Diamanda Galás announces the remastered release of “Saint of the Pit” on 13 September 2024 via Intravenal Sound Operations. This fifth studio album, originally released in November 1986, is the second part of her trilogy “The Masque of the Red Death.” The remastering was done by Heba Kadry.

“Saint of the Pit” was created during the HIV-AIDS epidemic and reflects themes of suffering and passion. The album includes compositions based on poems by Charles Baudelaire, Gérard de Nerval, and Tristan Corbière.

Galás began addressing HIV-AIDS in her work in 1984, with “Saint of the Pit” dedicated to her brother, Philip-Dimitri Galás, who died in 1986. The album was produced with the help of Gareth Jones and includes contributions from musicians like FM Einheit of Einstürzende Neubauten.

Here’s the video for “Cris d’Aveugle” (Blind Man’s Cry), a symphonic treatment of Corbière’s poem, about suffering and exclusion.

Bernard - Side-Line Staff

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

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Diamanda Galás has shared “La Llorona”, the latest recording from her forthcoming live release, “Diamanda Galás in Concert“. The album, which features select recordings taken from performances at Thalia Hall in Chicago, and Neptune Theatre in Seattle from 2017, is set for release on 14 June 2024 via Intravenal Sound Operations.

“La Llorona” is a traditional Mexican folk song with deep roots in Mexican culture and folklore. The song’s title, “La Llorona,” translates to “The Weeping Woman,” and it tells a haunting and emotional story inspired by a popular legend.

About the legend

The legend of La Llorona is a widely known tale in Latin American culture, particularly in Mexico. The story varies, but it generally revolves around a woman named Maria who, after discovering her husband’s infidelity, drowns her children in a fit of rage and despair. Realizing what she has done, she is overcome with guilt and sorrow, leading to her own death by drowning. After her death, she becomes a ghost condemned to wander near bodies of water, weeping and searching for her children. The legend itself serves as a cautionary tale, warning children to stay away from dangerous waters.

“La Llorona” has been covered by numerous artists, each bringing their own interpretation to the song. Famous versions have been performed by artists such as Chavela Vargas, Lila Downs, and Natalia Lafourcade. It has also been featured in various films, television shows, and cultural events.

Bernard - Side-Line Staff

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

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(Photo by Pere Masramon) Diamanda Galás has announced details of her latest live release, “Diamanda Galás in Concert”, featuring recordings taken from performances at Thalia Hall in Chicago, and Neptune Theatre in Seattle from 2017. The album is set for release on 14 June 2024 via Intravenal Sound Operations.

Out now is the album’s “A Soul That’s Been Abused“- her take on Ronnie Earl’s soul ballad.

Talking about the track, she explains: “I had a gentleman caller off and on for ten years. Quite often I had to put him on the shelf because he was quite dramatic. But I loved him because usually he could take my sense of humor and colorful language by laughing at me. There was one day when I insulted him badly; and he informed me immediately that he could kill me where I stood. After the drama, we went to sleep. The next morning I went looking for my scissors and couldn’t find them. I looked for my knives and could find not even one. Finally I thought, “He hid them while I was sleeping!” I lifted the mattress and there was a petty arsenal of kitchen knives, scissors, my stun gun, my 38 special, and maybe even a toenail clipper! I laughed so hard that day! And we had a great dinner that night. A Soul That’s Been Abused was always his song.”

Diamanda Galás is an American musician, singer-songwriter, and visual artist. Her work concentrates on themes such as AIDS, mental illness, despair, loss of dignity, political injustice, historical revisionism, and war crimes. Galás’s recordings have also included collaborations, some of which are with the bands Recoil and Erasure, instrumentalist Barry Adamson, and musician Can Oral (also known as Khan), among others.

Bernard - Side-Line Staff

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

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(Photo by Niko Studio) Here’s an interesting new release now available on Mute, which will surely appeal to readers who are admirers of Diamanda Galás and similar artists. Today, Louis Carnell introduces “111”, a series of continuous collaborations. This endeavour has the musician, artist, and curator showcasing a fresh piece every three weeks.

The series kicks off with “One”, his collaboration with composer and musician Keeley Forsyth. Keeley Forsyth is a composer, singer, and actor hailing from Oldham in North West England. You can expect 15 collaborations in total to be released in the near future, each one being released as individual singles and created with a varied array of artists from around the world. Coming up next are releases from Lee Ranaldo and Ben Vince in the ensuing months, with an additional 12 releases extending into 2024.

Expect a new track to debut every third Tuesday. Check out the video for “One” below.

The first single is also available for download on Bandcamp.

For more insights into Louis Carnell’s work, have a look at the videos below. Louis Carnell is by no means a novice in the industry. He previously worked under the moniker ‘Visionist’, releasing albums on labels such as PAN (“Safe”, 2015), Big Dada (“Value”, 2017), and Mute (“A Call To Arms”, 2021). His portfolio also includes collaborations with Peter De Potter, Daniel Sannwald, and Frederik Heyman. In September 2021, Louis Carnell chose to step away from his Visionist pseudonym and continue under his own name.

Bernard - Side-Line Staff

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

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(Photo by Joe Dilworth) Mute has announced details of a series of reissues from Recoil (Alan Wilder), starting with three long out of print albums “Unsound Methods”, “Liquid” and “subHuman” – due out on double coloured vinyl and CD on 7 October 2022. The first three albums, “1+2” (1986), “Hydrology” (1988) and “Bloodline” (1990) are currently being remastered for release at a later date.

The new editions of “Unsound Methods” (1997), “Liquid” (2000) and “subHuman” (2007) will be available in transparent green/clear, silver and curacao blue respectively.

In a reaction to Mute Alan Wilder recently said this: “Having not really listened in full to any of the Recoil albums for many years, the requirement to sit down and closely scrutinize the new test pressings meant that I was obliged to focus on everything once again. It was a surprising and pleasurable adventure to hear the work with fresh ears and I was able, perhaps properly for the first time, to experience all the detail which I had either forgotten about or hadn’t fully appreciated at the time.”

“Unsound Methods” was Wilder’s fourth album as Recoil, and his first release after announcing his departure from Depeche Mode in 1995. Recorded at his Sussex studio, “Unsound Methods” saw him working with four very different collaborators: Nitzer Ebb’s Douglas McCarthy, New York spoken-word artist Maggie Estep and vocalists Siobhan Lynch and Hildia Campbell.

“Liquid” followed in 2000 and the collaborations continued, this time working alongside Diamanda Galás, Nicole Blackman, Samantha Coerbell, Rosa Torras, The Golden Gate Jubilee Quartet and more.

“subHuman” arrived after a seven-year break and saw Wilder working with vocalists Carla Trevaskis and Louisiana bluesman Joe Richardson, whose voice is complimented by guitar and harmonica performances.

Bernard - Side-Line Staff

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

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Out 26 August on Intravenal Sound Operations is Diamanda Galás’ newest album, “Broken Gargoyles”. Today Galás shares new excerpts from the album as well as a video originally made for the Theatro Circo installation explaining the album’s genesis and story.

The album itself consists of two track, “Mutilatus” and “Abiectio”. The works feature verses by German poet Georg Heym, “Das Fieberspital” and “Die Dämonen der Stadt”. In “Das Fieberspital” Heym describes the horrific state of people suffering from yellow fever who live in paralysing fear of death and swirling delirium owing to their brutal treatment and isolation in medical wards in early 20th century Germany. “Die Dämonen der Stadt” also addresses such grim portents of World War I; in this poem, the god Baal observes (like a gargoyle) a town from a rooftop of a city block at night-time and lets a street burn down during dawn.

Here are some brand new excerpts.

“Broken Gargoyles” was composed in 2020 though the first incarnation of the work was played as a sound installation at the Kapellen Leprosarium (Leper’s Sanctuary) in Hanover, Germany (in keeping with the theme, the sanctuary was built around 1250 and served as a quarantine for those who suffered from the plague and leprosy in the Middle Ages). The work was finalised in collaboration with the artist and sound designer Daniel Neumann.

Talking of their work together he says, “It was a wild working method, all remotely, with all these different pre-existing and newly recorded fragments.” In May, Portugal’s Theatro Circo hosted the sound installation.

Here’s the video made for the Theatro Circo installation explaining the album’s genesis and story.

Bernard - Side-Line Staff

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

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(Photo by Austin Young) Out on 26 August via Intravenal Sound Operations is the all new album by Diamanda Galás. “Broken Gargoyles” will be released just a week after the reissue of a remastered version of Galás 1986 classic album “The Divine Punishment”.

Composed in 2020 (during the beginning of the Covid-19 pandemic), the final incarnation of the work was played as a sound installation at the Kapellen Leprosarium (Leper’s Sanctuary) in Hanover, Germany. This first presentation of Broken Gargoyles featured verses by German poet Georg Heym, “Das Fieberspital” and “Die Dämonen der Stadt”.

Yellow fever

The work was finalized in 2020 in collaboration with the artist and sound designer Daniel Neumann. In “Das Fieberspital”, Heym describes the horrific state of people suffering from yellow fever who live in paralyzing fear of death in early 20th century Germany. “Die Dämonen der Stadt” also addresses such grim portents of World War I; in this poem, the god Baal observes (like a gargoyle) a town from a rooftop of a city block at night time and lets a street burn down during dawn.

The album’s first part, “Mutilatus”, contains the Heym poems “Das Fieberspital” and “Die Dämonen der Stadt”, and concerns the suffering of the soldier in the trenches and during innumerable operations in the hospital. “Mutilatus” was originally recorded in 2012-2013 in collaboration with recording and mix engineer Kris Townes.

The atrocities of World War I

The album’s title references “Krieg dem Kriege!”, a photographic book by the German anti-militarist Ernst Friedrich from 1924 documenting the atrocities of World War I, including the album’s nominal “Broken Gargoyles”, which is how the facially maimed soldiers were termed by their hospital keepers; the disfigured soldiers also had to wear metal masks to better hide their monster faces – blown apart by shrapnel, burned by mustard gas and further mutilated by medical “researchers” – from public view.

Available on 26 August on CD and digitally, the vinyl edition will follow in 2023. The Broken Gargoyles CD will come with a 24 page booklet featuring:

• 4 poems: Das Fieberspital, Die Daemonen der Stadt, Der Blinde and Der Hunger by Georg Heym in German and their translations in English by Antony Hasler.
• Numerous images of Diamanda Galás taken by Intravenal Sound Operations and Austin Young.
• Photo documentation of facially mutilated soldiers during WWI, compiled by Ernst Friedrich in War Against War.
• Photo of Broken Gargoyles Installation at the Kapellen Leprosarium (the Leper’s Sanctuary) Hannover 2021 by Robert Knoke.
• Essays by Dr. Julia Meier of the Kestnergesellschaft Hannover and Luca Zanchi, from the upcoming book Gorgon in The Blue Room: Diamanda Galás and the Divine Monster of Grief (soon to be published).
• 4 paintings by Diamanda Galás.

Here’s already a preview.

Bernard - Side-Line Staff

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

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Out on June 10th is the remastered 1986 classic album “The Divine Punishment” by Diamanda Galás. Released via Galás’s own label Intravenal Sound Operations it will be available on CD and digitally, with the vinyl version to be released later in 2022. The release was remastered by mastering engineer Heba Kadry working from the original mixes by London-based producer/composer Dave Hunt.

The first album in her ‘Masque of the Red Death’ trilogy, The Divine Punishment was a response to the AIDS epidemic, and a milestone in Diamanda Galás’s artistry and activism. On 30 June 1986, the same day that Diamanda Galás’s “The Divine Punishment” was released, the Supreme Court upheld the constitutionality of Georgia’s so-called sodomy law in Bowers v. Hardwick, criminalising consensual sex between men. At the time, about 15,000 people were known to have died of AIDS in the U.S. alone, with little government acknowledgement besides suggestions to quarantine homosexuals on island colonies. By the end of 2021, the number of AIDS deaths globally would exceed 36 million.

Listen to “This Is The Law Of The Plague” right below.

Bernard - Side-Line Staff

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

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(Interview by János Janurik) About a year ago, I had the honour to ask Gareth Jones about his studio work on Erasure’s legendary “Wild!” album. Back then he mentioned his upcoming solo electronic music project. The long wait is finally over. The studio magician’s long-awaited debut album will be released on the 18th September. On that occasion, I asked him my questions again.

SL: In our last conversation last year, you summarized your memories of working on Erasure’s “Wild!” album. The Erasure guys have just released their new album “The Neon”. At the online launch party they also mentioned your name concerning a new remix to “Nerves Of Steel”. Could you please tell us a few words about this project?

GJ: Andy had an idea for an approach to a remix, and I was delighted to help him realise that idea. It is a mix full of respect. It’s an homage in fact. I love Andy and Vince. It’s family.  It’s always amazing to work with them, so I jumped at the chance to collaborate on this remix.  I also created a second ElectroGenetic remix, which is a different kind of thing. Darker perhaps. 

SL: When we run back over the past and take a look at your massive CV, we can see that you have been active in the music biz for four decades. You were the sound engineer on John Foxx’s cult debut album from 1980. Do you remember how you got your first studio job?

GJ: A musician and record producer called Mike Finesilver owned a small 8 track studio in Newington Green called Pathway. He generously gave me a chance to work in his studio. Thank you Mike! I’m forever grateful.

SL: Your name is closely linked to the Hansa Studios in Berlin where you experimented with recording atmospheres and the method of sampling. In 2018 the film “By The Wall” was screened, which narrated as a kind of documentation what had happened musically in the Hansa Studios between 1976 and 1990. What are your most noteworthy experiences about these legendary Hansa times?

GJ: So many great musicians from whom I learned so much. Diamanda Galás, Depeche Mode, Einstürzende Neubauten, Adrian Sherwood, Ideal, Nick Cave & The Bad Seeds, Conny Plank, Roma Baran, Daniel Miller, Fad Gadget, Palais Schaumburg, Wire, Holger Hiller, Crime and the City Solution. These are my teachers.

SL: Through your work with Depeche Mode, Erasure, Einstürzende Neubauten, and also with Nick Cave you have made a name for yourself among music producers. But your portfolio also includes younger artists and bands like Apparat, Wovoka Gentle, Compact Disk Dummies, and Polly Scattergood. Do you receive these requests for joint work directly from the newer generation of musicians? I mean, do they know you and your previous work well? And vice versa, do you have your finger on the pulse of contemporary pop music? Could you name some new pop artists who you think are exciting enough?

GJ: I do get approached directly and many of the younger generation know some of the amazing musicians I have worked with in the past. I don’t have my finger on the pulse. I’m a drifter. A feather on the breath of God.

SL: When I got the news about your solo album, I immediately got interested. I belong to the generation that not only appreciates albums of their favourite bands, but also the work of those who work in the production background. So you’ve always been a hero of mine. As I said, I was curious how this personal work would sound from you. How long have you been working on this album? What was the main motivation behind its creation?

GJ: I made a commitment to myself to complete an album in the year 2019. This personal contract with myself helped me to cross the finish line. I’ve been working on the album for 50 years. The motivation was not to let myself down.

SL: To what extent was this work different from your previous studio works on the albums of different artists? How did it feel for the first time being your own boss and that having an opportunity to realize your own ideas without compromise?

GJ: I really enjoy working with collaborators. And getting hired to work for other artists. One of the great things about it is that the person you are working with always inspires you and pushes you forward. My ELECTROGENETIC project is a solo work, so I was stuck alone with myself (and my dreams and fantasies) and this meant that I had to inspire and encourage myself. Not always easy. I learnt a lot about the creative process, the joy and pain of commitment, and had to negotiate intensively with my inner critic in order to get anything done. Also, I acquired an even deeper understanding of the challenges that so many of my dear friends and colleagues have been through over the years in making their own music and art.

SL: The album title “Electrogenetic” can have several meanings. Through creation we, humans, are similar to God – at least for a certain period of time. I thought of something spiritual when I had a first look at the album cover. What about you? What were you trying to say with it? What`s behind the title and the cover?

GJ: With the title I am trying to express my feelings about the generative power of modular electronic synthesiser patches. Often, when working with modular synthesisers, we build a patch and it offers something beyond what we could imagine or expect. This certainly happens for me often and it is part of the deep power of the modular synth creative process. So in a sense the electronics give birth to the music, and I am a kind of midwife, a birth father to the process. I am trying to emphasise and echo this process in my choice of name: ELECTROGENETIC.

The ankh and the wedding ring in the photograph on the cover hang of a lamp over my desk where I write my journal and create music at home, so I see them every day and when I took a series of photographs of these powerful symbols I realised I had my album cover right there. The wedding ring was my father’s. The font that I use for ELECTROGENETIC is from an old fashion stencil that I found in the basement of my father-in-law’s house. I love the dirty analogue outlines of the font – it enhances and reflects my aesthetic and music.

SL: When I first listened to the album, I immediately got a “this is the kind of atmospheric electronic music with goose-skin effect I’ve long missed” thought. Everything is very poetic and the listener is immediately tied up. Where did your ideas, themes and musical expression come from to this work?

GJ: This is my first solo LP, so it probably contains images and feelings from my entire life, and it is inspired by everything I have experienced, so that would be a very long list! 

The album emerged because I made a commitment to myself to complete a project within that year. I found this to be a very powerful process, the contract with myself. I really wanted to honour that contract and this which drove me forwards to completion, to the finishing line. Also my mother and my mother-in-law had recently died (my father and father-in-law died some years before) so in some way everything changed. This experience distilled into the entire project. In some sense I hope it is a loving Requiem for my parents and all the ancestors, the four billion year chain of life that precedes me.

SL: It’s hard to choose “favourite tracks” from the album because it’s a coherent musical concept, but are there parts of the whole that are of very personal importance to you?

GJ: Every track on my LP connects to every other track. In some sense they’re all important to me, and in another sense it’s “all for nothing“ – supremely important, and completely insignificant at the same time. That’s my life. I hope some listeners will go the whole journey with me and listen to the LP from top to bottom, that is how it is designed to be listened to. And I hope you will enjoy the journey.

SL: The last thing I want to ask is about your collaboration with Daniel Miller under the pseudonym “Sunroof”. Your special performance of the Depeche Mode album “Construction Time Again” 10 years ago in Berlin attracted the attention of Depeche Mode fans. Just as popular are your joint remixes. Are there such works still to be expected from you? And what are your further plans for the near future?

GJ: “Sunroof” goes back many years now and I hope it will extend many years into the future. My musical relationship with Daniel is one of the great important relationships of my life and we have always enjoyed making music together, and I hope we always will. Watch this space!

For more information on ELECTROGENETIC, including Gareth’s notes on each track, visit the album website.

Track list: 

1. The Beginning 
2. Trinity 
3. Mercury 
4. Michigan 
5. Farewell 
6. Goonhilly 
7. Safe Travels 
8. I Believe 
9. Alone Together 

You can pre-order / buy the album on Bandcamp.

János Janurik

I began my career in online music journalism in 2001, writing about artists I had followed since the late ’80s and early ’90s, including Depeche Mode, Erasure and The Cure. I later edited the Hungarian Mute microsite for EMI Music Hungary. This led to interviews with Erasure, Nitzer Ebb and Alan Wilder, and some of those collaborations developed into lasting friendships. Since 2014, I have been part of the editorial team of depechemode.de. I also contribute interviews to Reflections of Darkness, Peek-A-Boo Magazine and Kaput Mag. I maintain a close connection to Mute Records artists and have also supported releases on Very Records. I am proud to collaborate with Side-Line Magazine, where I regularly publish interviews and features.

(Photo by Jaeger Kotos) Out on 1 May 2020, is the reissue of the debut album by American avant-garde artist Diamanda Galás, “The Litanies of Satan, on Intravenous Sound Operations”. The re-release comes in a completely remastered version (by by Galás and engineer Heba Kadry) and will be released via Intravenous Sound Operations. The album was released in the United Kingdom by Y Records in 1982 and was only released in 1989 in her home country.

The A-side, “The Litanies of Satan”, was recorded in 1982 in Stoke Newington, London, and was the result of six weeks of work with UK producer Dave Hunt, a composer of electronic music. Known for his work in experimental music, reggae, and post punk, he has worked on records by Michael Nyman, Gavin Bryars, Prince Far I, Adrian Sherwood, The Pop Group, Evan Parker, and Derek Bailey to name a few.

The B-side, “Wild Women with Steak-knives”, was also recorded in 1982, but by Richard Zvonar, also a composer of electronic music, in a San Diego studio. Many performances of this work were performed in quadrophonic sound with five microphones, one assigned to all speakers, and the other four assigned to individual speakers.

First in a reissue series

This is the first release in a reissue series of Galás work since she regained ownership and control of her entire back catalogue last year. The self-titled Metalanguage album “Diamanda Galás” (1984) has also been remastered and will be given its first reissue in autumn 2020.

New music on the way as well

Galás will also release new music in July 2020 in the form of a 21-minute solo piano piece entitled “Deformation”.

It is described by Galás – try to read slowly to ingest correctly – as “a march and delivery of maimed and infected soldiers to hospitals and industrial warehouses throughout Germany during and after the First World War. In the hospitals the maimed would receive experimental operations and the infected would be confined to protect the mental well-being and physical health of the citizens of the State.”

Bernard - Side-Line Staff

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

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Mute and Thames & Hudson have announced details of “Mute: A Visual Document”, a 320-page hardback book, available November 28, 2017 and ready for ordering right here.

“Mute: A Visual Document” is packed with artwork and photography – much of it previously unseen – from the Mute Archives and from Daniel Miller’s own archives, including photography and video stills from legendary photographers, conceptual artworks, rare ephemera and equipment.

The book features comprehensive discographies, a family tree of Mute artists, an extensive introduction and commentary by Daniel Miller – who has curated the materials for the book – plus anecdotal and photographic contributions from key figures in the label’s story, including Moby, Alison Goldfrapp, Anton Corbijn, Bleddyn Butcher, Brian Griffin, Jon Spencer, Barry Adamson, Ivan Novak (Laibach), Angus Andrew (Liars), Adrian Shaughnessy and Tom Hingston.

Mute was created by Daniel Miller to release his debut single as The Normal, “Warm Leatherette” / “T.V.O.D”, in 1978. The label quickly grew and established its reputation through the music of its community of artists – ranging from Fad Gadget, Goldfrapp, Moby, Can, Diamanda Galás, Nick Cave and The Bad Seeds to Depeche Mode, Yazoo, Erasure, Laibach, Liars and Ben Frost.

Here are a few teasers:

Side-Line also covered Depeche Mode’s ‘Where I Wait’.

Bernard - Side-Line Staff

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

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American avant-garde soprano, composer, pianist, organist, performance artist, and painter Diamanda Galás is back with a brand new album: “All The Way”. In 2016 Galás has been busy remixing and remastering her earlier works as well as recording new material which is now included on “All The Way” that holds both electric live recordings (recorded in Paris, Copenhagen, and East Sussex) and studio recordings made in San Diego, CA.

The new album is out on CD and on vinyl (both formats can be ordered right here) in the next weeks.

It had been silent as far as studio news from the artists whose last full studio album was released 23 years ago (“The Sporting Life”). You can listen to a trailer below.

Bernard - Side-Line Staff

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

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