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

Format: Digital, Vinyl.

Background/Info: Russian born Dasha Rush is operating from Berlin. She has already released an impressive discography and now returns to Sonic Groove to unleash four new cuts.

Content: The opening cut “El Kinky” is a perfect and hard mix between EBM and dark-Techno featuring glaring vocals on top. The other tracks reveal similar influences but globally speaking become more Dark-Techno driven with some extra cold Industrial sound treatments on top.

+ + + : Dasha Rush strikes back with a hard and punching production. There’s a perfect balance between EBM and Dark-Techno resulting in the phenomenal debut track “El Kinky”. I also like the way vocals have been produced in this track creating a great and bewitching effect on top. The other cuts are cool but can’t compete with the opening piece.

– – – : The best cut is right at the beginning although the other tracks are worthy of examination.

Conclusion: Dasha Rush is another great female artist from the Sonic Groove roster; girl-power-techno!

Best songs: “El Kinky”, “Psycho Runner”.

Rate: 7½.

Listen to “Dark & Filthy”:

Artist: www.facebook.com/dasha.rush.music /

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

About Dasha Rush

Dasha Rush, born Dasha Ptitsyna Van Celst, is a Russian-born DJ and producer based in Berlin. Her first records came out through Hunger To Create, starting with the 1998 EP “First Expirience” made with Eugene Ignashev, and a long run of her singles later appeared on Fullpanda Records. She also records as one half of the duo LADA.

Her albums include “Forms Ain’t Formats” on Fullpanda Records in 2006, “I Run Iron I Run Ironic” on Hunger To Create in 2009, “Sleepstep – Sonar Poems For My Sleepless Friends” on Raster-Noton in 2015 and “Contemplating” on Raster in 2023.

The link with Sonic Groove runs from the 2010 EP “Sonic State” through “Relativismi” in 2011 and “Ain’t No God Nor King” in 2017. “Dark & Filthy” followed on 4 March 2022, written and produced by Dasha Rush, with artwork by Jon Turi and mastering by Danielle Antezza.

Inferno Sound Diaries

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

www.side-line.com

Behind Maedon is hiding American female artist Maeghan Donovan. Now based in Berlin (Germany) her sound can be defined as hard, merciless, Techno-Body Music. She got in touch with Sonic Groove owner Adam-X who released her debut EP “Against His Will” in 2019. She next released the EP “Escape To Berlin”. Earlier this year Maedon unleashed her debut full length “Now I Am Become Death” which only confirmed the powerful sound of this artist. This interview is a way to introduce you to the muscled Techno universe of Maedon. Maeghan Donovan is not only a great producer but also an interesting person.

(Courtesy by Inferno Sound Diaries)

Q: How did you get contaminated by Electronic music? And tell us a bit more about your music background and former experiences like Pulsewidthmod?

Maeghan: I became hooked to Electronic music at a very young age, my oldest brother who was a Senior in Highschool when I was in Kindergarten gave me my first tapes. The first two were typical Girl-Pop music. The third tape he gave me was the hook, line, and sinker for me; Depeche Mode “People Are People”. From there on my musical journeys were very diverse over the years,  but I always returned to Electronic-Dance music. 

As for my musical background, I started playing the piano when I was 5 years old and sang in choirs. I went to college for Classical Piano Performance but decided to drop out to pursue building a studio of my own and producing. 

From 2005 to 2014 I spent time learning the ins and outs of synthesis and recording. My first show as my former moniker, Pulsewidthmod, was in 2014. At that point, all my productions were focused more on Pop music but my first shows were playing for Dance parties. I became hooked after my first real rave that I played.

In 2016 I went on my first tour that coincided with my first visit to Namm in Anaheim, California. A few months later, I released my first physical album on cassette tape, “Entelechy”, and booked a 2.5 month coast to coast tour. The music was vocal-centric, Minimal/Dark-Wave. While I was on tour I realized I didn’t really enjoy playing shows where I was performing structured songs and singing. At the end of each set, I would play a more Live PA style. It wasn’t quite Techno, but it was definitely Dance-worthy and that was the time that I focused all my energy on producing music for clubs.

In April of 2018 I released my first 12” on Detroit Underground. In September of that year I moved to Brooklyn, NY. In December of 2018 I played Synthicide and when I was finished with my set I walked from the dance room to the bar and low and behold, who was standing there? Adam-X! We spoke for over two hours that night. He had given me really good feedback on the promo for my Detroit Underground release, “Serpentine Servitude”. It was really cool because he was unaware that I was a female. That’s how I wanted it a the time, I didn’t want my music to be marketed or pushed because I was a woman. I wanted the music to stand on its own. I wore a hood for most of my press shots so it wasn’t obvious that Pulsewidthmod was a woman.

That night at Synthicide, Bossa Nova Civic Club, Adam expressed to me to send him tracks. It took me till the end of April the following year to send him my new productions. He heard my tracks and immediately signed me. As many people know, we are now a couple. This happened after the release of my first Sonic Groove release, “Against His Will”. 

Q: I’m always wondering why there’re less female- than male artists active in the music scene, but especially in Electronic/Industrial music. Do you’ve an explanation and how does it feel to be active in this ‘men world’? 

Maeghan: We live in a world ruled by men, not women. This mentality trickles down into every aspect of society. The entertainment industry is ruled by men and the world of technology has always been a male driven vocation.

I grew up in a world where girls played with Barbies and wore pink and boys grew up with Transformers, and GI Joe and wore blue. (I could care less about barbies, I much preferred transformers and Casio synthesizers.) Because of technology, the world has changed exponentially. Being an Electronic musician means not only being a musician, but being an engineer and a producer. 

Synthesizers are in many ways a very nerdy thing to get into. To the unacclimated musician, they can be somewhat difficult even to get your head around. As a synthesist, you almost have to have an interest in both physics and electronic engineering. As a girl growing up in the 90s, these sorts of things were not marketed to girls. Being a woman, it took breaking the usual societal norms to break into being interested in things that weren’t meant or marketed towards women. 

I felt very alienated to a degree and singled out. Promoters were almost always men. They don’t expect for a girl to make music that appeals to them. They don’t expect that a girl even knows what she’s doing. I would play many opening slots. All this gave me fuel to push myself harder, make my music harder, make it darker, to always strive to outdo myself with each passing show. To sum it up, being a woman making music that was almost entirely a male-centric genre, it pushed me to make music that was harder and darker than all the boys.

The best feeling in the world in a way is the reactions I would get from male promoters. At one party I clearly remember the promoter coming up to me halfway through my set saying to me, next time you play for us, we will give you a prime spot. The funny thing about this story, the same promoter booked me for another party; when it came time to make the poster I asked what my time slot was just to make sure. It’s not worth my time or effort to take my gear out to a show where I’m getting paid the equivalent amount as someone doing door. They didn’t keep their promise so I backed out.

I value what I do and I deserve to get treated with respect.

With all this said, things have changed a lot now. Women along with Transgender, and non-binary artists are being heavily pushed. Because of this, I now feel comfortable letting my personality shine through publicly. I don’t hide behind a hood anymore because I don’t need to, my music stands on its own. My music got me to where I am today, not being the ‘token’ female on the all male line-up.

Q: I can easily imagine your move to Berlin, meeting other artists and visiting clubs must have had a serious impact on your artistic activities. What makes Berlin that different from the rest and can you tell us a bit more about the spirit of this town? 

Maeghan: I moved to Berlin on March 15th, 2020  two weeks ahead of schedule and only two weeks after returning from playing Tresor for the first time. The Berlin that I know is the locked-down Berlin. That being said, Berlin has had a very positive and dramatic influence on my music and music production. 

What makes this city different is the fact that this city not only respects artists but much of the economy has been built around the club culture. Last year Berlin clubs were declared to be a cultural institution to safeguard their future in the time of lockdown. As an artist, this mentality serves as a huge sense of security. Where I come from, being an artist was a constant struggle. I would live day by day, week by week, doing my best to make my rent. Many times I had to sell gear to make up for the difference to pay my rent. 

I refused to let my art suffer for the security of a paycheck. I would live off of bagels or spaghetti so I could spend time working on my craft. This was difficult in itself because those around you, including roommates, would look down on me thinking I was being irresponsible. For me, being irresponsible would be denying myself of pursuing my craft.

Here in Berlin, the cost of living is not nearly as high as it was in Brooklyn. This is another aspect of this city that really helps artists thrive. I am here because I am an artist. If I want to stay here, all I need to do is to continue doing what I always have minus the worries and guilty feelings of being a ‘responsible citizen’. This is something artists around the world should feel everywhere. 

Meeting other artists is the cherry on top with Berlin. I’ve made many friends and for the first time in my life, I feel like a member of an amazing community. Living in Berlin truly is, living the dream.

Q: Adam Mitchell introduced Mædon as one of the hardest projects signed to Sonic Groove. I think you just are the ‘hardest’ one but what do you try to express by your music and especially the debut album “Now I Am Become Death”? 

Maeghan: My music being hard is a result of two things: first, my life experiences, second, we live in a world that’s severely fucked up. “Now I Am Become Death” continues on with the same theme as “Against His Will” and “Escape To Berlin”. I express the atrocities of those who hold the power and rule the world. The title track of the album, “Now I Am Become Death” was started as a more Techno-Body Music track where I sampled Oppenheimer. The quality of the recording from his speech wasn’t sitting well so I decided to say it myself. This is how it morphed into being a more straight up, hard Techno track. My vocals became the lead.

We live in a world where we are ruled by madmen. People follow orders by those in command, and it causes death, repression, pain, suffering … so my sound and this album is me literally saying “Everything is Not O.K.”. That was another track that I originally had a vocal sample of Dave Chappele saying ‘The worst thing to call someone is crazy … maybe the environment is a little sick’. My sound has always been a musical expression of me screaming ‘I’m mad as hell, and I’m not going to take it anymore!’ As time goes by, I’m just getting louder expressing this sentiment.

Q: How do you look back at this album? What have been the main difficulties and eventually challenges in the writing- and production process? And what are you personal criteria to say a track/album is finished? 

Maeghan: This album was written and recorded during the thick of the pandemic when lockdown was in full effect. It was very difficult to complete because there were no shows to play. Playing shows is a vital part of not only the production but the source of inspiration. 

 As I look back on it, I see it as an album created in the darkest and hardest of times as an artist. There was an overwhelming fear that club culture might not return. It’s also an album that’s a demonstration of my transition from being known as an EBM artist to being more versatile with making Techno in general. There’s some Hard-Techno in there, some Rave, and some Acid.

Outside of producing dance music when no one is dancing, the hardest challenge to a degree was making the music in a small space entirely in headphones. When I moved here, I came with only the essentials. My monitors and sub were sold because they weighed too much to bring with me from Brooklyn. I also ended up living with Adam in his studio flat because finding a flat during the pandemic was not an option.

So, I made do setting up in Adam X’s kitchen, mixing and cooking up beats, listening through cans. I really look forward to the future where Adam and I can find a suitable flat here where I can rebuild a studio. 

Q: A last question about your live sets. Do you’ve specific/favorite tracks/artists you’re always playing? How do you prepare a live set and do you notice significant differences between the places and clubs you’re playing? 

Maeghan: I am mostly booked as a live artist so my preparation for gigs is literally making new tracks. The more shows I play, the more new material I get to choose from. The main difference between the places and clubs I’m playing now is this, I’m playing and being booked to play in amazing clubs and parties. Last fall I got to play in Basement and this was such an amazing experience. I also got to play in LA for the first time ever in a proper underground warehouse. This year I look forward to playing in many world renown clubs and parties.

I am beginning to Dj now too, I find it to be very fun. I love being able to play tracks of many of my favorite artists a few of which are Perc, Ansome, Joe Far, Mickey Nox,  Sawf, Anfs, Phase Fatale, Dasha Rush… oh yeah, and Adam-X. Every DJ set I play always includes Sheer Insanity or Sensory Overload.

Inferno Sound Diaries

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

www.side-line.com

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

Format: Digital, Vinyl.

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

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

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

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

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

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

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

Rate: (8½).

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

About Sonic Groove

Sonic Groove is a techno, acid, industrial techno, EBM and experimental label founded by Adam Mitchell (Adam X) in New York City in 1995. The label was based in Berlin between 2007 and 2024 before returning to its original home of New York City. Vinyl pressings are manufactured at Record Industry (Netherlands) and distributed via Triple Vision.

The “Sonic Groove: 25 Years / 1995 – 2020” compilation marked the label’s quarter-century with twelve tracks from its roster, including a collaboration between Rhys Fulber (Frontline Assembly) and Portion Control.

Inferno Sound Diaries

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

www.side-line.com

Born in New York (USA), but now based in Berlin (Germany) for years Adam Mitchell aka Adam X is a renowned and talented producer/DJ/label owner. He’s one of those visionary artists who in my eyes always has symbolized the electronic sound of tomorrow. His music always has been a mix between EBM and techno, which sometimes has been defined as industrial-techno. Adam is involved in multiple projects like Traversable Wormhole, ADMX-71, Mass-X-Odus ao, but Adam X remains the main project. Late 2018 Adam-X released his sixth full length album “Recon Mission” on his own label Sonic Groove. The work is a new masterpiece and one of the best electro productions from 2018; a good reason for an interview.

(Courtesy by Inferno Sound Diaries)

Q: You’ve released tons of EP’s, but “Recon Mission” also is your seventh full length album as Adam X. What means this new work in your personal discography and what inspired you (sound-wise) to compose this album?

Adam: The album inspiration comes from a few unrelated & related topics. The album titled track “Recon Mission” is about a reconnaissance mission against government authorities. The official video on Youtube goes deeper into the topic and what the lyrics are about. Several songs on the album are inspired by the mysteries of planet Earth, such as hypothetical theories about Earth Base One, the Bimini Wall and the Bermuda Triangle. I’ve gotten heavily into collecting the 50’s-70’s sci-fiction/mythological illustrative work of Jack Kirby in the past 1.5 years. I find his artwork & story scripts very inspiring. I’ve always been into the cerebral/out of worldly side of electronic music and his artwork provides a visual inspiration for such thoughts. These are the main inspirations on the album.

Q: The album has been introduced as a dystopic vision featuring ‘conjuring visions of New York City’s past’ and ‘CIA shadow government experiments’. What fascinates you in these dark themes and what’s your perception of the current political situation in your homeland?

Adam: As a teenager growing up in NYC in the 80’s I was surrounded by a mass amount of urban decay. The city was a mess back then with several area’s throughout the city looking like Berlin after the Russians entered in 1945. On top of growing up in a very decay city, criminal activity was very high. Unfortunately I was deeply affected from this activity when my father was murdered in a gun robbery when I was 13 back in 1985. So to put it bluntly, NYC was very dystopic for me back then.

Somehow despite the dark, bleak times I managed to have a great, very rebellious adolescent life exploring my city and painting graffiti art on many subway trains thru out the city. Then some years later my brother and I began organizing illegal techno rave parties in abandon warehouses and other industrial locations. Those rebellious moments I had growing up will always have everlasting effect on my artistic vision.

The current political situation in the USA is a mess like always. I don’t have any trust in the American government no matter the political side. I feel neither party are for the people. Each party loves to blame one another, but nothing really ever changes despite who is in power. The amount of poor and homeless people in America is staggering and it’s on the rise for years now. The infrastructure is old and rotting in many places across the country. Unlike Europe we have a horrible antiquated train system. The inner cities have ghettos worse then most 3^rd world nations. Imagine small cities like Flint, Michigan having a poisoned water system for decades. Guns need to be controlled, but this seemingly will never happen. The amount of heinous crimes committed with guns is staggering. I am a strong advocate for gun control especially as my family is a victim of a gun murder. I’m tired of seeing mass murders every few weeks. I live in Germany 12 years and gun deaths are not so much an issue here. I won’t even get started into the current president’s handling of world affairs other then to say ‘not good’!

Q: Sound-wise “Recon Mission” remains totally vintage-like. Tell us a bit more about your way of working, the sound treatments and equipment you’re using?

Adam: Believe it or not my music is done all in software, my DAW is Ableton and I use a lot of synth plugins. My productions in my first 14 years of making music were strictly done with analog/hardware. So I have a very good ear in making virtual synths sounds like the original keyboards they are designed to emulate.

For sound production most of the songs are first tested before release when I DJ out at gigs. For this particular album I was able to test the final mastered versions in one of the major nightclubs here while the club was closed. This was crucial as I noticed a few flaws in sound that needed to be adjusted before sending out for production. With that being said I’m 101% happy with the finished product.

Q: You’re based in Berlin where you’re very active. What makes Berlin that attractive and special for artists and do you feel some impact from this artistic life and music trends on your work as musician/producer?

Adam: The nightlife here is amazing. So playing gigs or going out to event’s here is a constant source of inspiration. Berlin is also very communal with other artists and music industry people. So my meet-ups with many people in the business here is also always source for inspiration. Outside of the music industry I enjoy the pace of life here. It’s much more relaxed then the time I spend in NYC during the year.

Q: You’re still running Sonic Groove so I would like to know your personal criteria and eventually references when you’re signing new artists? And how do you see the music business evolving as label owner?

Adam: I’m normally releasing music from artists who I have a personal friendship with. I prefer this to releasing music from artists I have no personal connection with. It’s much nicer to run the label as a family affair.

The music business is constantly changing and being able to adapt to the changes is very important in the survival of running the label. At the moment vinyl sales in the industry are down for dance floor related music, but digital downloads and streaming are rising. The techno scene especially is completely saturated with music releases. There are over 400 new titles on vinyl a month in techno. It’s a limited buying market, but still a very important necessity for artists to get noticed by press and promoters in the scene.

It can be quite nerve wracking with vinyl sales when releasing music from lesser known artists. It’s not an issue when dealing with the core bigger artists on the label like Orphx, Rhys Fulber, Dasha Rush, Blush Response and myself.

Inferno Sound Diaries

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

www.side-line.com