Oestergaards is the solo-project from Swedish artist Tomas Östergårds. The dark-ambient sound of Oesteraagrds evokes the golden years of Cold Meat Industry. There’s a similar taste for dark- and obscure atmospheres. I got the opportunity to discover this artist by his debut album “Rötterna” (2018). There’s a new EP out now entitled “Moloken”, which has been released on Tomas’ own label Dovle. The title of this production can be translated as ‘depressed’, ‘distressed’, ‘sad’, ‘melancholy’… The themes have been transposed into an anguishing and sinister piece of music confirming the talent of this artist. If you like dark-ambient music you for sure gone like Oestergaards.

(Courtesy by Inferno Sound Diaries)

Q: Can you briefly introduce us to the universe of Oestergaards and what’s your personal background related to music?

Tomas: Good question, what is Oestergaards’ universe? I’ve never thought about it. I would say a step into my deepest thoughts and my emotional world, my main form of expression. Oestergaards is simply the gloomier side of myself. A world where there are no boundaries, no right or wrong, unrestrained and free. A place that I enjoy.

When I was growing up in the 80s and 90s, I got in touch with the electronic music scene. I was fascinated and became a big fan of the early industrial music scene. I discovered the Swedish record label Cold Meat Industry in the early 90s and fell in love with their obscure and uncompromising releases, I had never heard anything like it. A whole new world opened to me as a teenager from the northern countryside in Sweden. Some of my favorites were, and still are, Aghast, Brighter Death Now, Deutsch Nepal, Raison d’être and Desiderii Marginis.

During most of the 00s and 10s, I played guitar and sang in various bands, some kind of folk-rock and country-punk, believe it or not. None of the bands released anything. The electronic music fell a bit into oblivion during that time, but have fortunately found a way back into my life. You could say that the circle is finally closed.

Q: I found an interesting quote on your site claiming ‘A dystopian world of sound with essences of Hälsinglands rural society and the desire to get away from the traditional trodden musical paths’. Tell us a bit more about this goal and what don’t you like in ‘traditional musical paths’?

Tomas: After almost twenty years in different bands, I was totally tired of adapting to other band members, I guess we became adults and other things became more important than playing in bands. Like milking cows and raising children. At the same time, I also got tired of the traditional ways of creating and writing music. You know verse / chorus / verse / chorus / bridge / chorus and so on. It was totally uninspiring. I searched for something new, bought some synths and effects pedals and started improvising abstract soundscapes. At the same time I rediscovered artists I’ve listened to in my youth and I wanted to do something similar, but in my own way. I spent two years testing and learning the gear before I started recording what eventually became ‘Rötterna’.

Q: Your music is clearly inspired by the darkest side of ambient music. What inspires and drives you to ‘go dark’ and what do you want to express this way?

Tomas: I have always been drawn to dark expressions in music, art, film and literature. I have an almost morbid fascination for dystopia. It’s not hard to find inspiration today, just go out on random social media and you’ll find just about anything. There are dystopian and dark tendencies everywhere, politically, socially, religiously and culturally. It’s easy to get depressed. I try not to read on social media or see news on TV, because there is a huge risk that my brain will overheat. The idea with Oestergaards has always been to provide a soundtrack to our present and near future, seen from a rather pessimistic point of view. I don’t want to be pessimistic, but it’s hard not to be, when we’re surrounded by idiots. The only thing I can do is to ignore it as much as possible and to be creative. Express it in my way.

Q: Your latest work “Moloken” has been introduced as ‘a kind of psychic exorcism, a settlement with depression and anxiety’. It all looks like it must have been a very personal work. Can you give us some details and how did you transpose a state of being into sounds and songs?

Tomas: Yes, “Moloken” is a very personal one. After struggling with mental illnesses such as exhaustion, depression, anxiety and social anxiety for many years came a turning point in my life where I began to feel much better. I started going to a very good psychologist, training Muai Thai and met a wonderful partner. I felt that I wanted to have a musical ending with that time in my life. A kind of ritual to leave that darkness behind me. Musically, it was a process of finding appropriate sounds, field recordings, samples and voices. You can hear me breathing and mumbling from real anxiety attacks, lonely sighs and wheezing out invoked spells to get rid of the torments. I have tried to recreate the feeling in the body during a depression through icy sounds, the shaking of the grumble, the heavy squeezing bass and panic-roaring noise. But also the calm and apathy that comes after a seizure. The sound of walking alone in the woods, trampling on stones and dried branches. The sound of a sizzling radio as if you were the last person on earth. Looking out over an abandoned world.

Q: I noticed Simon Heath did the mastering of “Moloken”. I can imagine “Moloken” could have been released on his label (Cryo Chamber) while you finally self-released it on Dovle Records. How comes and what are the plans and aims with Dovle Records?  

Tomas: I don’t know, I never asked Simon to release it. But I don’t think that “Moloken” fits into Cryo Chamber’s concept of themes and cinematic soundscapes, it lacks storytelling in that way. I wanted him to master the record and he said yes. I have great respect for Simon and love his various projects, the collaboration between him (Atrium Carceri) and Pär Boström (Cities Last Broadcast) is probably the finest in the whole dark-ambient community in my opinion. For me it was interesting to hear how the songs would end up sounding through Simon’s ears, he is a true professional and he did an excellent job.

I wanted “Moloken” to be the first release on my own label. The reason I started Dovle Records was because I want to have a label to release my music on, both as Oestergaards and upcoming side-projects. Where I have full control over the creative and artistic process, where I can set my own deadlines, be spontaneous and don’t have to rely on anyone else. I like to work fast, from recording to release. One example is my latest release “Borrowed Time (A Collection of Forgotten Obscurities)” which was released only digital via Bandcamp a couple of weeks ago. A compilation album with live tracks and old improvisations. It took three days to release, from idea, selection, cutting the tracks, to mastering, produce the artwork and finally release it.

I have never reached out to the bigger record companies to release my music. Sure, I’ve been thinking about, but it hasn’t come to me. Maybe I’ll do that for my first full length album. Of course, if anyone is interested, it would be interesting to release my records on a larger label. I’m always open to collaborations and new experiences.

Q: Your debut album “Rötterna” (2018) was released on digital platforms and cassette format. The contrast between streaming and cassette is quite interesting; something modern and trendy at one side and a pure underground format at the other side. I would like to get your opinion about it and especially about artists moving back to cassette and vinyl?

Tomas: For me, music has always been important in physical formats. I want a product to hold and smell. The reason “Rötterna” was released on cassette was mostly because it was fun. And a cost issue. I don’t even own a cassette player. In my world, vinyl is the ultimate format, both in terms of sound and cover. “Moloken” both sounds and looks better on vinyl, I think. I try to buy as much vinyl records I can afford from artists I like. The number of artists releasing vinyl just seems to increase, to my delight. Then I have to say that streaming is a fantastic complement, to always be able to bring good music, wherever you are.

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

Peter Andersson, better known under his nickname ‘Lina Baby Doll’, once started as member of the Swedish industrial project Njurmännen. He later on (1991) set up his own solo-project Deutsch Nepal. The name of the project was inspired by the song of the same name originally written by the psychedelic rock formation Amon Düül II. Defining the sound of Deutsch Nepal is nearly impossible; the sound being the fusion between multiple elements. The common element between his latest productions is the old-styled industrial input, which has been mixed with overwhelming dark-ambient atmospheres and the charismatic vocals of the artist. The album “Staring At My Wall” released on the artist’s own label, Entarte Musikk, is a kind of sonic voyage throughout dark sonic fields.  

(Credits picture: Henrik Stolt / Interview courtesy by Inferno Sound Diaries)

Q: You’ve released an impressive number of productions with very different projects so what means the new Deutsch Nepal-album to you and what makes “Staring At My Wall” maybe different from previous works?

LINA: My aim is that every album I release should have a personal character. I don’t like to reproduce the same album again and again. A new Deutsch Nepal production often is a result or a documentation of the musical development that happened over the last 5 years in my studio while other projects I take part in, happen in a shorter time span and therefore might be more focused and have less ingredients. Also my participation and the way other people work might differ a lot from project to project and co-operations; also the personality and the chemistry between people will have an impact.

Q: As a listener you just hear the result of a process, which for the musician features aspects such as research, collecting sounds & noises, sound creation, song writing, production of the vocals, mixing, mastering, artwork, promotion etc. Tell us a bit more about these different stages and what have been the main difficulties in the release of this new album?

LINA: The main problem for me is to take the decision to finish as the album is created in the process I could go on working on small details in eternity. It is a well-known fact for musicians that you often ‘divorce’ from your album when it is finished and in production. Promotional wise it may be a catastrophe to do this, but the sounds and structures of the tracks get kind of ‘worn out’ after thousands of listening hours passed while producing the music. When delivered from the pressing plant and published on the net one just have to pick up the pieces and recreate the relationship to present it to your audience.

Q: What is “Staring At My Wall” all about and what did you try to express lyrical- and sound-wise?

LINA: “Staring At My Wall” circles around life and the hard turns it takes sometimes which could be an adventurous sign of progress and a result of development while in other situations it might scare you into a state of apathy doing nothing, one may just sit down waiting for the next catastrophe staring at the wall.

Q: I always have experienced Deutsch Nepal as a sonic labyrinth; I mean it rather feels as the fusion between different influences –often related to industrial- and ambient music instead of a band with a clear and distinguishable music style! How do you perceive the new?

LINA: I always wanted to create the music that wasn’t yet around. I never wanted to make music labeled ‘dark-industrial’ or ‘ambient music’; it just happened to be that way in that spot of time that I made the esthetic decision about the music. I’ve been always very open-minded to different styles of music with different cultural background and I guess that influenced the sound of the music I make.

Q: I think the production of the vocals definitely became one of the main evolutions/changes in your work during the past few years. How do you analyze the evolution of the vocals over the years?

LINA: Initially vocals was something I added when performing live… I guess I just was bored with the pretty introvert experience of mixing sounds and music in front of a half asleep audience. Vocals and singing get you in contact with the crowd and it’s a highly effective tool for further expression of your art. Later on the vocals got stuck on the tracks and I decided to work more with the vocals also in the studio. Today the vocals and lyrics both are what takes me most of the time in studio.

Q: Time is something subjective, but how do you see the future for Deutsch Nepal? Do you’ve further goals, ambitions and/or new projects in mind?

LINA: After I released an album I get depressed and thinking it will have to come to an end; just stopping with doing Deutsch Nepal and doing everything I could ever imagine musically. I close the door of the studio and never go back there again. But some weeks later I find myself making sketches of new projects… contacting people for co-operations… singing new songs and processing new sounds in my computers -it’s like a curse, a never ending story… for the moment I’m building a new studio with more space and better comfort… just some weeks ago I wanted to clean sweep the studio from music equipment and make it a bordello or a bar… Life goes on and for me life equals music. There is more to come in the future.

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: Industrial, dark-ambient.

Background/Info: Swedish industrial veteran Peter Andersson aka ‘Lina Baby Doll‘ is back on track unleashing his newest opus featuring eight songs. 

Content: “Staring At My Wall” moves on where previous releases left off. Lina Baby Doll moves back to some early influences of industrial music, but he also takes care to support his songs with an overwhelming dark atmosphere. There’s an interesting progression in the songwriting, which also reveals a few minimal-electro passages (cf. “Amphibian Shadow”), vague tribal passages (cf. “Pasolini”) and even a pure old-fashioned industrial sound (cf. “Let Go And Slip Away”) reminding me of Throbbing Gristle. On top of the songs you also will hear the charismatic vocals of Lina Baby Doll.   

+ + + : Deutsch Nepal always has been rather unique in its genre. There for sure is a link with old-school industrial music, but the composition first of all reflects a very own approach mixing industrial with electronics and other elements such as tribal and ritual music. The production of the vocals is quite important. The artist’s way of singing has something shamanic, inviting his followers to join in for a dark and industrial transcendental trip. It’s a scary adventure accentuated by some lyrical, disclaiming passages like ‘this is a terrible place to live in’ on the title track. The last part of the album is absolutely worthy of examination and leading the listener into a total apotheosis. 

– – – : Deutsch Nepal is a project that never stops to evolve and this new opus again sounds as a truly masterpiece. 

Conclusion: Deutsch Nepal moves back to early industrial music, which has been mixed with a very personal and contemporary touch. The result is a fascinating sonic travel. 

Best songs: “Staring At My Wall”, “Pasolini”, “Let Go And Slip Away”, “These Eyes I Found Upon The Hills”. 

Rate: (8½). 

Artist: www.facebook.com/deutsch.nepal.generalstaab 

Label: www.facebook.com/entartete.musikk 

About Deutsch Nepal

Deutsch Nepal is the solo project of Swedish musician Peter Andersson, known by the nickname “Lina Baby Doll”. Andersson started out in the industrial project Njurmännen before launching Deutsch Nepal in 1991, taking the name from a song by the German psychedelic rock band Amon Düül II.

Andersson releases Deutsch Nepal through his own label, Entartete Musikk, which also issued the compilation “Homo Strepitus” and the 2018 split “Eating The Dust” with Reutoff. In a Side-Line interview published two days after “Staring At My Wall”, Andersson said every album should “have a personal character,” adding: “I don’t like to reproduce the same album again and again.”

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: Dark-ambient, industrial, ritual. 

Background/Info: Entartete Musikk is the music label set up by Deutsch Nepal’s Lina Baby Doll. He mainly releases his own work, but gives also attention to other formations. This compilation featuring eight projects seems to be the first sampler ever released by the label. It has been introduced as ‘the result of a thematic raw material forwarded by Lina Baby Doll to the musicians – given free hands for their personal aesthetic decisions in the process of their creativity’. 

Artists: Horse Give Birth To Fly, Brighter Death Now, Trepaneringsritualen, Raison D’Être, Reutoff, Deutsch Nepal, Morthound, Kollaps. 

Content: It all sounds like the artists have been selected with care while most of them are also related with Deutsch Nepal. There’s a perfect twist between dark-ambient and industrial music styles. Horse Give Birth To Fly is not the most common name from the list and yet an interesting opener mixing the main influences running through this work. There also is a surprising cut from Brighter Death Now –which has less in common with the familiar death-industrial style. Trepaneringsritualen injects the ritual touch to the album. Deutsch Nepal moves on in the industrial approach featured at the last album. There also is a great cut by Morthound, which is a project I haven’t heard since several years. And there’s of course one of the absolute masters of dark-ambient music: Raison D’Être! 

+ + + : The tracklist doesn’t only reveal great names, but there’s an interesting cohesion between the bands and their tracks. This compilation has something original and it’s fascinating to discover the tracks by Brighter Death Now and Morthound. There is also a certain industrial ‘intelligence’ featured by artists such as Deutsch Nepal and also Reutoff (it’s not a coincidence they both worked together at the album “Eating The Dust” released in 2018). 

– – – : There’s no real cut to throw away although I expected a bit more from Raison D’Être and that’s probably because I’ve always considered this artist as the absolute reference when it comes to dark-ambient music. 

Conclusion: Compilations are no longer successful, but there’re always a few a year bringing something extra for their originality. “Homo Strepitus” is one of them!

Best bands: Horse Give Birth To The Fly, Deutsch Nepal, Morthound, Trepaneringsritualen. 

Rate: (8).

Label: www.facebook.com/entartete.musikk 

About Entartete Musikk

Entartete Musikk is the label run by Deutsch Nepal’s Peter Andersson, who also records as “Lina Baby Doll”. Besides his own albums, among them “Alcohology” (2016) and “Dystopian Partycollection II” (2016), “Homo Strepitus” is the label’s first various-artists sampler, built from raw material Andersson distributed to each contributor to interpret freely.

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: Industrial, electronic, experimental, cinematographic.

Background/Info:  “Eating The Dust” resulted from the common efforts between Russian industrial veteran project Reutoff and one of the Swedish dinos of death-industrial and dark-ambient music Deutsch Nepal. The album has been composed over 10 years. Reutoff took care for the music and Peter Andersson aka Lina Baby Doll wrote the lyrics and did the vocals.

Content: What can you expect when industrial veterans are working together? Right, an industrial release, but “Eating The Dust” is not exactly what I would call ‘industrial’. There’re for sure industrial sound treatments mixed with darker sound atmospheres, but the global production is more carried by electronic minimalism, refined crystalline bleeps and sequences and overwhelming cinematographic passages. You for sure will notice rougher elements such as bombastic arrangements and heavier industrial noises, but this is not a typical industrial release, but simply an electronic work composed by ‘industrialists’.

Peter Andersson is singing like never before. He’s not screaming like he often did on his Deutsch Nepal work. No, he’s simply singing a rather natural way. Notice by the way the last song is reworked version featuring the guitar of “Alcohology”, which is a song that got featured on the same-titled Deutsch Nepal album (2015).

+ + + : This album is a sort of challenge as you don’t exactly expect this kind of album featuring Reutoff and Deutsch Nepal. I think it’s the kind of work that wouldn’t have been possible twenty years ago. It clearly sounds as the fusion between artists in search of something different, something they never experienced with before. I like the result for the fusion between opposite sound elements and influences, but still for the atypical style, which is hard to define. Andersson also reveals to be a real singer so in the end I would say this is a totally surprising opus.

– – – : As it’s not exactly what you might expect from both formations, I can imagine some die-hard fans will be stupefied. The main challenge will be for sure to find an audience although I can imagine open-minded fans of both formations will be attentive listeners.

Conclusion: “Eating The Dust” is a fruitful collaboration between two projects, which have created something different from their usual work.

Best songs: “Terrible Place”, “Vertex Insolitus Tenebarum”, “Freedom As An Island”, “Flame”.

Rate: (8).

Artists: http://reutoff.su / www.facebook.com/ReutoffOfficial / www.facebook.com/deutsch.nepal.generalstaab

Label: www.facebook.com/entartete.musikk 

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

Mortiis will present a live reinterpretation of the 1994 release “Ånden Som Gjorde Opprør” this fall at the Cold Meat Industry 30th Anniversary celebration in Stockholm. The event will take place on the 3rd & 4th of November 2017 at Klubben.

To celebrate this the “Ånden Som Gjorde Opprør” can now be downloaded for free right here.

“Together with CMI founder Roger Karmanik we have now gathered more acts signed to the famed Cold Meat Industry than any other festival has ever managed to and we intend to make this event the ultimate Cold Meat Industry 30 Years Anniversary!” says Mortiis, and he continues: “I don’t just want to do the record as it was back in 1994, but rather excavate it from 1994 and drag it into the new light of the current world, while retaining the atmosphere of the original sound.”

Other artists performing at the event are Arcana, Archon, Satani, Brighter Death Now, Coph Nia, Desiderii Marginis, Deutsch Nepal, In Slaughter Natives, Mothhound, MZ.412, Ordo Rosarius Equilibrio, Raison D’Etre, Sanctum, Sephiroth and Sophia.

You can order your tickets right here. Below is the posterartwork for the festival.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Industrial, experimental, ritual, neo-folk, chanson-noir.

Background/Info: Lina Baby Doll (Peter Andersson) last year took me by surprise unleashing the magnificent “Alcohology”-album. Deutsch Nepal is already back on track, but now with something completely different, but not that new. This work is a selection of mainly rare and forgotten compositions. Most of the cuts were originally released at compilations, singles and/or collaborations with other artists. A first chapter of “Dystopian Partycollection” was released in 2008 on the legendary Cold Meat Industry.

Content: Lina Baby Doll experimented with multiple influences during his long career and that’s an element, which emerges on the surface of this work. I dare to say that the selected songs aren’t featuring the most extreme side of Deutsch Nepal, but an interesting twist between pure dark-chanson, electro-industrial minimalism, great tribal & ritual compositions and neo-folk mixed with industrial elements.

Deutsch Nepal has been mainly inspired by industrial music, but reworked it a very own way, sometimes with a kind of dark subtlelity, sometimes with intriguing and chilling ritual structures and sometimes even into an intimate cabaret-like atmosphere. The common element between all the tracks remain the dark atmosphere and the unique sound creation. A few cuts have been composed together with other artists, sometimes Andersson is just singing on it. I have to mention a real beautiful song together with Navicon Torture Technologies, which is a delicious symbiosis between neo-folk and industrial music.

+ + + : There are several cool songs featured on this ‘party’-box, but the first song I have to mention is the brilliant ‘rape’ (or cover version) of Dolly Parton’s “The Lonely Coming Down” reworked into a ritual and somewhat cinematographic piece. But the main strength of this work definitely is the diversity of the songs and their accomplishment.

– – – : The ‘softer’ songs, which are more into a kind of chanson and cabaret-style (cf. the debut- and final songs) are cool, but definitely not the best ones from this artist.

Conclusion: Deutsch Nepal wants us to party on this special compilation and the only party I can imagine is one with a surreal dancefloor taken from a never-published Kubrick movie.

Best songs: “Victum Vermis”, “In The Other End Of The Bottle”, “The Lonely Coming Down”, “Social Report”.

Rate: (8).

Band: www.facebook.com/Deutsch–Nepal–Official-114870861932547

Label: www.facebook.com/entartete.musikk

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

Releasedfor the first time ever on vinyl is the legendary In Slaughter Natives radio recording “Mort aux Vaches”. The recording, commissioned by VPRO’s “Nachtleven Grand Disco Classique”, was originally released in 1994 as a split-album with Deutsch Nepal. The In Slaughter Natives part was re-released in 2011 on the “Insanity & Treatment” live archive album.

The 7-track release comes in a limited edition vinyl format and can be ordered right here.

In Slaughter Natives is the project by Jouni Havukainen, a pioneering artist in symphonic industrial. After releasing albums on Cold Meat Industry and Staalplaat, the project remained dormant for many years. In 2014 Jouni revitalized In Slaughter Natives on Cyclic Law with the album “Cannula Coma Legio”.

Here’s one track from the album.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Industrial, industrial-ambient.

Background/Info: Peter Andersson better known as ‘Lina Baby Doll’ is one of the main artists active in the contemporary industrial music scene. Involved in multiple projects his main band remains Deutsch Nepal. The band was rather prolific during the 90s and the golden years of Cold Meat Industry while Deutsch Nepal became more discrete since the millennium.

This is the first studio album in 4 years and only the 2nd one since the last album on CMI. “Alcohology” has been released on the band’s own label Entartete Musikk.

Content: Lina Baby Doll has been often linked with alcohol. This album clearly appears to be an exorcism of this dangerous addiction and even a courageous testimony of the artist about the danger and consequences of alcohol.

But the least I can say is that this work also became a great sonic therapy! “Alcohology” reveals an artist getting back to the roots of industrial music while accomplishing his composition by numerous, shouting vocal parts and electronic arrangements. “Alcohology” sounds like a sonic bridge between early industrial music and modernism. The industrial influences are quite heavy and bombastic while a few passages with drones and epic arrangements make it all more powerful. The tracks feature dense and poignant cold-ambient atmospheres.

The sound of Deutsch Nepal has been often hard to grasp, but has always remained dark and industrial. This new opus is not exactly evolving in the influences of the artist, but appears to be more styled and less ‘anarchistic’ than some earlier work.

+ + + : Deutsch Nepal holds on early industrial influences, which are simply essential to remind you of the real power and style of ‘industrial music’. This work reveals a great fusion between industrial and ambient music.

– – – : There’s no real minus point to mention here.

Conclusion: An old industrial veteran simply showing the industrial scene what it means to compose the ‘original’ industrial sound. “Alcohology” is a fascinating sonic exorcism of the person behind the artist old demons… Simply brilliant!

Best songs: “To The Earth”, “Deutsch Nepal’s Cosmic Trigger”, “Alcohology Superior”, “Erision 2015”.

Rate: (DP:8½)DP.

Band: www.facebook.com/Deutsch-Nepal-Official-114870861932547

Label: www.facebook.com/entartete.musikk

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