded my 70s-Staccato and Northdrums. They are single-headed and so they can´t create a various and deep sound like a modern maple-kit. So we had the idea to record the drums acoustically with a modern PDP maple kit. Songs like “Totentanz” and “Scharlachroter Schnee” with the powerful tombeats simply make the difference to the drum-to-midi recordings with triggers and BFD/Affinity drums. The toms sound more complex and the snare simply punches more –the rim sound is also more poisonous. The real cymbals also convinced me –especially the ride and the hihats. Some songs like “Auf Der Dunklen Seite Des Mondes” or “Tänzer Im Regen” both have a classic songwriting structure with verse, bridge, chorus, etc. I worked out a second bridge and chorus variant for both of them –atypical for Oberer Totpunkt, but we enjoyed it. The overly long song is also an Oberer Totpunkt-classic. That’s two songs this time. “Rot, Schwarz, Herz” and “Rien Ne Va Plus”. We only separated them because we were afraid that with typical song zappers who only listen to a minute of a song, the jazz variant would be lost. Also typical of Oberer Totpunkt are loop-oriented titles, on a theme without change or refrain, such as “Dystopia” or “Die Krieger”. For “Zeit Verfliegt” (“Time Flies”) and “Jetzt Oder Nie” (“Now Or Never”) I used Simmons samples.

By coincidence we chose the title “Totentanz”, reminding the name of our label, Danse Macabre Records. First of all, we are happy to hold this multi-faced album in our hands. It’s a conceptual album again and like all our albums it’s actually a double LP with more than 60 minutes playing time and 16 songs! According to normal playing length, that would be our twelfth CD. We hope there’s something in the selection for most, depending on whether you prefer the quiet, hypnotic, lyrical, rock, or danceable side of Oberer Totpunkt.

Q: “Totentanz” reveals an interesting mix of influences reminding me to KMFDM and ‘Neue Deutsche Härte’ with extra EBM elements on top. How would you analyze and define the production? And did you handle specific criteria and references in the composition- & production process?

Michael: That’s a good analysis. We like EBM, Rock-elements like in Neue Deutsche Härte-Stuff and… KMFDM? Never heard that, but I like them and we are friends of the KMFDM-drummer Rudi Naomi. “Totentanz” opens musically with a rocking intro that we composed for the 2019 US-tour as support for Das Ich so that the audience can remember our name. That was a good idea –and that’s exactly how we wanted to start the album with “Oberer Totpunkt” and end it with “Unterer Totpunkt” with five bass lines grooving in competition until the double bass takes over and the whole thing then on the piano ends with the poetic finale by Bettina. With “Totentanz”, “Dia De Los Muertos” and “Scharlachroter Schnee” I have built three pieces on mystical sounding and different percussive tombeats. The album starts rocking, gets bombastic and more and more electronic and minimalistic until it ends in a quiet ballad. Then it gets Pop-Rock, Psychedelic and harder and harder until “Die Krieger”. Then comes our long song, which we have divided into two pieces this time: “Rot, Schwarz, Herz” and “Rien Ne Va Plus” –a crazy Jazz track… we always wanted to do something like that. This is the song for Bettina with top hat and tuxedo! We have again combined many genres from purely Electronic to songs with a classic Rock line-up, for which I played all the instruments on some titles because of Covid-19. Last but not least, our guitarist Stefan Frost can be heard again with many cool Metal and Rock riffs.

Q: “Totentanz” clearly sounds as your most accomplished and successful work to date. So it’s not really surprising the album became number one in the famous DAC. What does that mean to you and how important are the ‘Deutsche Alternative Charts’ for German artists? Is there a kind of impact on sales, live shows etc?

Bettina: Of course we are very happy about this ranking which indicates the opinion of professional DJs and Radio-DJs. So that’s a creative statement which really means something. Yet we don’t know if this will have any impact on sales; let’s wait for the end of the year. In relation to live shows we don’t see a lot of possibilities this year. Because of the pandemic a lot of concerts and festivals were cancelled so there are still some line-ups to be caught up since 2020…

Another fact is that many small clubs and festivals didn’t survive the crisis, which means that there are fewer locations for live concerts. We hope for the next year!

Michael: But until then we are happy to present a video for each of our songs on the new album. We made 16 live-videos with 16 different outfits, 6 drum sets and 6 guest musicians! Not in 6 weeks or 6 hours! We needed 6 hours! We couldn’t agree on the songs so we said let’s take them all. Besides, a good opportunity to see how the singles of the whole album work live. We release them every week or month. Hope we can play the album asap live in a club.

Q: What’s the input of each member in the writing process of the album, the live shows, the artwork and who’s taking the final decision? And how does it feel to be involved with a music band as man and wife?

Bettina: The words are my part, the music is the part of Michael. Together we develop and rehearse for our live shows. Finding decisions is a process which we make together. Actually we are used to work together as long as we know each other. We started as colleagues working for a newspaper years ago. So it feels very common to share our creative work also.

Michael: That feels cool because when I played in other bands as drummer your partner asks you: ‘How was the show?’ and you answer ‘Great!’ That’s all and you know that means nothing! So we both know what it means and how it feels to make an album or to make a live show and know the hard work and creative process behind it, that most of non-music-friends and most part of the family never understand. They think it’s like meeting with a cooking club every week. At “Totentanz” I ran a beatbox on the loop songs and then jammed along live on the Nord Drum3P and my synthesizers. Just like a solo jam session. This is how you can use machines alive. If the songs are rough, I’ll get Frosti on board. He played the Metal riffs and good ideas for Grunge type guitar styles. His run to “Tänzer Im Regen’” is great. The Spaghetti-Western guitars are also amazing. Bettina had the idea of recording the flute on “Tänzer Im Regen” and “Liebeleid” and a timbale solo on “Totentanz”. What I find particularly cool are the acoustic hihats I play live with the electronics. On “Unterer Totpunkt” and “Zeit Verfliegt” the 16th and 32/64th hihat fill-ins bring a casual swing to the basslines, that a non-drummer or DJ would never or could never program. Speaking of thunderstorms of rhythm, on “Dia De Los Muertos” three bass lines work against four percussion tracks and the drums. In the last song “Unterer Totpunkt” five basslines are grooving. I love songs in which the grooves with different accents and rhythms with linear, triplet and half-time/double-time resolution create trembling beats and restlessness. To sum it up. I´m not the biggest fan of complete computer generated Electro-Music –for me it sounds always a little bit like plastic. Electronics are cool but the taste of real instruments, drums, bass, guitars, percussions, live played keyboards bring the mud and life into music!

Q: Bettina and Michael, when taking a look at your personal homepage I discovered a person who’s not only interested in music but also in traveling, diving, poetry… so I can imagine getting in touch with other cultures and artistic forms must be enriching for mind and body. Tell us a bit more about it and how do you find a balance between all interests and activities?

Bettina: Writing for music or for poetry is familiar –often I am writing and don’t know yet how I will use it later, and sometimes I am writing especially for a music track. Then I listen to the music to find out what it tells me. Then I only have to write it down. On the other hand I love traveling and diving. These items are going together perfectly. But of course I am not in every second of my life in a productive creative phase. It is necessary to experience things and then to let thoughts grow inside yourself before you can ‘produce’ and write down.

Traveling and diving are things that Michael and I are sharing as well. It took years for us to build up the life we want to live as writer and musicians and as travel journalists. The year 2019 for us was an awesome year in relation to traveling and live shows as the US-tour together with Das Ich. The pandemic made an end to this –there were several lockdowns, clubs and festivals died in consequence which means less chances for bands to play live. Now we have to build it up again as many other artists too. We are looking forward to the next years!

Michael: If you don’t dive and travel, you’ll miss half of your life. Those who don’t make music miss the other half. And if your partner doesn´t share these things you’re no really partners. In fact, we are passionate divers, worked also as dive masters and still as travel journalists. Once in a lifetime we had the possibility to combine both passions, when we joined Das Ich during the Gothic Cruise 2019 in the Caribbean. We hope to do that again! I would say our Soundtrack is “Letzter Gang” from our album “Erde Ruft” – here is an impressive video about it: https://www.youtube.com/watch?v=Qwwij1SmiRE

Oberer Totpunkt – Totentanz (Album – Danse Macabre Records)

Inferno Sound Diaries — Fri, 29 Apr 2022 07:00:00 +0000

Genre/Influences: Industrial, EBM.

Format: Digital, CD.

Background/Info: German formation Oberer Totpunkt has been active for several years now. They don’t exactly release new albums on a regular basis, “Totentanz” being their first album in five years and the sixth opus in their history.

Content: “Totentanz” features 16 songs mixing Industrial and EBM. Driven by aggressive bass lines, industrial driven guitar playing and EBM influences, “Totentanz” also has something Punkish. Bettina Bormann sings a half sung half spoken way, sometimes a bit whispering like and nonchalant.This work reminds me of KMFDM mixed with EBM.

+ + + : “Totentanz” is without a shadow of a doubt the most accomplished and successful work by the German band. I like the global sound approach resulting in a perfect and powerful balance between Industrial and EBM. There are several great songs featured. I’ll mention “Dia De Los Muertos” (previously released as a single) for its empowering Industrial sound. Other cuts like “Jetzt Oder Nie”, “Die Krieger”, “Rien Ne Va Plus” and “Unterer Totpunkt” have an extra EBM touch on top and are all worth to discover.

– – – : Oberer Totpunkt took me by surprise and I don’t see real minus points. The title song isn’t the best cut but that’s not really a point.

Conclusion: A modern Industrial release and a sexy alternative to the typical ‘German Neue Härte’.

Best songs: “Dia De Los Muertos”, “Jetzt Oder Nie”, “Die Krieger”, “Rien Ne Va Plus”, “Unterer Totpunkt”, “Oberer Totpunkt”, “Totentanz”.

Rate: 9.

Artist: https://totpunkt.com / www.facebook.com/TOTPUNKT

Label: www.dansemacabre-group.de / www.facebook.com/dansemacabrerec

The Spiritual Bat offers first MCD from new album

Bernard - Side-Line Staff — Tue, 08 Mar 2022 17:49:09 +0000

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

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

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

You can check out the Video for “Mission” below.

Accolade – Tria Prima (Album – Danse Macabre)

Inferno Sound Diaries — Sun, 02 Jan 2022 08:00:00 +0000

Genre/Influences: Ethereal.

Format: Digital, CD.

Background/Info: Accolade is a Seattle (USA) based band, which joined hands with Danse Macabre to unleash their new album. The band is driven by singer Stefanie Renée plus Aaron Goldstein and Mike Hines.

Content: One of the first elements emerging from this work is the beautiful and classically trained voice of Stefanie Renée. She has a noticeable high timbre of voice, injecting this Ethereal and Neo-Classic aspect to the work. Sound-wise the music has been composed by different authentic/acoustic instruments and Electronic treatments. It’s a delicate composition, although featuring rousing passages, which together with the vocals create an elevating sensation.

+ + + : Accolade is a band I can’t remember having ever heard before, but, which I’ll not forget soon. I don’t want to compare their sound and the heavenly sensation of the vocals with Qntal, but there are for sure similarities. The delicacy of the composition together with the graceful singing of Stefanie Renée has something magic. Songs like “Relentless” and “Unconscious” both are little Ethereal pearls. The songs have something dark and yet enlightening and with a perfect balance between music and vocals. Another great song is the last one; “O Virga Ac Diadema” sounds more Electro-driven, but has a similar effect as the aforementioned cuts.

– – – : I can’t say this album has true minus points, but it just takes a few songs to realize the real potential of “Tria Prima”.

Conclusion: Accolade is a talented Ethereal formation, which deserves more recognition. “Tria Prima” is a beautiful album to watch out for.

Best songs: “Relentless”, “Unconscious”, “O Virga Ac Diadema”, “Confliction”, “Encantation”.

Rate: 8½.

Artist: www.facebook.com/accoladeseattle

Label: www.dansemacabre-group.de / www.facebook.com/dansemacabrerec

Oberer Totpunkt launches first single, ‘Dia De Los Muertos’, from all new album

Bernard - Side-Line Staff — Mon, 01 Nov 2021 08:50:22 +0000

Out via Danse Macabre is the newest single from the Hamburg based dark rock act Oberer Totpunkt: “Dia De Los Muertos”. The track is the first sign of life from the band’s new coming album, the follow-up to 2017’s “Neuroses bloom”.

Oberer Totpunkt combines crossover dark rock and EBM and is being marketed by their label Danse Macabre as a representative of the New German Death Art. The project began in 2006 as a duo with Bettina Bormann (vocals) and Michael Krüger (composition, drums). Oberer Totpunkt is supported live by Stefan Frost (guitar, bass) and Denis Scheither (keyboard, bass, vocals). Former members include David Nesselhauf (bass), Gunther Laudahn (guitar), Tom Wendt (guitar), Puppenformat-C (performance) and Angelus R. Bleischwitz (dance).

Here’s the video for “Dia De Los Muertos”.

Click Interview’ with Tommi Stumpff: ‘Utilitarian Music’

Inferno Sound Diaries — Sat, 09 Oct 2021 17:00:00 +0000

Belgian born Thomas Peters better known as Tommi Stumpff became a true reference in the world of 80s EBM. Albums like “Terror II” (1988) and “Ultra” (1989) became successful productions featuring hits like the legendary “Massaker”, but also “Lobotomie” and “Meine Sklavin”. Nearly twenty years after his last studio production, there’s a new (mini)-album hitting the streets. “Alles Idioten” released on Danse Macabre Records features six songs mixing solid Electronic bass lines together with the Industrial power of the guitar play and enraged vocals. The production is getting us back to the powerful- and rough sound of the artist. Stumpff is now a true band already working on new songs.

(Courtesy by Inferno Sound Diaries)

Q: “Alles Idioten” is your first new work in years. What have been the triggers to start composing music again and what are the most significant changes/evolutions compared to your early years?

Tommi: I was seeing bands with guys of my age, and that gave me the idea to start jamming again. I met up with Rüdiger Schuster at the Amphitheater back in 2014 and we decided to give it a shot. The big difference from my solo career is that this time, we’re hitting the stage as a band –with guitars. The sound became harder and more metallic. The baritone guitar from Sam H. Hunt is also part of our sound now.

Q: Are you nostalgic? I mean how do you look back at the songs and albums you released in between 1982 and 1993? And how did you perceive the evolution of music (and the scene) after you stopped yourself making music?

Tommi: No, I’m not that nostalgic, but the music from that era –especially what I had been doing back then –well, I like it more than ever before. After all, it wasn’t long ago that I re-released my old albums “Zu Spät Ihr Scheißer”, “Terror II” and “Ultra”. Songs like “La Lueur”, “Lobotomie” and “Creve Petit Con” in particular –those are ones we still play live nowadays. It’s as much fun for me listening to them as it ever was.

I can’t think of any big jump that I’ve made from the music I was doing back around 1993. But I hadn’t spent that much time with it, either.

Q: I think it’s nearly impossible comparing the 80s with the music of today and yet, I get the impression listening to “Alles Idioten” brings the good-old Tommi Stumpff sound alive. Tell us a bit more about the writing- and recording process of the album? What are the main points of satisfaction and what have been the main difficulties/challenges you encountered?

Tommi: It all begins when I start working on an idea I’ve in mind, and then I start putting the Electronic parts into place. Either I start with a melody, or I’ve already got a line in my head. The lyrics always come last.

Being able to switch to digital instruments in Linux was a great opportunity, giving me more control over the sounds I was creating than I ever had before. The analog parts –guitar and vocals, are recorded in a conventional manner at Dungeon Studio, Rhenania, with the help of Marcel P.

Q: Because of the ongoing pandemic it’s rather strange to unleash a new album in such hard times. “Alles Idioten” however sounds as an appropriated title to reflect the world we’re living in. But what is it really all about and what did you try to express by this title and the lyrical themes?

Tommi: It will take more than a pandemic to keep me quiet. The songs were already done and had to get out there. What’s interesting is that 90% of everybody thinks that 90% of everybody else are a bunch of idiots – which may very well reflect reality.

Our new album “Alles Idioten” is. When the situation calls for it, it feels good to shout “Geh Sterben” ([fuck off and] “Go Die”) or “Alles Idioten” ([you’re all just] “A Bunch of Idiots”).

Q: Your music has been often connected with EBM, but I always experienced your sound as ‘atypical’. It’s not that different for the new work. How important for you is it to always have had this particular sound, kind of sound DNA?

Tommi: Sounding different from everything else has always been very important to me. Needless to say, the new songs have the personal Tommi Stumpff touch too. I always tried creating distinctive sounds from the very outset, and that hasn’t changed, although I do make most of my sounds with Yoshimi and Linux. Whenever a certain sound captures my attention, I’m quick to record it and use it in one of my pieces.

Q: You lived in Brussels (Belgium), Paris (France) and of course Düsseldorf (Germany). How important has been the impact of the places you lived on your music? And what did you keep in mind from you stay in Belgium and France?

Tommi: None of that really influenced me that much. I started playing guitar when I lived in Brussels, and when I came back to Düsseldorf at the age of 16, I wanted to launch a career in music. We played in a schoolboy band back then.

The things I remember most about Belgium and France were the schools –and the smells. Brigitte Bardot lived near our place in Paris.

Q: Do we have to see “Alles Idioten” as a ‘one shot’ experience or do you’ve concrete further plans?

Tommi: We’re not calling it quits. We’re working on new songs.

The Snatcher – Kalt (EP – Danse Macabre)

Inferno Sound Diaries — Sat, 11 Sep 2021 18:30:00 +0000

Genre/Influences: Dark Electro-Pop, Electro-Wave.

Format: Digital.

Background/Info: German project The Snatcher has already released multiple singles and two albums. This new EP features six songs plus one remix.

Content: It’s not that easy defining the sound of The Snatcher, but the title song makes me think of an imaginary offspring between Welle:Erdball and Dorsetshire. With the exception of one song, all tracks have been sung in German. A few tracks feature female backing vocals. “Kalt” is mixing power and melody, rage and a sense of humor. There’s also an atypical song featured, which is a kind of unplugged ballad roughly sung in English.The last song is a remix of “Kalt” by Merry Chicklit.

+ + + : I definitely like the melodic and danceable side of the band. “Kalt” is a pretty cool title track carried with some kind of ping-pong sequences. The remix of Merry Chicklit features female backings and is another cool exposure. “Meckerziege” is another noticeable track and here again featuring female backing vocals. The Snatcher doesn’t really innovate and sounds typical German-like, but this new EP is efficient.

– – – : The EP often gives bands the opportunity to release weird and unusual tracks. The ballad-like “Lost Again” is such a song and definitely one you can better avoid.

Conclusion: “Kalt” is a cool song for the dancefloors and for sure an EP that will increase this band’s popularity.

Best songs: “Kalt”, “Kalt – Merry Chicklit Remix”, “Meckerziege”, “Damokles”, “Quarantaine-Källe”.

Rate: 7½.

Artist: www.thesnatcher.de / www.facebook.com/theofficialsnatcher

Label: www.dansemacabre-group.de / www.facebook.com/dansemacabrerec

Stumpff – Alles Idioten (Album – Danse Macabre)

Inferno Sound Diaries — Thu, 12 Aug 2021 18:00:00 +0000

Genre/Influences: EBM, Crossover, Industrial.

Format: Digital, CD, Vinyl.

Background/Info: Belgian born Thomas Peters better known as Tommi Stumpff became one of the leading artists of the 80s Electronic underground scene. His biggest hit “Massaker” is part of our collective memory. Nearly twenty years after his last work Stumpff is back with a new (mini)-album featuring six songs.

Content: “Alles Idioten” is a cynical wink to the world we live in. Five songs have been sung in German, which remains one of the artist’s characteristics, but the last track features English vocals. Sound-wise the new songs are bringing us back to some of his early success tracks, “Massaker” remaining the reference. The compositions are mixing solid Electronic bass lines and sound treatments on one side and the typical guitar riffs on the other side.

+ + + : Stumpff hasn’t lost his early magic and this new work sounds even better than some ‘old’ albums. There’s a constant power running through the tracks while the balance between Electronics and the great guitar riffs remains a unique experience. The title track is a great piece, but I prefer the more powerful and EBM-driven “Geh Sterben”. This work smells like pure nostalgia!

– – – : The single regret is the album only features six songs.

Conclusion: Stumpff strikes back with power and style; it sounds like time has no impact on the new songs. This is a cool comeback!

Best songs: “Geh Sterben”, “Alles Idioten”, “Frohes Fest”.

Rate: 7½.

Artist: www.facebook.com/tommi.stumpff

Label: www.dansemacabre-group.de / www.facebook.com/dansemacabrerec

Vukovar – The Colossalist (Album – Other Voices Records)

Inferno Sound Diaries — Thu, 29 Apr 2021 19:00:00 +0000

Genre/Influences: Gothic, Experimental, Abstract.

Format: Digital, CD.

Background/Info: UK formation Vukovar is now active for a couple of years and released late 2020 their eighth album to date. “The Colossalist” is meant as the first chapter of the “Eternity Ends”-trilogy. The work deals with personal dramas and failures.

Content: “The Colossalist” invites the listener to join in for a voyage of 11 tracks. After a rather chaotic debut song the work is progressively evolving into multiple directions. From pure Gothic-driven cuts towards a more Experimental approach (like shown at “The Higher Low), the songs are mixing guitar and electronics. I noticed a few more minimal-driven cuts wherein the atmosphere recovering the composition became more prominent.

+ + + : Vukovar is once more awakening some 80s ghosts, but this work moves further, like exploring different horizons and exorcising new ideas. The atmospheric side of the album is overwhelming, sometimes intimate and even reminiscent of a kind of Cabaret-style. The work stands for diversity, sometimes evoking early rehearsals in a cellar or garage and next being more accomplished with a mature production. One thing is for sure, Vukovar is doing their own thing.

– – – : Some songs are suffering from a lack of production and especially some of the debut songs are a disappointing. You can hear a poorly inspired production of the vocals on “Here Are Lions”.

Conclusion: If this album is meant as the first one of a trilogy, I can only hope the best is yet to come.

Best songs: “A Danse Macabre”, “End Of A Life Delirium”.

Rate: (6).

Artist: www.facebook.com/VukovarUK

Label: www.othervoicesrecords.com / www.facebook.com/pages/Other-Voices-Records/196767663702999

‘Click Interview’ with DIE BRAUT: ‘Music Has To Be Sexy In All Its Dimensions’

Inferno Sound Diaries — Thu, 11 Feb 2021 18:00:00 +0000

Chilean duo Die BRAUT has been set up in 2007 by singer Katia Figueroa Letelier and composer Voz y Líricas Cristián Soto Vanell. DIE BRAUT is for sure one of the most familiar Electro-underground bands from their country. They released albums on labels such as Danse Macabre, Orion and NoiTekk. They last year released their newest opus “Virtual Communication” on the Russian label ScentAir Records. It also was the band’s first full length album since “Psychotherapy” (2011). The songs are danceable pieces mixing elements of Electro-Pop and New-Wave music, but it’s without a shadow of a doubt the most mature and accomplished work of the band to date. Time for a chat with the Chilean duo.

(Courtesy by Inferno Sound Diaries)

Q: You guys are active under DIE BRAUT moniker since 2007! What do you consider as the main facts in the band’s history and how did you evolve from the early years till today?

DB: Exactly! And that name is due to the existence of a frontwoman in the band. For years now we have enjoyed our art and reached great moments like the release of every single and album, each performance, all what we’ve learned from great musicians who left us and the affection and support of the people. We of course always cherish the great moments.

We especially keep in mind two great festivals where we were invited to play. There was Wave Gotik Treffen in 2011 and Orus Fest in 2016, both leaving us a clear feeling of doing things well and being able to enjoy playing in front of thousands of people, which we like the most of all.

Evolution is part of the same learning and love for music, dedication, study, being clear about concepts and always ready listening to others, to live each experience as the best of our lives and thus continue to grow.

Q: You last year released the new album “Virtual Communication”, which clearly sounds different in sound and influences. The global production is more ‘Pop’-driven, but what’s your perception of this work and what have been the main influences to compose the new stuff?

DB:The perception of things is subjective and influences have always been present in our lives. Mainly it is about experiences, things that happen to people, illnesses, hunger, abuse, misery and pain. Musically for us the influences to compose this or another album have always been the same, the difference is that we can show it with different faces and nuances. We love Synth-Pop, as well as Grunge, Rock and all its evolution over the years. What is changing from an album to the next one is the concept of each work and we think that today the most appropriate thing for us is to present “Virtual Communication” as one of the great shortcomings of human being in recent times and we believe that it was just the right time to say it.

We will never pigeonhole ourselves into anything specific and we also don’t believe there’s a reason to have another band with a different musical style. We are sure that variations feed our creation and that is how we have seen it reflected in our albums and listeners.

Q: The lyrical content of your work has often been a critical perception of what happens in your own country, Chile, but what did you try to express on “Virtual Communication”?

DB: Indeed, the truth is that we spent a good time showing our own experiences as a country and American continent, but this is what we commented in the previous answer; each concept may differ as time passes and while we observe it, it is worth telling it. “Virtual Communication” means a globalized world, mixed with the immeasurable expansion of social networks, their aggressiveness and their misuse. It stands for the selfishness of nations, people and not having an own identity, where written criticism seem to have more value than honest conversation.

We don’t see it as a path in the opposite direction, but as something that is a real fact from which we must know how to take advantage and learn to be able to relate.

Q: Do you follow a particular procedure to compose the music and writing the lyrics? Do you’ve specific references when it comes to production?

DB:Music is supposed to be spontaneous, something that comes from the heart and mind, and not necessarily from a synth or computer. Music has to be sexy in all its dimensions and the transforming channel of ideas into songs, so we don’t have a specific way to start working. As we said before, it’s enough to be clear about the concept on, which we want to deepen and all that results from it is an album as we have made it

Q: I noticed you’ve been already worked with multiple labels; Orion Records of course, but also European labels such as Danse Macabre, Noitekk, Advoxya Records and now ScentAir Records. What makes you’re constantly working with new companies and what do you expect from a label?

DB:We believe that each of them has been a great learning experience. All things always have a limited time and we have lived it to the end. Some of them are no longer active and regarding others it simply were personal decisions, which have nothing to do anything specific. We see positive the fact that each of them has had enough interest to have welcomed us and believed in our music, and from our side to have been able to go a step further.

Right now we are happy with ScentAir and we hope to continue releasing records on this label. Promotion and support both are very important itemds and you don’t hear us to complaining in all what we got so far.

Q: Artistic activities have been affected all over the world because of the Covid-19 pandemic. How’s the situation in Chile and how do you try to manage this situation now that you’ve a new album out? What brings the future for DIE BRAUT?

DB:Of course, and it’s a global health issue. For now we just have to wait patiently and stay current by making more and more records. A new single with remixes will be released pretty soon and we’re working on a new album with another lyrical and musical concept, which is totally different from “Virtual Communication”. It will surely transport the listener to the 80s with a theme refering to love and respect for nature, native peoples and a lot of geographical histories, which we believe represent us spiritually. It will remain Electronic music in all its variations!

Thank you very much for this interview and the support of our work

‘Click Interview’ with Placebo Effect: ‘Placebo Effect Was Never A ‘Band’ That Met To Make Music Together’

Inferno Sound Diaries — Sun, 03 Jan 2021 18:00:00 +0000

2020 has been the year of the real come-back of PLACEBO EFFECT. This German trio driven by Axel Machens, Christoph Kunze and Achim Windel was active between 1989 and 1999. They gained instant recognition with the cult-album “Galleries Of Pain” released in 1992 on Danse Macabre. The songs were dark, tormented and aggressive. “Manipulated Mind Control” released two years later on Ausfahrt was less aggressive, but confirmed the status of the band. In between both albums they also released the EP “Slashed Open”. After a long hiatus the band reformed in 2014, but two years later Achim Windel passed away. But Axel Machens and Christoph Kunze went on and this year self-released the new full length “Shattered Souls”. The work sounds as a true offspring between the rage of “Galleries Of Pain” and the atmospheric content of “Manipulated Mind Control”. This new work brought me to get in touch with front man Axel Machens.

(This interview has been possible thanks to Anju Asariel –who also did the artwork for “Shattered Souls” / Courtesy by Inferno Sound Diaries)

Q: More than twenty years after your last album, PLACEBO EFFECT is back! I can imagine a lot of things must have happened including the loss of Achim Windel. How do you look back on the past years and what incited you to work on new music again?

Axel: Yes, a lot has happened in the meantime. 20 years is that long. A moment full of joy, experiences and unfortunately also losses. A life experience that you don’t see at the horizon as a youngster. I have been working or making music for a long time, almost every day. In other words, it didn’t become so important for me to publish something anymore, but just to make music for me, which is actually enough for me personally. Some of the tracks from “Shattered Souls” were created and ‘listened to for the long haul’ years ago to appear on the album. Others were created at short notice. It was only thanks to our loyal fans with their tireless desires for love that “Shattered Souls” ended in an album 🙂

Q: A lot of things have changed since the 90s, but I especially think about technology, equipment, social media, streaming platforms etc. How do you look at all these changes and evolutions and how would you compare composing music in the 90s and today?

Axel: I think it’s a great time. It has never been so easy to draw the attention of people around the world to your artistic work. The only thing that has changed is the simplified access and centralization of the data. A few years ago we went to a record store to buy the music, but nowadays you almost always buy everything online. Content and medium are the same. There has always been a lot of music and musicians. As far as making music is concerned, the step from the 70s to the 80s was bigger; from analog to digital. The emerging workstation concept, according to which multiple instruments could now be played on one device, recording

and being able to edit (all of our early albums were created this way) is truly groundbreaking. If you compare it to today, not much has changed. Of course there are software instruments that would be difficult or very expensive to build as hardware, but the way in which they are made has remained the same. Today 8 tape tracks were recorded on infinite digital tracks. Basically, not much has changed. Features have been added. And the displays are bigger

now 🙂 And of course ‘making electronic music’ is accessible to everyone, including on the mobile phone.

With today’s DAW, you can link instruments to effects, layer them, and do other wild things. But is it still musically expressive in the end?

Q: It took you several years to achieve the new album “Shattered Souls”, but what kind of work did you finally wanted to accomplish and how did it all happened without Achim?

Axel: A dark atmosphere is the key word for “Shatterd Souls”. And that’s the headline that was on the album from the start.

Placebo Effect was never a ‘band’ that met to make music together. This only happened a few times in the initial stages.

Tracks were always written alone and they came together on one album.

Q: “Shattered Souls” is a dark title for a dark album, which is mainly dominated by obscure atmospheres. The album is also released in very dark times… but what is the album all about and what does it reflect about reality?

Axel: The album is not a ‘Covid-19’-album. Except that we can’t present it live at the moment, not much has changed for me personally; wearing a mask and keeping distance in everyday life nothing else. Textually, Placebo Effect was never really ‘tangible’ for us, it doesn’t pursue a concept like ‘I write a text sit down at the piano and develop a song’ or ‘we have the very important message here’… It only follows an intuition when playing. Words come quite automatically that was always so.

Q: I noticed the artwork of the album (at least the front cover) is clearly reminding your previous albums. What is it all about and what did you try to express by the artwork of “Shattered Souls”?

Axel: The atmosphere is above beats per minute.

Anju: When it came to the artwork I created for PLACEBO EFFECT, I was inspired by the music alone and it was very important to me to reflect the dark atmosphere that touched me. The listener should not only be touched by the music, but also by the visual impression, like in a book or in a film, the visual impressions are very important and also decisive whether you can let yourself fall into the music or the text. Both simply belong together.

Q: How much of the young artists you were in the 90s do you still recognize today and in “Shattered Souls”?

Axel: The curiosity about how electronic sounds are produced is still there and when I feel a shiver while listening to music, which I like.

Q: Are there things you would have done a different way and what brings the future for PLACEBO EFFECT?

Axel: Today I would rather have invested money in piano lessons and composition lessons than in one or the other synthesizer.

As soon as it is possible we want to present the album at a few selected festivals. I’d rather not promise another album,

our fans are very accurate, the never forget us and can be very persistent …:-)

Placebo Effect – Shattered Souls (Album – Placebo Effect)

Inferno Sound Diaries — Thu, 03 Dec 2020 19:00:22 +0000

Genre/Influences: Dark-Electro, EBM.

Format: Digital, CD.

Background/Info: This album stands for one of the most surprising and exciting comebacks from the last few years. German trio Placebo Effect was active between 1989 and 1999. Driven by the trio Axel Machens, Christoph Kunze and Achim Windel the band gained instant recognition with the referential album “Galleries Of Pain” released in 1992 on Danse Macabre. The next album “Manipulated Mind Control” released two years later on Ausfahrt didn’t get a similar success although it confirmed the status of this band. Johan Van Roy (Suicide Commando) once affirmed Placebo Effect probably was one of the true inventors of the Dark-Electro style. Placebo Effect reformed in 2014, but two years later Achim Windel passed away. But now the band is back as a duo self-releasing their first new album in twenty six years!

Content: “Shattered Souls” features 15 songs and is much diversified work. A few songs remind me of the harshness and power of “Galleries Of Pain” while most of the compositions reflect a Dark-Electro atmosphere. I can’t say that it sounds typically 90s, but you for sure recognize some elements while the vocals of Axel Machens are more polished, but still aggressive. You’ll also notice a few shorter tracks, kind of intermezzos in the tracklist.

+ + + : This album is an important production as Placebo Effect definitely belongs to the collective memory of the 90s. I think it makes no sense comparing the new stuff to “Galleries Of Pain”, the band members being now 28 years older. It probably explains why there’s no longer the same rage, which has been replaced by an omnipresent dark atmosphere. This album has something haunting revealing well-crafted songs with cool strings. “Evil Dead Trap” is for sure one of the most noticeable songs in this genre, but I can also mention “Feed Your Creatures”, which simply is a beautiful track. I however prefer the few harder cuts, like a wink to the past… “Pain” and especially “Hard Work” (which is an older song that has been reworked) both are potential hits. I also have to mention “Down On Your Knees”, which is another cut belonging to the harder side of the work. Last, but not least I also have to say a word about the artwork of this album; if you know the older releases you’ll directly notice the link with “Shattered Souls”.

– – – : I think a few songs could have been a little bit extended. And I’m not referring to the kind of intermezzos, which I’ve to say don’t really add an extra to the album. I also regret there’re not a few harder cuts featured.

Conclusion: Placebo Effect is one of the numerous comebacks and I’ve to say I wasn’t disappointed. This band still has a real potential while bringing something different to the Dark-Electro scene, which remains a music genre that is too often repeating itself.

Best songs: “Hard Work”, “Pain”, “Evil Dead Trap”, “Down On Your Knees”, “Slave”, “Feed Your Creatures”.

Rate: (8).

Artist: www.facebook.com/PlaceboEffect.official

Die Braut – Virtual Communication (Album – ScentAir Records)

Inferno Sound Diaries — Wed, 11 Nov 2020 20:30:41 +0000

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

Format: Digital, CD.

Background/Info: Set up in 2007 by singer Katia Figueroa Letelier and composer Voz y Líricas
Cristián Soto Vanell, Die Braut clearly is one of the most familiar Electro-underground bands from Chile. They released their stuff on very different labels such as Danse Macabre, Orion, NoiTekk and Advoxya Records while this new opus (the first ‘new’ album since 2011) has been released on Russian label ScentAir.

Content: Die Braut already has experience with varied Electronic influences, but they’ve always been connected with some Pop influences. The new work is clearly moving in between Electro-Pop and retro-like Wave-Pop music. They’ve reached a very own sound, which is hard to compare and yet some songs remind me a bit of the spirit of Kirlian Camera. Die Braut definitely sounds more melodic and Pop driven, but the production is supported with a colder atmosphere. Most of the songs are danceable and masterly driven by the female vocals of Katia Figueroa Letelier.

+ + + : Die Braut probably accomplished their most elaborated and mature work to date. I can’t say that they are innovating, but they are simply good in what they do! This is an electro-Pop format with attitude! The songs are boosted by danceable kicks while the melodic choruses create an elevating effect. I also like the production of the vocals creating a perfect balance with the sound.

– – – : This album is maybe missing ‘the’ hit that would convince all Electro lovers of this band’s true potential.

Conclusion: Die Braut strikes back with style unleashing a well-crafted and efficient album.

Best songs: “Words In An Empty Space”, “Virtual Communication”, “Without Time”, “Dissonance”.

Rate: (8).

Artist: www.facebook.com/diebrautmusic

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

‘Click Interview’ with Masquerade: ‘Sometimes Masks And Heavy Makeup Bring Out Your True Nature And Personality’

Inferno Sound Diaries — Sun, 19 Jul 2020 17:00:55 +0000

Masquerade is a Finnish band hailing from Helsinki set up in 2012. They released the debut album “Ritual” in 2016 on Danse Macabre. They also released a few EP’s and finally released their second opus entitled “Where Nobody Can Hear You Scream”. The album was self-released in 2018 and released on CD in 2019 by the Russian label Sierpien Records till the German label Young & Cold Records gave it a new CD-edit this year. The work is also available as vinyl format. “Where Nobody Can Hear You Scream” sounds as a real revelation; not that much in the post-punk and cold-wave influences, but in the global writing- and production of the songs. If you don’t know yet Masquerade, this interview with their singer ‘Suzi Sabotage’ will hopefully incite you to discover this great band. (Picture credit by Vivian Tanner).

(Courtesy by Inferno Sound Diaries)

Q: Masquerade is already active since 2012. How would you analyze the evolution/changes from your first songs till today? And do you see main differences between both albums you released?

Suzi:I guess they have become more straightforward. There was a fair amount of experimentation in the beginning, but on our second album we went for that bleak, dissonant post-punk sound that I’m very fond of.

Q: Masquerade is an interesting band name, which I naturally link to people hiding behind masks to dissimulate their real faces. So is the image of a band –and of your own band, still a kind of masquerade? What’s the importance of the image?

Suzi:I don’t know where and I came across the sentence ‘We hide our faces to reveal our true selves’, but it has stuck in my mind and is kind of what our name is about. Sometimes masks and heavy makeup bring out your true nature and personality.

Q: “Where Nobody Can Hear You Scream” was originally self-released in 2018 –and later on re-released by Sierpien Records (Russia; 2019) and Young & Cold Records (Germany; 2020) in different formats. How do you look back at the writing/recording of the album? Are there things you would achieve a different way today?

Suzi:We had written, recorded, and pre-mixed most of the album already in 2017, actually. But as perfectionist as I am, I decided to re-record almost all of my vocals in 2018, then Jacques and I final-mixed and mastered it. I’m glad I didn’t rush the process because it ended up sounding much better as a result.

Q: I experience your work as a great homage to the legendary 80s decade of cold-wave and post-punk. The 80s remain something magic and still inspiring for young bands. So according to you what makes the magic of this decade and do you feel also close to other music periods?

Suzi: It might be foolish of me to idealize a decade that I didn’t even get to experience, but one can’t deny that people of the post-punk movement were a lot more physically present and active then than now. The existence of the Internet has grown the movement in numbers, for sure, but it has also made us more passive and fixated on the music of the past rather than that of the present.

Q: You guys are still involved with Virgin in Veil. I’m always fascinated how artists can switch between different projects. Considering aspects such as spirit, song writing, lyrical themes, global production… what are the main- and most significant differences between both bands?

Suzi:Virgin In Veil and Masquerade are as different from each other as vodka and wine. Already in the vocals you can hear the most obvious difference –I sing in Masquerade, whereas Jacques is the vocalist of Virgin In Veil, and our vocal styles are worlds apart from each other. Also, Virgin In Veil is pure, straightforward death-rock whereas Masquerade has a lot of classic post-punk experimentation in its music.

We also have a new neoclassical dark-wave band with Jacques called Wild Roses Of Winter which I think is very different from the rest of our projects.

Q: I noticed at your Facebook page you guys are clearly engaged against racism! What’s your perception about this terrible subject and do you think there’s a way that can help to make things change? Can music have a real impact?

Suzi:In my opinion, if you have any influence or audience whatsoever, you should use it for good and take a clear stance against injustice. Music has always had an impact on the surrounding world, so it can very well act as a catalyst for social change. From the very beginning, Masquerade has had a political component to it –we’ve had many politically charged lyrics, used antifascist symbols on our album covers and at our shows, and collected money for various causes, the most recent of them being Black Lives Matter. I’ve never been shy to use my voice to spread awareness about injustices, and I hope it has made a difference.

www.facebook.com/youngandcoldrecords

Masquerade – Where Nobody Can Hear You Scream (Album – Young And Cold Records)

Inferno Sound Diaries — Sun, 07 Jun 2020 19:30:51 +0000

Genre/Influences: Cold-wave, post-punk.

Format: Digital, CD, Vinyl.

Background/Info: Hailing from Helsinki (Finland) Masquerade has been active since 2012. A debut album (cf. “Ritual”) has been released in 2016 on Danse Macabre. They also released a few EP’s and finally unleashed their self-released next full length “Where Nobody Can Hear You Scream” in 2018. Later on the opus was released on CD by the Russian label Sierpien Records (2019) while Young And Cold Records this year released a new CD edit plus vinyl format.

Content: Masquerade composes a powerful mix of post-punk and cold-wave music. The songs are dominated by impressive guitar parts and the passionate –and sometimes enraged vocals of the female singer Suzi Sabotage. Her way of singing makes me think of the offspring between Siouxsie Sioux and Anne-Marie Hurst (The Skeletal Family). The work is also featuring dynamic drums and the rather typical low, vibrating bass lines. The tracks are rather short, but always powerful. There’s no break on this album, but just merciless, dark power!

+ + + : I really like this work for its power and rage. It’s the perfect fusion between post-punk and cold-wave, but first of all a great ode to the true spirit of 80s music. The guitar play is absolutely phenomenal and also reminds me of The Skeletal Family. Just pay attention to “Hallucinating”, which is a true masterpiece. This album sounds rough, but it’s a remarkable homage to the legendary 80s decade. The songs stand for passion and rage, for darkness and punch!

– – – : The only negative point –but is it really negative? I can imagine that originality is far to find. But does a band have to be original when composing this kind of music?

Conclusion: If you don’t know yet Masquerade, this album is an absolute revelation!We’re getting back to the darkest hours of post-punk, “Where Nobody Can Hear You Scream” being a little treasure.

Best songs: “Hallucinating”, “Faraway Lands”, “Too Depressed To Dance”, “Russian Roulette”.

Rate: (8½).

Artist: https://masquerade.fi / www.facebook.com/masqueradepunk

Label: https://youngandcold.de /

Astari Nite release new song ‘Capulet Loves Montague’ – listen here

Bernard - Side-Line Staff — Tue, 21 Jan 2020 11:48:37 +0000

Goth Rock/Post-Punk artists Astari Nite have released their new song “Capulet Love Montague”. The song pays homage to one of the most well known and tragic love stories in history, Romeo and Juliet.

Vocalist Mychael explains what inspired them to write the song: “Lyrically, “Capulet Loves Montague” came to life while my 11-year young best friend and I were fooling around with crayons on a rainy evening. Perhaps it was the colors that made it clear, a nursery rhyme was being created. A feeling of innocence came over me when the words “Christmas trees are frozen spiders, Cats are made from snow, terrified by what I think of, petrified in love” were written. I’m obsessed with silliness, which is often mistaken for my sadness, especially when it comes to storytelling.”

“Capulet Loves Montague” is released on Negative Gain (North America) and Danse Macabre Records (Europe). It will also be found on Astari Nite’s new album that will be released late spring of 2020.

You can listen to the song below.

Capulet Loves Montague by Astari Nite

Ground Nero – Divergence (CD Album – Danse Macabre Records)

Filip Wildhoney — Sat, 30 Nov 2019 13:58:53 +0000

Genre/Influences: Gothic rock, cold wave, post-punk

Background/Info: Third release (but first full album release on Danse Macabre Records) for the Belgian gothic rock band from the mining area in Limburg that was formed in 2016.

Content: Opener “Litany” is an uptempo catchy song that has all typical gothic rock ingredients to make it a dancefloor-filler. “Jabez” sounds a bit calmer but very melancholic and full of nice synth soundscapes. Track 3, “Ball & Chain” is full of sadness and bitterness, for me one of the lesser tracks. The next 2 songs “Heaven Sent” and “Divergence” are especially vocally very strong and reminded me strongly on other bands in the goth-scene like The Wake, Love Like Blood and The Merry Thoughts, in a positive way. The dark atmosphere created on “Savannah” is very special because of the nice guitars and different way of singing. “Alacrity” sounds very bombastic but has a good combination of synths and guitars. And then it’s time for the best track of the album: “Today No Day” that has a sinister voice, nice guitar-riffs and danceable beats, a club-hit for the goth scene? More of this on “They Knew”, another uptempo song driven on a catchy synth melody and a very different voice. “Kitezh – The Path” is the last song, full of melancholic dark soundscapes.

+ + + : “Divergence” keeps the listener interested until the very end, especially the last 3 songs are very nice compositions. You can hear that a lot of efforts were put into creating this album.

– – – : There are not many new musical elements on this album, which is typical for this genre, although the traditional dark and doomy atmosphere is well represented.

Conclusion: The deep voice of singer Guido (Gwijde) Wampers combined with the gothic guitarplay of Nomad and the pumping bass of Peter Philtjens make from Ground Nero a fixed value in the Belgian goth scene.

Best songs: “Litany”, “Heaven Sent”, “Divergence”, “Savannah”, “Today No Day”, “They Knew”.

Rate: (8½) WH.

Artist: www.ground-nero.com / www.facebook.com/Groundnero
Label: www.dansemacabre.de / www.facebook.com/dansemacabrerec

DaGeist – Sexy (CD Album – Danse Macabre Records)

Filip Wildhoney — Sun, 04 Aug 2019 22:28:50 +0000

Genre/Influences: Electro cold-wave, new-wave.

Background/Info: DaGeist exists of Davide Schiavoni (vocals/compositions) and Frédéric Strzelczyk (bass guitar). The band was originally founded in 2008 in Lille (France) and released 1 album (“40”) before, on the same label.

Content: First track (and single) “Virgin” is a calm song that brings a very melancholic sphere because of the contrast between the light synths and low bass-lines. “Just Like You” and “So Cold So Dark So New” are both built on typical cold-wave basslines with atmospheric synths in the chorus. “Truth” is a very good song with especially a very nice voice of Davide on it. “I Am Alone” is for me for sure the best song of the album, it has a lot of true passion in it and could become a dancefloor-classic in clubs. The uptempo “Don’t Close Your Eyes” has a very catchy chorus and a funky riff that reminded me on Stardust’s “Music Sounds Better With You”, while the very danceable “Kiss Or Kill” reminded me a bit on New Order. On “Broken” the music and words sound both very emotional and sad. “Ciel De Cendres” is an uptempo song with this time lyrics in French. The music on “Curse” sounds a little bit like And One meets Diary of Dreams and has the extra female guest-vocals of Kelly on it. “Vampire” has a very poppy undertone while the last song “Roberto” is very much based on synths and dedicated to the father of singer Davide.

+ + + : 12 tracks of emotional, melancholic and dark music, brought in a modern style. The combination of the synths and bass-guitar sounds very good.

– – – : The production of some songs could here and there be better. The long repeating high voice on some songs might be a bit annoying after a while for some people.

Conclusion: DaGeist is for sure one of the better new bands in this scene. “Sexy” has some very nice songs on it and breaths the spirit of modern new-wave.

Best songs: “Virgin”, “Truth”, “I Am Alone”, “Don’t Close Your Eyes”, “Kiss Or Kill”, “Broken”, “Curse”.

Rate: (8) WH.

Artist: dageist1.bandcamp.com / www.facebook.com/dageist

Label: www.dansemacabre.de / www.facebook.com/dansemacabrerec

‘Click Interview’ with Morgue Poetry: ‘It Is Mainly A Question Of Money How Long It’s Gonna Take Me To Publish New Songs’

Inferno Sound Diaries — Mon, 08 Apr 2019 17:00:45 +0000

I last year discovered the German duo Wisborg releasing their debut album “The Tragedy Of Seconds Gone” on Danse Macabre. It’s a promising album mixing elements of gothic- and rock music. A few months later the singer of the band, Konstantin Michaely, released his solo-debut as Morgue Poetry. The album –also released on Danse Macabre, reveals a styled and deeply artistic creation composed by acoustic guitar and piano. This project has a real strong potential. It’s dark and delicate, authentic and melancholic! Here’s an introduction to the intimate sound universe of Morgue Poetry and the album “In The Absence Of Light”.

(Courtesy by Inferno Sound Diaries)

Q: We last year discovered you as member of Wisborg, but you also released the debut album of your solo-project Morgue Poetry. Both projects are different in their sound and influences so what does it reveal about you and the musician you are plus your influences?

Konstantin: It reveals that I’m into different types of music. I have a lot of creative energy and enjoy getting rid of it in multiple, not only musical ways. The biggest limitation to that is money, never a lack of ideas or motivation.

Q: Morgue Poetry definitely sounds as a more personal and very intimate concept; a composition and its lyrical content where you dare to reveal some sensibility and fragility. What did you try to express?

Konstantin: Lots of different things. The songs on “In The Absence Of Light” are not written from my perspective though. Usually, I have a topic that I’m moved by in some way or the other as a starting point, generalize it to a certain degree and then put it into words.

Q: Both the name of the project and the title of the album feel related with each other. What fascinates you as musician, and maybe as the person hiding behind the musician, in such dark themes?

Konstantin: I tend to write about feelings like pain and despair because it helps me to cope with them. When I’m happy, I just enjoy the moment as long as it lasts.

Q: The songs have been composed with acoustic guitar and piano arrangements. How did the composing of the songs happened and what have been the main difficulties you encountered in this process?

Konstantin: I started with writing guitar parts and vocal melodies until I had basic song structures. Afterwards, I added other instruments like piano, percussion, trumpets and strings to the arrangements, but it was very important to me that the songs work without these elements, too.

Q: I noticed you played some Morgue Poetry song(s) during live shows of Wisborg. How did that happened and do you have live plans with this new project? Can you reveal some details?

Konstantin: We were planning to perform “Killing Spree” live on the album’s release date, but it didn’t happen due to technical difficulties at the venue. The first Morgue Poetry concert is going to take place in “Schokoladen”, Berlin on April 26^th. Nikolas is going to play the piano and we are sharing the stage with our friends New Days Delay, so it’s gonna be a blast!

Q: I think the limited edition of the album is already sold out while you got a very positive response from the media so what does it all mean to you and how do you see Morgue Poetry evolving in terms of new songs, collaborations with other artists, live performances ao?

Konstantin: The main focus is still on Wisborg, but I’m planning on letting Morgue Poetry evolve on the side. More shows are planned and a lot of new material is written. As I said earlier, it is mainly a question of money how long it’s gonna take me to publish new songs. If someone is willing to pay for the production, please get in touch! (laughs)

Sonorus7 – Acid Pops (CD Album – Danse Macabre)

Inferno Sound Diaries — Fri, 29 Mar 2019 21:00:21 +0000

Genre/Influences: Dark electro-pop.

Background/Info: Set up in 2017 by Liss Eulenherz (Intent:Outtake, Project Snowflake), Clodi Korzin (La Magra, Mental Defect) and ‘machinist’ Daniel Korzin (Mental Defect) this German trio already got a very positive response in their homeland and this before unleashing this official debut album.

Content: The work is driven by both female vocalists while Daniel Korzin is doing some backing vocals as well. I sometimes got the impression the music was composed to accompany both singers. The sound has something electro-wave and dark-pop like. It’s the kind of work that might appeal for lovers of early L’Âme Immortelle.

The album features 10 songs plus 5 remixes by Eisfabrik, ES23, Rabia Sorda, Mechanical Moth and Rroyce.

+ + + : The main strength of the album is emerging from the great vocals, which in a way inject some melody to the music. Sound-wise “Acid Pops” caught my attention with some filtered electro treatments. The best part for sure is the last one revealing great remixes by Eisfabrik and Rabia Sorda.

– – – : I can’t get away from the idea there’s something wrong with an album when you prefer the remixes instead of the original versions. Well, that’s precisely what I experienced listening to “Acid Pops”. The original edits are missing punchy choruses and a bit more elaboration in the composition.

Conclusion: There are some good ideas running through the work, but I’m afraid that’s not enough to speak about a successful album. But let’s not forget this is just the first album from a new band!

Best songs: “Incendio – Remixed by Eisfabrik”, “Breathe Me In – Remixed by Engel / Rabnia Sorda, Palast”, “Wasteland”, “Finite Incantatem”.

Rate: (6).

Artist: www .sonorus 7.com / www .facebook .com /Sonorus 7

Label: www .dansemacabre –group .de / www .facebook .com /dansemacabrerec

Morgue Poetry – In The Absence Of Light (CD Album – Danse Macabre)

Inferno Sound Diaries — Fri, 29 Mar 2019 20:00:33 +0000

Genre/Influences: Neo-folk, folk-noir.

Background/Info: Morgue Poetry is the solo-project of Konstantin Michaely who’s involved with Wisborg. Wisborg last year released its debut full length “The Tragedy Of Seconds Gone” on Danse Macabre. “In The Absence Of Light” was released by the end of 2018 and is an acoustic project.

Content: If the sound of Morgue Poetry has been defined as ‘folk-noir’ it’s for sure because of the dark approach performed by acoustic instruments. The main instrument is the guitar, but you also will discover piano arrangements and real drums. Konstantin’s deep timbre of voice is fitting with the obscure sound approach. There’re 2 songs featuring backing vocals.

+ + + : This work has a conceptual feeling, but it first of all creates an intimate atmosphere reinforced by the ‘dark beauty’ of the lyrics. The authenticity of the music injects a sensible touch to the work. “In The Absence Of Light” is an appropriate title for an evasive dark voyage. This is the kind of music that might appeal for lovers of Rome, Sieben and other related artists.

– – – : The single reproach I could imagine about this work is the similarity between the songs.

Conclusion: Even if the sound is dark I think this album is an enlightening discovery!

Best songs: “To Love Is To Lose”, “Enlightenment”, “Tonight”.

Rate: (8).

Artist: www .facebook .com /pg /morguepoetry

Label: www .dansemacabre –group .de / www .facebook .com /dansemacabrerec

Dead Inside – Dead Inside (CD Album – Danse Macabre)

Inferno Sound Diaries — Fri, 29 Mar 2019 19:00:09 +0000

Genre/Influences: Rock-gothic, gothic, death-rock.

Background/Info: Dead Inside is a new formation hailing from Italy unleashing their debut work on Danse Macabre.

Content: The influences running through this work are moving from rock, to gothic, to metal. There clearly is a solid 80s influence hanging over the songs and mainly emerging from the guitar playing. I sometimes get the impression of listening to a crossover between The Sisters Of Mercy and The Birthday Party with vocals reminding me of Peter Murphy. The guitar playing is a real essential aspect of the work.

+ + + : I especially like the 80s spirit of the album, which is mainly emerging from the guitar parts. And the guitar is not only the dominating instrument from the album, but one of the band’s main strengths. I here refer to the sorrow-like play at “Close” or “Blackness” reminding me of early The Birthday Party while “Lamp” has something Sisters Of Mercy-like. But don’t expect to get a cheap copy of famous 80s new-wave legends as Dead Inside also has something more personal and contemporary. The powerful vocals bring some passion to the work.

– – – : “Dead Inside” is a noticeable debut with multiple cool songs, but maybe missing high lights.

Conclusion: Dead Inside doesn’t bring anything new –and could even have taken another band name as this one is quite common, but it’s an honest debut album.

Best songs: “Razorlight”, “Distance”, “Lamp”, “Close” “Blackness”.

Rate: (7½).

Artist: www .facebook .com /deadinsidepage

Label: www .dansemacabre –group .de / www .facebook .com /dansemacabrerec

Nova-Spes – WorldWideWar Zone (CD Album – ScentAir Records)

Inferno Sound Diaries — Mon, 25 Mar 2019 19:30:14 +0000

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

Background/Info: Based in Leipzig (Germany) Nova-Spes has been active since 1999. Their official releases were all released on Danse Macabre, but four years after their previous album (cf. “Black Sheep On White Fields”) their signed to the Russian label ScentAir Records.

Content: This new work reveals a delicate writing, which is sometimes joined by a melancholic flavor. Vocals are somewhat inhibited on the ‘softer’ cuts. But Nova-Spes also reveals a ‘harder’ side featuring an EBM touch on top and here the vocals are harsher as well. Both influences come together on “This Is Not A Lovesong” where you also will notice some duality between quiet and evasive female backings and the heavier male vocals.

+ + + : Nova-Spes already released noticeable works, but this new production shows an interesting evolution in sound and maturity. I personally prefer the ‘harder’ cuts, but the delicacy running through the other tracks is also worthy of examination. The album is diversified and styled!

– – – : “WorldWideWar Zone” is missing a hit, the kind of song that could be released as EP-title track and put dancefloors on fire. It’s maybe not the main goal of the band, but it’s often important to get a bit more in the spotlights.

Conclusion: “WorldWideWar Zone” is a pleasant listening featuring multiple cool songs, but I’m still convinced there’s more in this band than what came out thus far.

Best songs: “I Hate U I Love U”, “This Is Not A Lovesong”, “Pray”, “Sun And Rain”.

Rate: (7).

Artist: www.nova-spes.com / www.facebook.com/novaspesband

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

Logic & Olivia – Night Of Despair (Digital EP – Infacted Recordings)

Inferno Sound Diaries — Fri, 07 Sep 2018 18:30:38 +0000

Genre/Influences: Electro-pop.

Background/Info: German formation Logic & Olivia is already active for several years now and can look back at different productions released on Danse Macabre and Infacted Recordings (since 2014). This new EP is meant as a teaser to the new full length “Louder Than Words”.

Content: The title song is a great piece of electro-pop music, which is mainly carried by an impressive lead, a deep, vibrating bass line and a retro touch on top of the song.

We next get remixes by Dominatrix and Edobot plus a cool, instrumental B-side song, which sounds as a kind of extended version.

+ + + : This EP reveals a great title song, which in my humble opinion also is their best song to date. I especially like the phenomenal and somewhat vintage-like lead running through the song. But the song “Despair Of The Night” also is a great B-side. The song has been progressively built up and has a sort of transcendental-pop feeling.

– – – : The only minus point about the EP is that both remixes don’t really add a bonus. I can’t say the remixes are disappointing, but they remain under the high qualitative level of the original version.

Conclusion: This EP is exactly what I expect as a teaser announcing a new album; a great title song and an excellent B-side cut. The new full length sounds promising!

Best songs: “Night Of Despair”, “Despair Of The Night”.

Rate: (8).

Artist: www .logicandolivia .de / www .facebook .com /Logic –Olivia –official -189449534417916

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

Anthony Jones & Monica Richards – Syzygy (CD EP – Danse Macabre)

Inferno Sound Diaries — Wed, 05 Sep 2018 18:30:48 +0000

Genre/Influences: Ethereal, electronic, folk, cinematographic.

Background/Info: “Syzygy” is the meeting between Anthony Jones (Monastic) and Monica Richards (Faith And The Muse). Both artists know each other for quite a long time and decided to a special live show together. This concept inspired them to release a few songs together, which are like a real artistic fusion between original songs from both singers.

Content: The concept is somewhat weird, but the result makes sense. We get a hard to define sound approach mixing electronics with trip-hop rhythms, cinematographic spheres, medieval influences, tribal elements and last, but not least the vocals of both singers. Monica Richards injects her graceful and magic ethereal touch to the work.

+ + + : It’s absolutely crazy to imagine 3 original songs from Anthony Jones and 3 other original songs from Monica Richards, which have been all adapted and reworked into something new. The sound is hard to define, but I think we might speak about a very open-minded work revealing multiple influences. I remain a true admirer of Monica Richards’ elevating vocal performance, which literally excels on, “The Siren’s Lament”. But I also have to mention “Vervain As My Guide” for the beautiful duo between both singers. Last, but not least “A Good Offering” has something tribal and dance-like as well.

– – – : It all started as a crazy concept and that’s a bit noticeable when hearing this work. There’re maybe too much ideas and influences running through the tracklist, but at the other side it’s the kind of work you can only realize with such crazy projects.

Conclusion: “Syzygy” probably is the kind of project that has been never accomplished before, but when you put two great and talented artists together you only, but can expect something truly entertaining.

Best songs: “The Siren’s Lament”, “A Good Offering”, “Vervain AS My Guide”.

Rate: (7).

Artists: https ://deathastheirway .com / www .facebook .com /anthonyjonesofficial / www .facebook .com /Faith –And –The –Muse -32674562356 / www .facebook .com /MonicaRichardsFanpage

Label: www .dansemacabre –group .de / www .facebook .com /dansemacabrerec

System Noire – Do Not Pass That Door (CD Album – Danse Macabre)

Inferno Sound Diaries — Tue, 04 Sep 2018 19:30:13 +0000

Genre/Influences: Dark-electro.

Background/Info: Björn Miethe (vocals) and Daniel Gosewisch (machines) are System Noire. This German duo previously released a few EP’s (“On The Other Side” was released on DarkTunes Music group) and has now unleashed their official debut full length.

Content: The music is clearly inspired by dark-electro standards. They clearly pay some attention to achieve simple, but carrying melody lines. The album is alternating mainly dark-electro driven cuts and a few softer cuts. I also noticed a few instrumentals.

System Noire also likes to work with guests. They already did it on their debut single “On The Other Side” featuring Henrik Iversen (NamNamBulu) and now composed a song together with SynthAttack while other songs are featuring Unterschicht and Alien Nation. Remixes have been done by Ruined Conflict, XMH and ES23.

+ + + : This band deals with a rather easy and somewhat simplistic dark-electro format, which is however rather pleasant to listen to. The harder cuts definitely are the best ones and I especially want to mention “Voices” featuring Unterschicht and “Viaie Introspectivo feat. Alien Nation”. The melodic side of the songs is a noticeable element. I here want to tip “I Believe” as most essential piece. The remixes of Ruined Conflict and ES23 both are attention grabbers.

– – – : The few softer cuts can’t really convince me. But the main element the band maybe has to reconsider is to elaborate their songs. It sometimes sounds a bit too simple-minded.

Conclusion: System Noire’s debut album is not what I would call a fully successful opus although there are a few interesting cuts that will get you dancing. I think there’s more potential in this band than what came out on this work.

Best songs: “I Believe”, “Voices feat. Unterschicht”, “Viaie Introspectivo feat. Alien Nation”, “Voices – ES23 Remix”.

Rate: (6½).

Artist: www .facebook .com /SystemNoire

Label: www .dansemacabre –group .de / www .facebook .com /dansemacabrerec

Ground Nero – Scales (CD EP – Danse Macabre)

Inferno Sound Diaries — Tue, 04 Sep 2018 18:30:02 +0000

Genre/Influences: Gothic, cold-wave, dark-rock.

Background/Info: “Scales” is the second EP by Belgian formation Ground Nero. Singer Guido Wampers was previously involved with Portrait Bizarre. Together with his acolytes Ground Nero has now joined Danse Macabre to unleash this ‘maxi’ featuring 4 new songs.

Content: The main sources of inspiration running through this EP are clearly getting us back to the darkest hours of the 80s. The typical dark and doom-like guitar play joined by Wampers’ deep, cavernous timbre of voice are clearly evoking good-old souvenirs. The songs are reflecting a beautiful composition and supported with pure sadness.

+ + + : Ground Nero is into extremely dark and doom-driven music. I especially like the guitar playing awakening the 80s demons of cold-wave music. The tenebrous vocals only accentuate this obscure side, which excels on “Plethora”. I definitely want to hear more from this formation so I’m eagerly awaiting a debut full length album.

– – – : Ground Nero avoids any kind of innovation, but they got me curious to hear more stuff.

Conclusion: “Scales” is the kind of music getting the listener into an imaginary dark universe where the sun never rises at the horizon. This is music for the cold winter months.

Best songs: “Plethora”, “Parasites”.

Rate: (7½).

Artist: www .ground –nero .com / www .facebook .com /Groundnero

Label: www .dansemacabre –group .de / www .facebook .com /dansemacabrerec

Dorsetshire – Timemachine (CD EP – Danse Macabre)

Inferno Sound Diaries — Sun, 02 Sep 2018 18:15:19 +0000

Genre/Influences: Gothic-electro, dark-pop.

Background/Info: Set up in 1992, German formation Dorsetshire put their stamp on the 90s dark electro-pop and gothic-electro scene through a few legendary hits. They called it quits in 1998, resurrected in 2017 and released a new EP in 2018.

Content: “Timemachine” takes off with 2 new cuts revealing a rather surprising (future)-pop-driven title song while the other song is more in the line of their gothic-electro style although revealing a refreshing sound production.

They next move on with totally reworked versions of their famous hits “Strasse Der Verdamnis” and “Herzschlag”. Last, but not least we get another –and definitely early-minded, version of “Strasse Der Verdamnis” plus another mix of “Timemachine”.

+ + + : Dorsetshire definitely was one of the most promising bands from the 90s German scene. To see this band getting back into business is a real positive thing. They also strike back with new ideas while getting us back to their two greatest hits. The best song remains the so-called “Gefecht Version” of “Strasse Der Verdamnis”, which is definitely close to the original edit. The title song is somewhat surprising because of the future-pop touch, but it’s an interesting track sung in English by Monaco X.

– – – : The original versions of “Strasse Der Verdamnis” and “Herzschlag” both are definitely more consistent and convincing than the ‘new’ versions. I think they’re missing power and the original ‘rough’ 90s touch.

Conclusion: Dorsetshire got an instant success at their debut and became a recognized band during the 90s thanks to a few great underground hits. Back to life after nearly 20 years of absence is not an easy thing, but let’s see what they’ll do next. I’m not totally convinced about this resurrection, but I need more new songs to get an opinion.

Best songs: “Strasse Der Verdamnis – Gefecht Version”, “Timemachine”.

Rate: (6½).

Artist: www .facebook .com /Dorsetshire

Label: www .dansemacabre –group .de / www .facebook .com /dansemacabrerec

Astari Nite – Midnight Conversations (CD Album – Cleopatra Records/Danse Macabre Records)

Filip Wildhoney — Wed, 29 Aug 2018 14:59:26 +0000

Genre/Influences: Post-punk, gothic rock.

Background/Info: Third full-length album for Mychael Ghost (vocals), Illia Tulloch (drums), Howard Melnick (guitar) and Danny AE (keyboards) from Miami – Florida, including a cover of ‘Til Tuesday (“Voices Carry”). The first 5 tracks were produced and mixed by Tom Shear (Assemblage 23) while the last 4 tracks were earlier released as an EP “Dreams Of Majesty”, mixed by Rees Bridges.

Content: Highlights: first track and previously released single “Sunday Queen” is a worthly opener full of dark atmospheric vibes. The very danceable and melodic “Unfulfilled Promise” could become for sure a dancefloor classic in goth clubs. “I Am Nothing” is built on a nice synth-bass with a very melancholic and bombastic chorus including piano. The uptempo “Rosary Society” is another dancefloor filler in the traditional gothic rock style. On “Divination” Mychael’s voice sounds very good and deep while on “The Girl Who Tried” especially the synth-melodies play an important role.

+ + + : The sweet and warm voice of Mychael Ghost directly reminded me on the voice of Rozz Williams (Christian Death) and also of Sean Brennan (London After Midnight).

– – – : You might get the impression that after a while all songs start to sound a bit the same because of the way Mychael sings.

Conclusion: Astari Nite brings modern post-punk/gothic rock songs full of sensitive lyrics about love and despair in a soft and fragile way.

Best songs: “Sunday Queen”, “Unfulfilled Promise”, “I Am Nothing”, “Rosary Society”, “Divination”, “The Girl Who Tried”.

Rate: (8) WH.

Band: www.officialastarinite.com / www.facebook.com/astarinitemusic

Label: www.cleopatrarecords.com / www.facebook.com/cleopatrarecords

Felsenreich – Blumen / Akustik Projekt (CD Album – BSC Music / Rouch Trade)

Inferno Sound Diaries — Sat, 26 May 2018 18:30:30 +0000

Genre/Influences: Ethereal, neo-folk, cinematographic.

Background/Info: The Chemnitz based collective Felsenreich has already released a number of albums on labels such as Expander Records, Black Rain and Danse Macabre. The goth-rock formation breaks the silence with this new and somewhat conceptual opus, which has been announced as ‘Akustik Projekt’.

Content: The rock approach is still noticeable, but the acoustic composition awakens different influences. “Blumen” became an evasive piece of music, pretty relaxing and revealing a kind of beautiful melancholia. The songs are carried by acoustic guitar playing and impressive piano/keyboard parts. The male- and especially female vocals inject an extra ethereal dimension to the album.

+ + + : “Blumen” definitely stands for the most intimate- and authentic work of Felsenreich. I don’t know if it’s just a kind of ‘one shot’ release, but the band definitely reveals great composing skills in this kind of music. The vocals also have a great impact on the global production, sometimes creating an elevating effect. This album is a delicate composition featuring a few outstanding songs, but I especially want to tip “Tales Of The Night”.

– – – : A few cuts are less inspired, but that’s often happening on most releases. I think this album could have been even more authentic by the addition of extra acoustic instruments.

Conclusion: “Blumen” sounds like an invitation to join a world of sonic reverie and magic; just listen to the music, which sounds as a sweet dream.

Best songs: “Tales Of The Night”, “Im Licht”, “Übern Berg”.

Rate: (7½).

Artist: www .facebook .com /Felsenreich –official -289324647789576

Label: www .bscmusic .com / www .facebook .com /BSCMusicWorld

Tommi Stumpff – Terror II (CD Album – Danse Macabre)

Inferno Sound Diaries — Mon, 23 Apr 2018 18:30:01 +0000

Genre/Influences: EBM, electro-wave, cinematographic.

Background/Info: German artist Tommi Stumpff (real name Thomas Peters) got some fame in the 80s. His famous hit “Massaker” released on the “Ultra”-album rapidly became an EBM-hymn. “Terror II” was the second full length by Tommi Stumpff originally released in 1988 on No Dance. The album has been now re-edited and for this occasion remastered.

Content: Re-discovering an album 20 years after his original release always is something tricky. But “Terror II” hasn’t really lost of its original magic. The harder cuts dealing with EBM are still very efficient. Other cuts reveal a softer and ambient-like side although accomplished with some epic- and cinematographic arrangements. Tommi Stumpff composed his music without real compromises, which resulted in a varied composition. The lyrics are sung in German, but also in French (the artist seems to have lived in Brussels and Paris) and English.

+ + + : Stumpff had his own sound approach, which was clearly different from other 80s bands. His work was driven by eclecticism and hasn’t lost (except a few tracks) the original impact. “Eliminator”, “The German beat” and “Meine Sklavin” are still pretty kicking. “Terror II” is a fascinating release composed by an artist we maybe sometimes forget to mention when it comes to mention 80s idols and legends. It could be interesting to see more releases from this artist getting remastered and re-released.

– – – : As I already said there are a few cuts on this album, which suffer from the weight of time, but globally speaking it consists of a very few exceptions.

Conclusion: Tommi Stumpff remains an enigmatic artist who however belongs to the collective memory of 80s electro-underground music. It’s a real good thing this album has been recovered from dust. Some songs will again hit the dancefloors and make new ‘younger’ victims who maybe weren’t born in 1988… but maybe conceived by their parents when listening to “Meine Sklavin”…

Best songs: “The German Beat”, “Eliminator”, “Terror II”, “Robots Kill The Japanese”.

Rate: (8).

Artist: www .facebook .com /tommi .stumpff

Label: www .dansemacabre –group .de / www .facebook .com /dansemacabrerec

Das Ich sees cult debut EP ‘Satanische Verse’ remastered on vinyl

Bernard - Side-Line Staff — Thu, 22 Feb 2018 19:00:49 +0000

Out later in March in a wider distribution is Das Ich’s cult debut EP “Satanische Verse” in a limited vinyl version (500 copies). You can order this vinyl version right here.

“Satanische Verse” was originally released in 1990 as a demo-tape (and we still have 2 of them in our archives), and featured the tracks on Side A of this vinyl only. One year later, it would be the first ever official Das Ich released on the band’s own Danse Macabre label.

That first CD album featured 4 tracks (side A + “Jericho”) and was the first sign of life for the project around Bruno Kramm and Stefan Ackermann. The same year the duo would release the album “Die Propheten” which paved the way for worldwide success.

All tracks on this vinyl edition have been re-digitalized and re-mastered, and let’s be honest, this album is absolutely a must-have in your collection. Recommended!

Virgin In Veil – Twisted Thrills (CD Album – Danse Macabre)

Inferno Sound Diaries — Sat, 17 Feb 2018 20:30:56 +0000

Genre/Influences: Death-rock, post-punk, cold-wave.

Background/Info: They claim to compose death-rock music and are now back on track unleashing their second full length. Finnish formation Virgin In Veil gained some recognition with the debut full length “Deviances” (2016), which brought them to play at several places in the world and some noticeable festivals.

Content: “Twisted Thrills” features 10 songs for only 24 minutes! The songs are short and dynamic. Driven by a speed cadence, some parts of the work remind me of Killing Joke, but you also will notice punk elements. The deep resonating bass play has this late 80s spirit. The guitar brings this work to a higher dimension while the synth parts add the final touch.

+ + + : Virgin In Veil is not what I would call an 80s copyist, but they bring the magic of the new-wave and post-punk alive with power and a very personal touch on top. That’s probably what they call ‘death-rock’. I like the rawness of the production, but also the dark sphere supporting the songs. The guitar playing is one of the band’s main strengths.

– – – : The tracks are pretty similar and especially very short. I don’t have anything against short tracks, but it doesn’t leave that space to elaborate the production and that’s a pity.

Conclusion: Virgin In Veil makes me think to a steamroller; fast, powerful and merciless! So you know there’s nothing that can stop this sonic ogre, which doesn’t mean that I enjoyed the entire album.

Best songs: “Another Shattered Dream”, “Night Time”.

Rate: (6½).

Band: https ://virgininveil .com / www .facebook .com /virgininveil

Label: www .dansemacabre –group .de / www .facebook .com /dansemacabrerec