Emperor – SIDE-LINE https://www.side-line.com Industrial, electro, EBM, post-punk, darkwave news Thu, 12 Sep 2024 15:07:48 +0000 en-US hourly 1 https://www.side-line.com/wp-content/uploads/2021/10/cropped-side-line-logo-png-32x32.png Emperor – SIDE-LINE https://www.side-line.com 32 32 Midgardsblot 2024: Viking metal festival with a touch of synth and goth too https://www.side-line.com/midgardsblot-2024-viking-metal-festival-with-a-touch-of-synth-and-goth-too/ Wed, 11 Sep 2024 16:13:33 +0000 https://www.side-line.com/?p=51961 The Midgardsblot festival, held at Borrehaugene (old viking grave mounds), outside the city of Horten, Norway, is mostly known...]]>

The Midgardsblot festival, held at Borrehaugene (old viking grave mounds), outside the city of Horten, Norway, is mostly known for hosting acts within the metal genre in addition to some folk and viking inspired music.

This year, the festival first caught our attention with the announcement of Bel Canto as one of the headliners, followed by Gåte, Seigmen, Karin Park, Ledfoot, and others—definitely worth reporting on for Side-Line Magazine. And who knows, we might even discover some new bands. We headed there in mid-August to check it out!

(By our Norwegian correspondent, Jan Ronald Stange. Photos by Einar Låker and Jan Ronald Stange. Additional Dwaal photos by Jon Julius Sandal @ helvetesindrekretser and Birgit Fostervold @ knipselyst)

Side-Line’s chief editor, Bernard Van Isacker, was supposed to join me for the festival, but couldn’t make it due to a family emergency. His replacement, Einar Låker, brought his cameras and joined me instead. Since we had to attend meetings and handle some work during the day, we skipped the tenting area and set up base at a nearby campsite in a mobile home borrowed from my parents (thanks, Sigrid and Carl Edvard!).

After settling in, it was time to head to the festival grounds, which required a short hike through historic Viking graves. We collected our passes and entered the blót, an ancient Norwegian/Norse sacrificial feast.

The first act we saw was Kalandra, a UK/Norwegian band blending Celtic and Norse folk with modern arrangements. They’ve been around for over a decade, gaining recognition with their cover of Wardruna’s “Helvegen”. Since then, they’ve released several albums and composed scores for TV shows and video games.

After Kalandra, we explored the rest of the area, visiting the trade section Kaupanger, the Viking tent area Folkvangr, and the indoor stage Gildehallen (the “Feast Hall”). It was a sight to see people fully embracing the chance to step back in time.

We wrapped up the first day by watching the Swedish Viking rockers Amon Amarth, who had their fans completely enthralled—even getting hundreds to sit down and row in the middle of a song! 😊

Thursday was a rainy day, so boots and jackets were a must. We caught a bit of the Norwegian thrash band Inculter and the Polish death metal band Vader before heading inside Gildehallen for something entirely different: Trio Oro, a Norwegian world-folk fusion group featuring flutes, guitars, and percussion. They delivered a diverse set with tunes from Irish, Bulgarian, Norwegian, and other traditions. It was original and unexpectedly entertaining!

One of the main attractions, Gåte, had to cancel due to a band member’s illness and was quickly replaced by Hindarfjäll & Peter Franzen, a Swedish project that uses modern instruments to recreate the ancient sounds and atmospheres of Scandinavian/Nordic folk music.

Next, we escaped the rain by heading back into Gildehallen, catching the last few songs from local thrash band Mortal Fear—three teenagers with the drummer’s father on vocals. It was very entertaining!

The day ended with thrash metal titans Testament from California, USA, closing out the main stage at Heiheim.

Day 3 was special, with two bands from my hometown, Tønsberg, performing. Seigmen headlined the Helheim stage, while newcomers Fabbrica 82 were about to play their first-ever show in Gildehallen. We spent an hour there beforehand, chatting with the band members, Knut Ove Hansen and Lars Anders Berg, before their soundcheck and concert.

S-L: How did you come up with the band name?

Knut Ove Hansen: We started high school in 1982, and we chose Fabbrica because we wanted a name that could be associated with new wave. We went with the Italian version because “factory” was already overused in English, and I have a personal connection to Italy.

S-L: What were your first attempts at releasing music?

KOH: One of my early bands made our first demo tape at the local radio station in Tønsberg in 1985—it was actually the first synth-related demo recorded in Tønsberg! We played three gigs the following year as the band Some Bizzare, named after the famous compilation album where Depeche Mode, among others, had their first track on vinyl. We also had a third member, Bjørn Arnesen, who now lives in Peru. Lars reached out to me several times, in 2020 and again in 2023, asking if we should give it another try. I was hesitant at first, but then we made “Darkness,” and we were back at it.

Lars Anders Berg: Over the years, I’ve composed hundreds of songs, and I always wanted someone to sing to my tunes. After years of talking about it, we finally made it happen. It’s been a lot of fun, and we’ve quickly released several singles!

S-L: Any album in the making?

KOH: Yes, it’s what we’re working on. We also got another gig in October in Tønsberg. This is not where we thought we would be just six months after our first release – feels quite surreal! All because of the word of mouth in Tønsberg’s small “synth underground”, and it also spread to Oslo where we’ve gotten good feedback.

S-L: What’s your inspiration?

Lars Anders Berg: I listen to a lot of music, not just old synth, but many electronic genres. So, the process of creating themes, melodies, and tweaking knobs is an inspiration in itself.

As the hall filled with people, we noticed at least a dozen audience members already wearing fan T-shirts, and the band was thrilled after their first show.

As we left Gildehallen, we caught a few songs from Nytt Land on the Valhalla stage—a Siberian shamanic act that blends the vocal traditions of Northern Europe with traditional Siberian throat singing. It was a stark contrast after a synth gig and truly highlighted the diversity of the festival!

The last show we attended on Thursday was Seigmen at the Helheim stage. It was a fantastic performance, featuring a new song with guest Espen Winther from the medieval/folk band Eldrim, playing his harp. It was magical—a gig that later received well-deserved praise in reviews!

  • Snifferdog reworks Don Juan Dracula comeback single 'Burn'
    Snifferdog reworks Don Juan Dracula comeback single 'Burn'

The last day of the festival started off relaxed, with a stroll around, soaking in the sights and atmosphere under the sun. Then Ledfoot (Tim Scott McConnell) took the Valhalla stage. This goth-blues phenomenon was someone I’d been wanting to see live for a while, and he didn’t disappoint. He delivered a set full of raw emotion—soreness, anger, longing—and impressive guitar playing.

I had been in touch with him before the festival, and we agreed to try for an interview. However, due to his soundman’s tight schedule, they had to leave the area minutes after the show, so we exchanged a few words via Messenger a few days later instead.

S-L: How was your gig at Midgardsblot?

Ledfoot: The audience was great, and there was such a good vibe there 🙏

S-L: Did the show or audience differ much from your solo gigs?

Ledfoot: No, it’s the same everywhere—I do my best and hope the audience appreciates it.

S-L: More music in the works?

Ledfoot: I’ve started on my new record, and hopefully it’ll be out by the end of the year.
And I’d like to say a big thank you to the audience and all the people working behind the scenes.
Hugs!

Next, we went to see Bel Canto, the pioneering Norwegian electronica band, performing a set that spanned their entire career, including a few new tracks from their latest album Radiant Green. As always, they delivered a top-notch performance, and Anneli’s voice remains as impressive as ever!

Making Bernard envious by sending him live photos was an obligatory part of attending Bel Canto 😉

I also managed to spend a few minutes in Gildehallen to check out another band with a Tønsberg connection, though mostly from Oslo—the doom-sludge-ultra-heavy Dwaal. The hall was packed, with a queue outside, clearly hitting their target audience perfectly. I later caught up with lead singer Bjørnar Kristansen to ask about their experience.

S-L: How did Midgardsblot treat you?

Bjørnar Kristansen: Midgardsblot was amazing. Right after the show, we said it was one of our favorite gigs, if not our favorite. The crowd’s energy from the first riff to the last deeply affected us. I asked for a ritual, and we got a ritual for sure. A true catharsis, both on and off stage.

S-L: How does playing at a festival like this compare to club gigs?

BK: Festivals are different from club gigs because the crowd is a more varied mix of people—those who already know Dwaal and those giving us a chance for the first time. Not to say anything bad about the Norwegian audience, but it seems like international music lovers are more open to discovering new music. They come from far away and want to engage with as much as they can, even if they’ve never heard us before. It makes for an intense experience in the best way.

S-L: Did you explore the festival area, try the Viking activities or food?

BK: Our drummer Anders went on Friday and had a great time at the Blot. The rest of Dwaal arrived on Saturday, and we had some time to explore the festival. It’s an incredible event. Everyone makes you feel so welcome and included. A huge recommendation from Dwaal!

S-L: Any upcoming releases, albums, gigs, or other news?

BK: As 2024 winds down, we’re hard at work on new music, with some exciting projects that push us out of our comfort zone, which we love. Our last regular concert of the year will be at Apollon Tønsberg on October 11th, with Uaar as support. On December 14th, we’re playing the Caliban Sessions, a yearly mini-festival hosted by Ole Petter Andreassen of Black Debbath, Thulsa Doom, and Cumshots fame. It will be a fantastic end to a great year for Dwaal, marking our tenth year as a band. There are plans for a gig in Oslo in 2025, so stay tuned for that announcement.

We’re also in talks for more live shows in Europe, though nothing we can confirm just yet. And of course, if Midgardsblot invites us back, we’d love to play again!

The last show in Gildehallen this time around was the one that probably impressed me the most—Karin Park from Sweden. Alone on stage, standing between two tables covered with synths, computers, and modular gear, she sounded and performed like a full band, delivering an incredibly energetic set. Crown her the Queen of Synth already! (go to https://www.facebook.com/748210539/videos/1540166493571503/ for videos, several in the comments!)

The Norwegian band Emperor, regarded as pioneers of extreme black metal, closed the festival on the main stage, Helheim, in front of a devoted audience.

To sum it all up: a festival well worth visiting! As they’ve expanded the musical genres in their lineup, there’s now something for everyone without losing their core purpose or audience. This approach also increases the chance to discover something new, which is always a plus!

A big shoutout to Runa Strindin, the driving force behind the festival, and her entire crew for making it such a success! Hopefully, they’ll continue for years to come, and perhaps the 10th anniversary next year will be even more special?!

PS: As a food enthusiast, I must mention the excellent variety of food, ranging from handmade hot dogs to Thai, Mexican, elk burgers, and elk kebabs! Most impressive was the food from the Norwegian Chefs National Association, Vestfold branch (Norske kokkers Landsforening, avdeling Vestfold)—their hot-smoked halibut dish was to die for! 😊

]]> Click Interview with Alien Vampires: ‘If You Are Not A Devotee And Not Into Esoterism And Occultism, Don’t Talk About it’ https://www.side-line.com/click-interview-with-alien-vampires-if-you-are-not-a-devotee-and-not-into-esoterism-and-occultism-dont-talk-about/ Sun, 14 Jan 2024 18:00:00 +0000 https://www.side-line.com/?p=47801 (Courtesy by Inferno Sound Diaries) By the end of 2023 Alien Vampires unleashed their sixth...]]>

(Courtesy by Inferno Sound Diaries) By the end of 2023 Alien Vampires unleashed their sixth full length album “Return Me To Hell” which was released by Alfa Matrix. It also was the Italian formation’s first new studio album in six years. Behind the provocative image of the band hides talented artists who brought different Electronic influences together; from EBM to Dark-Electro to Industrial to Techno and even a touch of Dark-Pop “Return Me To Hell” first of all is the return of a great and unique formation. I talked about the album, image, side-projects and a few more things with Nysrok.

Q: You never stopped releasing EP’s, doing remixes and unleashing the massive boxset “Evil Lasts Forever” but “Return Me To Hell” is your first new studio-album since “Drag You To Hell” (2015). How comes it took that much time to release a new full length and what means this new work in the band’s history and evolution?

Nysrok: Well, I live in London, and my bandmate Nightstalker lives in Milan (Italy); a bit far in terms of logistics, travelling, etc.  As  far as I remember, we had a plan to release the first EP, and then the full length album, but then Covid came, and the rest is Salvatore Brizzi history, let’s see what’s going on next. Our approaching  to composition and recording is not so usual actually, it’s not about an acting, it is Salvatore Brizzi about our life, we are not playing a role, to communicate this kind of feelings it needs more time and accuracy.

Q: The album has been announced as dealing with themes of ‘depths of despair, pain, and personal struggles’, right? Can you tell us a bit more about the themes and how much does this work reflect who you are aside of the artists known as Alien Vampires?

Nysrok: Interesting question, the concept of “Return Me To Hell” was kind of misinterpreted by most of the fans I fear. The concept was all related to the loss of one my closest friends, with whom I had a strong esoteric connection, let’s say it was Cathartic, summoning the Egregore through all my bloods connected. It was creepy, lethargic, near death experience.

Also I can confirm that “Return Me To Hell” is closing the trilogy started with “Drag You To Hell”,  through “Kinky To Hell”. Next year we are going to celebrate 20 years of Alien Vampires!! And the new album will be Industrial-Metal-Goth oriented, end of an era, new one is coming… 

Q: It became a double album featuring twenty one songs. When did the writing process of this album started and how did it finally take shape? What have been the main challenges and difficulties you encountered?

Nysrok: We had many issues, if you consider that  one of our guests was Joy Jordison (ex-Slipknot)… Then unfortunately he died when all the material was ready to be mastered, so we wanted to wait, to be honest with you we were a bit lost… you know we also had a band called Electhrone with him and after his death we took some time off. Then we chose to add the song recorded with him but without his name in order to respect him, there would have been too much attention on that… and then suddenly Attila posted  on Instagram (Mayhem) talking about Jordison’s appearance on our album, at that point almost every magazines were talking about that.  Now you can easily understand, with this kind of issues, and with these kind of guests, the recording process is not  easy at all, when Jordison went to the studio in the US, it took almost three weeks recording the drums, of course if you record at home with your laptop, it’s easier, that’s not our way of working…

Q: So you Nysrok are now living in London. How is it living over there and what are the main differences with Italy and especially the impact/influence of this place to the music you’re composing?

Nysrok: I was living in London due to my parents, since 1993, would take ten interviews, to remember and talk about all the all experiences I had (laugh)… At that time you had a club event every night of the week. I saw both Black-Metal and Industrial scenes rising, so I can confirm, living here influenced me about Alien Vampires for sure, and for my previous band Aborym as well.

Q: Alien Vampires is a band with a strong, provocative, image but how important is this image and what does it reflect from yourself?

Nysrok: We were the first band introducing Satanic, BDSM, porn blasphemy, occultism, I’m talking  about the images and concept, in the harsh scene. For us it’s not important, it’s what we are, the funny thing is that after a while all the bands in the scene started imitating us. I always have an advice:  if you are not a devotee and not into esoterism and occultism, don’t talk about it because the dominating evil is taking everything back.

Q. Like you said you also had some great amazing collabs on this new album but also including guest vocals by cult model Dani Divine? How did you get in touch with her?

Nysrok: We know each other since always, we used to hang out in the same clubs in London, so the collaboration was quite easy, also she likes our music, and we love her style and attitude.

Q. Like you said another noticeable collab is your cover of “Assimilate” by Skinny Puppy featuring stars like Attila Csihar (Mayhem), Istvan Zilahy (Plasma Pool) next to the late Joey Jordison (Slipknot).  Anything more you want to tell us about them?

Nysrok: I used to play with Attila in Aborym, since 1999 to 2007, I became friend with Jordison around 2009 he was looking for members about his project (Scar The Martyr). He was a fan of Alien Vampires! His favorite song from Alien Vampires was “You Wish Me Dead Get In Line”. After some years together with Attila, Nightstalker and Zilahy, we formed Electhrone, the first song we recorded was the cover of “Assimilate”  because we all loved that song, we even got more material recorded, but after his death we decided to put all in a hiatus…

Q: I was really impressed by the mini-album “Death’s Dance” from your side-project Speed Injektion? Any further plans for this project and what about Hell_E9, Infernalien ao? What brings the future?

Nysrok: Thank you. About Speed Injektion we are preparing the new full-length which should be released end of 2024. For Hell_E9 we are ultimating the new EP is gone be released for Alfa Matrix soon… about  Infernalien  we are recording  a cover called “Satan’s Generation” (Impaled Nazarene) which will be included in the next EP, and we will have Faust (Emperor) at the drums. We keep ourselves busy ;-).

]]> Shoegaze act Aarktica gets 2001 ‘Morning One’ album re-released in a remastered and expanded edition in September https://www.side-line.com/shoegaze-act-aarktica-gets-2001-morning-one-album-re-released-in-a-remastered-and-expanded-edition-in-september/ Thu, 17 Aug 2023 13:33:16 +0000 https://www.side-line.com/?p=44380 (Photo by Jon DeRosa) Projekt Records has announced the September 15 release of the remastered...]]>

(Photo by Jon DeRosa) Projekt Records has announced the September 15 release of the remastered and expanded edition of Aarktica’s “Morning One” album, which was originally released in 2001. For the first time, the album will be available digitally. “Morning One” was released shortly after Aarktica’s debut “No Solace in Sleep” (2000) and marks a transition from pure guitar ambient to the atmospheric drone pop hybrid sound that has since become the project’s trademark.

In addition to the original 2001 release, Aarktica (aka Jon DeRosa) has added three previously unreleased tracks. Included among these is a 2002 remix by Aaron Spectre (also known as electronic artist Drumcorps), who offers a downtempo version with danceable beats.

“In many ways, ‘Morning One’ is the ‘missing link’ in the catalogue,” says DeRosa. “This album is an important release for me; it represents a transitional phase, from a time when I was really feeling out what I wanted Aarktica to become. I was influenced by bands like Flying Saucer Attack, Slowdive, and Mogwai. Simultaneously, I was a composition student studying Indian classical music with La Monte Young, becoming increasingly interested in creating ambient textures in a compositional way. I was listening to composers like Ingram Marshall, and I was in awe of his ability to bridge the ambient/electronic world with that of modern classical music. In much the same way, I was listening to bands like Godspeed You! Black Emperor, who were achieving very much the same effect, but in reverse.”

Jon DeRosa is an American musician and singer-songwriter. He has been involved with several acts, including Dead Leaves Rising, Pale Horse and Rider, as well as his solo project known as Aarktica.

Here’s an idea how this project sounds like.

]]> Cult English post-punk band A Certain Ratio share Emperor Machine’s reworking of ‘Constant Curve’ https://www.side-line.com/cult-english-post-punk-band-a-certain-ratio-share-emperor-machines-reworking-of-constant-curve/ Thu, 17 Aug 2023 09:41:14 +0000 https://www.side-line.com/?p=44368 (Photo by Paul Husband) A Certain Ratio, commonly abbreviated as ACR, is an influential English...]]>

(Photo by Paul Husband) A Certain Ratio, commonly abbreviated as ACR, is an influential English post-punk band that originated in Flixton, Greater Manchester, in 1977. The initial formation featured Peter Terrell (guitar, electronics) and Simon Topping (vocals, trumpet), with Jez Kerr (bass guitar, vocals), Martin Moscrop (trumpet, guitar), Donald Johnson (drums), and Martha Tilson (vocals) joining shortly thereafter. In 1979, the band had the distinction of being among the first acts to debut on Tony Wilson’s iconic Factory Records, with their single “All Night Party” produced by Martin Hannett. During their early years with Factory, ACR achieved impressive success, securing seven Top Ten UK independent releases—most notably “Flight” and “Waterline”—and they initiated their album collection with “The Graveyard and the Ballroom” (1980).

In the late 1980s and early 1990s, the band transitioned through phases with major label A&M and Rob Gretton’s independent label Robs Records. During these periods, ACR’s activity varied. They made a notable return with their ninth studio album, “Mind Made Up” (2008), and have remained active in performance since, with their extensive back catalogue being reissued through a partnership with Mute Records. In September 2020, they released “ACR Loco”, their first new studio album in twelve years, followed by three EPs titled “A”, “C”, and “R” in 2021. In 2023, they released their eleventh studio album, aptly named “1982”.

Today, A Certain Ratio has unveiled a new remix by Emperor Machine—a moniker for close friend and collaborator Andy Meecham—of their track “Constant Curve”. This track will be part of their forthcoming 4-track EP, set to be released both on limited edition 12” vinyl and digitally on 22 September 2023 via Mute.

This remix sees Meecham revisiting “Constant Curve”, a song from the 1982 album that he originally co-wrote and contributed keyboards and electronic percussion to.

Explaining the process, Meecham says: “After the success of our previous collaboration, Martin [Moscrop] asked if I would record some synths for a new track. I loved it on first listen, so obviously I said yes. While working and writing some synths, I thought this is a great track, but it’s too short—it needs a Pettibone-style extended Dub mix, a proper extended 12” version with Donald [Johnson]’s drums more upfront in the mix, dubbed out guitars, and new vocal edit sections. I suggested this idea to the band, and thankfully they gave me free rein.”

The track can be found below.

The EP follows their latest album “1982” (released in spring this year), and includes three newly commissioned remixes of tracks from the album – Emperor Machine’s reworking, Werkha mix of SAMO, and Manchester producer Jade Parker’s remix of “Waiting on a Train” (feat. Ellen Beth Abdi & Chunky), alongside a brand-new track “Day by Day”, written and recorded with Ellen Beth Abdi.

A Certain Ratio recently announced a tour that celebrates 45 years of the band’s career. The dates will see A Certain Ratio perform two separate sets each night: the first set will represent the early years of their career from their Factory releases and A&M. The band will then reconvene for a set representing ACR from the early to mid-‘90s to 2024 including unreleased forthcoming material.

  • 10 November – London, Moth Club – SOLD OUT
  • 11 November – Preston, The Ferret
  • 12 November – Glasgow, Stereo
  • 15 November – Gateshead, The Sage
  • 16 November – Reading, Face Bar
  • 18 November – York, The Crescent
  • 25 November – Brugge (BE), Cactus
  • 2 December – Liverpool, 24 Kitchen Street
  • 10 December – Manchester, Band on the Wall

A Certain Ratio will also be appearing at the following festivals:

  • 19 August – Luna Festival, Coimbra, Portugal
  • 26 August – Shambala Festival, Northamptonshire
  • 27 August – Wrexfest, Wrexham
  • 19 November – Shiiine On Weekender, Minehead
  • 24 November – BBMix, Paris (FR)
]]> First official video by Mørke Og Lys out now, ‘Tanacetum Vulgare – Tansy’, taken from the debut album ‘Lethal Sphere’ https://www.side-line.com/first-official-video-by-morke-og-lys-out-now-tanacetum-vulgare-tansy-taken-from-the-debut-album-lethal-sphere/ Wed, 26 Apr 2023 15:31:06 +0000 https://www.side-line.com/?p=42738 The first official video by Mørke Og Lys showcases the second track (“Tanacetum Vulgare –...]]>

The first official video by Mørke Og Lys showcases the second track (“Tanacetum Vulgare – Tansy”) from their debut album, “Lethal Sphere”. The video, which can be viewed below, was filmed on Parnitha Mountain in Attica, Greece.

Mørke Og Lys is a one-woman dungeon synth project founded by Hildr Valkyrie, who is well-known for her numerous collaborations as a session vocalist with black metal and dungeon synth bands such as Emyn Muil, Elffor, Helrunar, and many more.

The video follows the sorceress Èrkyna as she searches for rare herbs to gather and increase her powers by creating magical potions for her sorcery. After collecting the herbs, she performs an ancient rite to thank the old gods and goddesses for their gifts of nature, using the same knife that cut the herbs to gain more energy from the steel. She then rests her mortal body at the roots of an ancient tree before continuing her journey on the magical path of sorcery, embracing both darkness and light.

The debut album comprises 11 tracks, each named after a plant species known for its use in witchcraft.

The release is available on cassette via the US-based dungeon synth label, Dark Age Productions.

About dungeon synth as a music genre

Dungeon synth is a subgenre of electronic music that emerged in the early 1990s. It is characterized by its dark, atmospheric soundscapes, often inspired by medieval, fantasy, and dungeon-like themes. The music typically features synthesizers, keyboards, and sometimes samples, creating a moody and often minimalist sound.

Dungeon synth artists usually tend to focus on creating immersive, atmospheric tracks that evoke a sense of mystery, exploration, and ancient times. The genre has gained a dedicated following over the years, and its influences can be traced to related genres like dark ambient, neoclassical, and neofolk music.

Here are some of the artists active in that specific scene.

  • Mortiis – One of the early pioneers of the dungeon synth genre, Mortiis is a Norwegian musician who started his solo project in the early 1990s after leaving the black metal band Emperor.
  • Old Tower – A Dutch project that has gained a significant following, Old Tower creates dark, atmospheric music inspired by medieval and fantasy themes.
  • Depressive Silence – A German project active in the 1990s, Depressive Silence is considered one of the early influential dungeon synth acts.
  • Erang – A French artist known for his prolific output and fantasy-inspired music, Erang has been active in the dungeon synth scene since the early 2010s.
  • Fief – An American project that creates light, melodic, and medieval-inspired dungeon synth music.
  • Guild Of Lore – Another American project, Guild Of Lore is known for its immersive soundscapes and atmospheric compositions.
  • Thangorodrim – A project inspired by the works of J.R.R. Tolkien, Thangorodrim creates epic and cinematic dungeon synth music.
]]> Japanese composer Ryuichi Sakamoto passes away at 71 https://www.side-line.com/japanese-composer-ryuichi-sakamoto-passes-away-at-71/ Sun, 02 Apr 2023 14:23:56 +0000 https://www.side-line.com/?p=42241 Extremely sad news reaches us from Japan where renowned composer and producer Ryuichi Sakamoto, a...]]>

Extremely sad news reaches us from Japan where renowned composer and producer Ryuichi Sakamoto, a pioneer in incorporating electronic production into popular music, has passed away at the age of 71. On March 28, Sakamoto succumbed to cancer after a years-long battle, as reported in a statement on his website on Sunday.

The statement shared one of Sakamoto’s favourite quotes: “Ars longa, vita brevis,” which translates to “Art is long, life is short.” The full statement was also published on Twitter as you can see below.

Composer and actor

Born on January 17, 1952, Sakamoto enjoyed a culturally rich upbringing, with his father working as an editor for postwar Japanese novelists like Kenzaburo Oe and Yukio Mishima. He began taking piano lessons at the age of six and later started composing his own music. As a teenager, he became captivated by the work of Claude Debussy, a composer who drew inspiration from Asian musical aesthetics, including Japanese styles.

Sakamoto, who was based in Tokyo and New York, began his career as a member of the legendary Japanese electronic music trio Yellow Magic Orchestra (YMO). He made his film composer debut with “Merry Christmas Mr. Lawrence” (1983), in which he also starred as an actor alongside David Bowie. The main theme was adapted into the international hit single “Forbidden Colours,” featuring vocals by David Sylvian. Sakamoto continued his successful film composing career with works such as “The Last Emperor” (1987), “The Sheltering Sky” (1990), “Little Buddha” (1993), and “The Revenant” (2015).

Last album released in January

In January Side-Line presented Sakamoto’s last album, “12”, out via Milan Records. The 12 compositions were recorded by Ryuichi Sakamoto in Tokyo during his 2-year long fight with cancer throughout 2021-2022. The album, his 15th, was the first of new solo material since 2017. The album’s twelve tracks are titled and sequenced by the dates each were written, culminating in a diary-like collection of music that provides an intimate snapshot into this period of Sakamoto’s life.

Prior to the release of his album, Sakamoto debuted a special solo piano concert that was streamed online to over 60,000 viewers worldwide. His first live performance in two years, the concert was recorded at Tokyo’s renowned 509 Studio over a week and featured an hour of the composer playing new arrangements from his extensive repertoire and new album.

Watch “Merry Christmas Mr. Lawrence” from the live-streamed “Ryuichi Sakamoto: Playing the Piano 2022” on Sunday, December 11, 2022.

Ryuichi Sakamoto will be dearly missed.

「どこにいても、元気でいてね」

“Time is so short, and I’m sure that I don’t have much time left. So I’m doing my best to enjoy every day.”

– Ryuichi Sakamoto, as quoted in an interview with Asahi Shimbun in 2017 –

]]> New album Ryuichi Sakamoto ’12’ out now, a sonic battle with cancer https://www.side-line.com/new-album-ryuichi-sakamoto-12-out-now-a-sonic-battle-with-cancer/ Tue, 17 Jan 2023 13:40:59 +0000 https://www.side-line.com/?p=40826 The cult Japanese musician and composer Ryuichi Sakamoto is back with all new album, “12”,...]]>
New album Ryuichi Sakamoto '12' out now, a sonic battle with cancer

The cult Japanese musician and composer Ryuichi Sakamoto is back with all new album, “12”, via Milan Records. The 12 compositions were recorded by Ryuichi Sakamoto in Tokyo during his 2-year long fight with cancer throughout 2021-2022. The album, his 15th so far, is the first of new solo material since 2017. The album’s twelve tracks are titled and sequenced by the dates each were written, culminating in a diary-like collection of music that provides an intimate snapshot into this period of Sakamoto’s life.

As a result you get this tracklist:

  1. 20210310
  2. 20211130
  3. 20211201
  4. 20220123
  5. 20220202
  6. 20220207
  7. 20220214
  8. 20220302 – sarabande
  9. 20220302
  10. 20220307
  11. 20220404
  12. 20220304

Of the album, Sakamoto says: “In early March 2021, I finally “came home” to my new temporary housing after a big operation and a long stay in the hospital. Around the end of March, just as my body was feeling a little lighter, I found myself reaching for the synthesizer. I had no intention of composing something, I just wanted to be showered in sound. I just had a feeling that it’ll have a small healing effect on my damaged body and soul. Up until then, I barely had the energy to listen to music, let alone play anything. But after that day, I began to occasionally touch the keys of the synthesizer and piano and I began to record little sketches of sounds as if to write a diary. I tried choosing 12 of my favorite sketches for this album. There are no adornments—I’m intentionally putting them out as is. From now on, until my body gives out, I’ll probably continue to keep this kind of “diary”.”

Based in Tokyo and New York he started out as a member of the legendary japanese electronic music trio YMO (Yellow Magic Orchestra). As a film composer he debuted with the excellent “Merry Christmas Mr. Lawrence” (1983) both as a musician and as an actor (vs David Bowie). The main theme was adapted into the single “Forbidden Colours” which became an international hit (with vocals by David Sylvian). His most successful work as a film composer was “The Last Emperor” (1987), after which he continued earning accolades composing for films such as “The Sheltering Sky” (1990), “Little Buddha” (1993), and “The Revenant” (2015).

In advance of the album’s release, Sakamoto recently debuted a special solo piano concert that was streamed online to an audience of over 60,000 viewers across the globe. His first live performance in two years, the concert was recorded over the course of a week at Tokyo’s legendary 509 Studio and features an hour of the composer playing new arrangements both spanning his repertoire and from his new album.

Check “Merry Christmas Mr. Lawrence” from the live streaming “Ryuichi Sakamoto: Playing the Piano 2022” from Sunday, December 11, 2022. Welcome back Ryuichi Sakamoto!

]]> Click Interview with The Allegorist: ‘For Each Release I’m Writing A New Script And Developing A Sound That Can Tell It The Best’ https://www.side-line.com/click-interview-with-the-allegorist-for-each-release-im-writing-a-new-script-and-developing-a-sound-that-can-tell-it-the-best/ Sun, 24 Apr 2022 17:00:00 +0000 https://www.side-line.com/?p=36479 Living in Berlin (Germany) Anna Jordan is composing music as The Allegorist. The sound she’s...]]>

Living in Berlin (Germany) Anna Jordan is composing music as The Allegorist. The sound she’s dealing with resulted from multiple influences. Her work is for sure touched by Techno music but there also is a solid Ambient part running through the composition. Anna Jordan works in the DIY spirit her music being part of a wider artistic creation she describes as being holistic. Her newest work “Blind Emperor” has been composed in between 2019 and 2021. Released on Anna’s own label Awaken Chronicles the work is a fascinating exposure of her art but it first of all is a visionary and transcendental experience in sound. Welcome to the world of The Allegorist.

(Picture credits by Daniel Murtagh Photography – Interview courtesy by Inferno Sound Diaries)

Q: What means music to you and what incited you to compose your own music? 

Anna: I find that music is a great language and medium to work with, for me, because it supports a sort of abstract communication also on a subconscious and spiritual level, and pursuing it can involve a transdisciplinary approach. 

Electronic music is fascinating to me because it has the ability to create entire worlds by the involvement and dedication of only one person, like in the case of an author of a book, only that it can exceed the narrative that can be told with words of one language, as I personally perceive it.

I started to make music when I was 29 years old and it was a lifelong dream of mine. 

Q: The Allegorist is your sonic alter-ego where you express deeper feelings and introspections. Tell us a bit more about it and what do you try to reflect? 

Anna: I like to learn, to raise questions, explore possible answers, find hidden worlds, stories of others and to actually feel them too, to feel and share life. I have found that creative thinking and imagination is an amazing way to access all of those, to travel really far, to connect seemingly unrelated worlds and to express and share what is impossible otherwise. 

This is how I became, The Allegorist, an explorer of meanings via speculative fiction and a creator of stories told through Electronic music and other media.

Q: The new concept has been transposed into “Blind Emperor”. What have been the triggers and influences to write this album and what did you try to express by this title and its theme?

Anna: The album “Blind Emperor” is about the journey, to fight for the truth of oneself, not to bend for the easy, and to find acceptance in the sacrifices and limitations. If you bend for the easy and give up your own truth, you might gain something out of it, but then you have also lost everything already. I think that you have to be in power to work towards your ideas, your truth while simultaneously letting yourself be guided by many elements like knowledge, feelings, and intuition. The right balance of all these elements will lead to the right thoughts, wisdom, and actions. I have explored and told these thoughts in an artistic work, the tale of the “Blind Emperor”, depicting the mysterious ways of life, musically in an Epic, Cinematic, Choral, and Ambient techno album. 

The title “Blind Emperor” comes from the philosophical idea that sometimes you have to become blind to the realities of life in order to find the strength within you, to do what seems impossible. 

My inspiration from a more practical perspective comes from  playing live and my personal experience of Techno in Berlin.

I’m a fully independent artist and still don’t work with a booking agent. The invitations for live shows come directly to me from an organic interest. I live in Berlin, so perhaps naturally I was asked mainly to play Techno in some clubs. I was building my Techno live set over the years, looking for a way how I would like to approach presenting a Cinematic-Techno journey with a narrative and experimenting with what moved me and the audience, and connected us the most. 

When I moved to Berlin in 2010 I experienced losing myself, and melting into one breathing entity of living energy in the scene of Electronic music. I didn’t do music back then, but I still could remember what I was feeling and wished for sonically, and in the storytelling in some moments of ecstasy. I have found that the experience of catharsis as in a dramatic act, which I was fond of in my childhood, was the way I wanted to create an epic, intense climax, as a form of ritualistic self-redemption. To get there I had to walk the road of a particular swirling and ambient build up. 

All these played their role in how the concept of the symphonic, Cinematic-Techno-Ambient album “Blind Emperor” was born.

Q: Sound-wise The Allegorist has always been a true sonic enigma. I think it’s easier talking about the multiple influences running through your music instead of putting a label on your sound. How do you explain this eclectic approach and what kind of sound do you purchase? 

Anna: I’ve seen all my releases as books or movies consisting of tracks as chapters or episodes, based on philosophical contemplation, illustrated with visuals and a narrative. 

With each release, I’m exploring a new theme and I’m telling it in a new story. Every story has its own world, a new narrative, its own characters and its own sound. For each release I’m writing a new script and developing a sound that can tell it the best.

Q: What have been the different stages you’d to go through to compose “Blind Emperor”? What have been the main difficulties and challenges you encountered?  

Anna: The cover artwork was the first element that I have created in 2017, although I didn’t know who she was. At the beginning I could see the colors and feel the tension and silence of this world. Then I’ve started to see some objects, hearing some sounds, mainly atmospheric sounds.

Throughout the years I’ve been eavesdropping and peering into the story deeper, writing the script in my head, making notes and developing the sound. I’ve started to smell the dirt, to hear and see the horses, the black carriage decorated with the black cormorants, the treasure they were carrying. I’ve seen the defeated protagonist who came back later as the Redwinged Phoenix and her growing army, the sweating and fierce Marching Crowds, and lastly the magicians, the War Priests on the top of the mountains, in the final battle.

Q: The Allegorist is much more than simply music but a kind of wider artistic creation. Can we call it a ‘total concept’? What fascinates you in different artistic exposures and how do you try to bring them together? Any idea what will be your next concept?  

Anna: Yes, you can absolutely call it a total concept. 

I’ve always been interested in ideas, concepts, questions, possible answers, have exercised creative thinking, and nurtured my intuitions. Also I’ve been painting over 10 years and was growing into digital visual arts before I started to make music, so it was important to me to keep my holistic interest with The Allegorist.

When I’m creating a release, with every element of different media I’m telling a little bit of the story, and with all elements together the full story manifests itself.

Yes, I’m already writing new scripts and developing new sounds for new releases. I’m really keen to finish and release them in the coming years.

]]> The Allegorist – Blind Emperor (Album – Awaken Chronicles) https://www.side-line.com/the-allegorist-blind-emperor-album-awaken-chronicles/ Mon, 28 Mar 2022 07:00:00 +0000 https://www.side-line.com/?p=36077 Genre/Influences: Ambient, Electro, Trance. Format: Digital, Vinyl. Background/Info: Berlin (Germany) based Anna Jordan aka The...]]>

Genre/Influences: Ambient, Electro, Trance.

Format: Digital, Vinyl.

Background/Info: Berlin (Germany) based Anna Jordan aka The Allegorist strikes back with a new production featuring six songs. It rather looks like a mini-album instead of a real full length.

Content: The Allegorist remains a sonic mystery for the way this artist mixes her influences. The tracks have been progressively built up. There’s a true sensation of crescendo running through the tracks which have been accentuated by the string parts emerging at the surface during the final part of each cut. The rhythm remains pretty slow and linear.

+ + + : The Allegorist mixes elements of Ambient together with Deep-Techno elements resulting in a transcendental sensation. The title track is the ultimate exposure of this approach, the final part of the work creating a true climax. A similar effect is also emerging at “Moving Forward”.

– – – : I have to admit the music of The Allegorist isn’t the most easy listening. I needed a few listens before catching the real splendor of this work.

Conclusion: This female artist sounds out of the box and that’s precisely what makes The Allegorist somewhat visionary.

Best songs: “Blind Emperor”, “Moving Forward”.

Rate: 8.

Artist: www.facebook.com/theallegoristmusic

Label: www.facebook.com/awakenchronicles

]]> Unreleased 2005 song by Scum with Mortiis on vocals out now https://www.side-line.com/unreleased-2005-song-by-scum-with-mortiis-on-vocals-out-now/ Mon, 13 Sep 2021 12:01:48 +0000 https://www.side-line.com/?p=32630 Here’s a Mortiis curiosum… Out now is the previously unreleased Scum song “Speaking In Tongues”...]]>
Unreleased 2005 song by Scum with Mortiis vocals out now

Here’s a Mortiis curiosum… Out now is the previously unreleased Scum song “Speaking In Tongues” with Mortiis on vocals. This release happens in collaboration with Samoth, Faust, Happy Tom, and the others that were part of the Casey Chaos-driven project Scum, back in 2005. The song was for various reasons, never included on the final album version, and remained sort of lost and forgotten, until recently.

You get the unreleased rough mix track from “Gospels for the Sick” from the 2005 session which was recorded at the Crystal Canyon Studios in Oslo. The recording was engineered by the late Marius Bodin Larsen.

Scum is a Norwegian hardcore punk/black metal band formed in 2002. All members are Norwegian except for the American vocalist Casey Chaos. Their album, “Gospels for the Sick”, was recorded in one single session in 2004, and they have only had a few live performances. The band had guest appearances from several artists, one of which was Mortiis who cowrote and performed on the song “Speaking in Tongues”.

Scum’s band members have played in several other bands. Guitarist Samoth played in the black metal bands like Emperor, Gorgoroth, Satyricon, Zyklon, Thou Shalt Suffer, Arcturus and Zyklon-B, and did sessions for Ildjarn and Burzum. Drummer Faust contributed to the music of Emperor, Aborym, Zyklon, Thorns and several less notable bands like Impostor, Blood Tsunami, Death Fuck, Decomposed Cunt and Stigma Diabolicum. Cosmocrator played for Windir, Zyklon, Source of Tide and Mindgrinder. Vocalist Casey Chaos writes and records everything apart from drums for his band, Amen, and also provides vocals for Damned Damned Damned and Grindhaller XXX. Happy-Tom plays bass guitar for Turbonegro.

]]> Wisborg releases new video and single ‘I Believe In Nothing’ – expect a mix of gothic rock and 80s neon aesthetics https://www.side-line.com/wisborg-releases-new-video-and-single-i-believe-in-nothing-expect-a-mix-of-gothic-rock-and-80s-neon-aesthetics/ Fri, 05 Feb 2021 15:17:26 +0000 https://www.side-line.com/?p=28989 (Photo by Amber Laguz) Out now is the music video for Wisborg’s new single “I...]]>
Wisborg releases new video and single 'I Believe In Nothing' - expect a mix of gothic rock and 80s neon aesthetics

(Photo by Amber Laguz) Out now is the music video for Wisborg’s new single “I Believe In Nothing”. You can expect modern gothic rock mixed with 80s neon aesthetics.

“I Believe In Nothing” is the first single from the band’s upcoming album “Into The Void” which will be released on March 19, 2021. It features guest appearances by Jørgen Munkeby (Shining, Emperor, Me And That Man) and Dani Divine (internationally succesful fetish model).

Wisborg formed in early 2017 and have been incorporating elements of dark wave and post-punk since their start. Their debut album “The Tragedy of Seconds Gone” came out on April 27th 2018. The second album “From The Cradle To The Coffin” came out on March 29th, 2019.

Here’s their new video for “I Believe In Nothing”.

]]> The Membranes song ‘Nocturnal’ gets the remix treatment by Kitty Lectro – watch the video https://www.side-line.com/the-membranes-song-nocturnal-gets-the-remix-treatment-by-kitty-lectro-watch-the-video/ Wed, 06 Nov 2019 16:08:48 +0000 https://www.side-line.com/?p=22335 Iconic UK post-punk/alt act The Membranes release an EP featuring two remixes of their song...]]>
The Membranes song 'Nocturnal' gets the remix treatment by Kitty Lectro - watch the video

Iconic UK post-punk/alt act The Membranes release an EP featuring two remixes of their song “Nocturnal” by goth rock/darkwave Goth DJ Kitty Lectro.

“Nocturnal” was originally released on The Membranes new album “What Natures Gives… Nature Takes Away” on June 7th this year. Having remixed artists such as Kommunity FK, Andi Sex Gang, Beauty In Chaos (Wayne Hussey, Simon Gallup and Michael Ciravolo) and more, Kitty Lectro adds a dance floor spin to “Nocturnal”.

Frontman and The Membranes founder John Robb explains why they chose to remix the song: “‘Nocturnal’ is our death disco dance with Pan, or our dark Dionysian dislocation of the senses that has been remixed to shadowy dance floor brilliance by Kitty Lectro. It is from our new double album “What Nature Gives… Nature Takes Away” and examines the beauty and violence of nature, in which we took our bass-driven post-punk and added choirs to it to create an epic brooding soundtrack to the theme of nature itself and its desperate struggle to survive the human race’s hell bent determination to destroy it.”

The Nocturnal EP will be available for streaming on all major platforms. You can here it right below.

Tracklist of the EP:

  • Nocturnal (KITTY LECTRO Remix)
  • Nocturnal (KITTY LECTRO Meow Meow Money Mix)
  • Nocturnal (Album Version)

The Membranes will be on tour in Europe with Mark Lanegan Band in November/December.

About The Membranes

Formed in 1978 in Blackpool, England, The Membranes played classic bass-driven northern post-punk and were part of the same world as bands like Joy Division, Bauhaus, The Fall, Sisters Of Mercy, and Cabaret Voltaire, all inspired by the punk explosion of 1977 to launch their own idiosyncratic journeys. The band released a remarkable series of records throughout the ‘80s that combined their small town frustration with a love of heavy bass and distortion. This ultimately became a prime influence on such American noiseniks as Steve Albini, Swans and Sonic Youth.

The group reformed in 2010 at the request of My Bloody Valentine to play the All Tomorrow’s Parties festival, and have since made two albums, inspired by newer bands like Godspeed You Black Emperor, Mogwai, Ulver and Wardruna.

Membranes frontman/bassist John Robb is an acclaimed British musician/author/publisher and TV/radio commentator. He is the editor-in-chief of British music monthly Louder Than War and the author of the celebrated non-fiction work “Punk Rock: An Oral History”.

]]> Mortiis sees both classic LPs ‘Ånden som Gjorde Opprør’ and ‘Keiser av en Dimensjon Ukjent’ re-released on vinyl and CD https://www.side-line.com/mortiis-sees-both-classic-lps-anden-som-gjorde-oppror-and-keiser-av-en-dimensjon-ukjent-re-released-on-vinyl-and-cd/ Tue, 17 Oct 2017 16:30:46 +0000 http://www.side-line.com/?p=12646 In collaboration with Funeral Industries, Mortiis is reissuing the classic 1994 and 1995 albums “Ånden...]]>

Mortiis sees both 'Ånden som Gjorde Opprør' and 'Keiser av en Dimensjon Ukjent' re-released on vinyl and CD

In collaboration with Funeral Industries, Mortiis is reissuing the classic 1994 and 1995 albums “Ånden som Gjorde Opprør” and “Keiser av en Dimensjon Ukjent”. Pre-orders are being taken right now via the official Mortiis webstore.

“Ånden Som Gjorde Opprør” (The Spirit Who Rebelled) is the second full-length album by Norwegian solo artist Mortiis, released a year after his debut album, “Født til å Herske” (1993). The follow-up album is “Keiser av en Dimensjon Ukjent” (Emperor of a Dimension Unknown), released in 1995.

In order to make the reissues as special as possible, both re-releases have been remastered by Jules Seifert, in close collaboration with Mortiis, and exclusive new artwork was created by renowned French artist David Thierree, based on ideas by Mortiis.

Both albums come in 3 different vinyl colors, plus include 12″ sized inserts, in limited editions. The “Ånden som Gjorde Opprør” vinyl (available here) comes in 200x silver, 100x purple, and 450x black. The “Keiser av en Dimensjon Ukjent” (available here) comes in 200x gold, 100x dark green, and 450x black. All formats include a free digital download.

If you prefer the CD versions, you can expect lovely digipaks of both “Ånden som Gjorde Opprør” (available here) and “Keiser av en Dimensjon Ukjent” (available here).

The release date for both albums have been set to November 3rd.

]]> Morrissey & David Bowie fans, attention: ‘Beside Bowie: The Mick Ronson Story’ coming to theaters September 1st and home video on October 27th https://www.side-line.com/morrissey-david-bowie-fans-attention-beside-bowie-the-mick-ronson-story-coming-to-theaters-september-1st-and-home-video-on-october-27th/ Thu, 31 Aug 2017 19:00:13 +0000 http://www.side-line.com/?p=12179 The documentary “Beside Bowie: The Mick Ronson Story” featuring exclusive voice-over contributions from David Bowie,...]]>

Morrissey & David Bowie fans, attention: 'Beside Bowie: The Mick Ronson Story' coming to theaters September 1st and home video on October 27th

The documentary “Beside Bowie: The Mick Ronson Story” featuring exclusive voice-over contributions from David Bowie, is coming to theaters September 1st and home video on October 27th. The film is a celebration of the life and works of guitar virtuoso Mick Ronson, a rock hero virtually uncelebrated despite his direct contribution and involvement in countless compositions, lyrics and recordings that changed the face of music forever.

Here’s a trailer for the documentary.

The Emperor Media Ltd production documentary special is from producer/director Jon Brewer and also talks about Mick Ronson’s humble beginnings in Hull, England as he worked with the city’s council whilst pursuing his craft with consummate dedication. David Bowie grabbed at the chance to work with Ronson, in what would become a career-long association, alongside collaborations with other greats such as Bob Dylan, Ian Hunter, Lulu, Lou Reed, Morrissey and John Mellencamp.

Ronson passed way in 1993 while working on a solo album.

“Beside Bowie: The Mick Ronson Story” is out on Blu-ray + DVD (and available here for ordering). For those wanting to see the film in a US cinema, we looked up the data:

September 1:

  • Los Angeles, CA – Laemmle Music Hall
  • New York, NY – Cinepolis
  • Buffalo, NY – The Screening Room
  • Kansas City, MO – Screenland Arts & Crafts Film Festival
  • Albuquerque NM – The Guild Cinema

September 2, 3, 4:

  • Portland, OR – Clinton Street Theater

September 4 and 5:

  • San Francisco, CA – Roxy Theater ***Angie Bowie Q&A via Skype

September 6:

  • Philadelphia, PA – Philamoca

September 8:

  • Phoenix, AZ – Harkins Valley Art Theater
  • Columbus, OH – Gateway Film Center
  • Wayne, PA – Reel Cinema
]]> Marilyn Manson plans Summer release for new ‘Heaven Upside Down’ album https://www.side-line.com/marilyn-manson-plans-summer-release-for-new-heaven-upside-down-album/ Fri, 12 May 2017 15:00:14 +0000 http://www.side-line.com/?p=11020 Marilyn Manson has finished recording his new album, for the moment titled “Heaven Upside Down”...]]>

Marilyn Manson kills Trump in upcoming music video - what if he would have killed Clinton?

Marilyn Manson has finished recording his new album, for the moment titled “Heaven Upside Down” (and not “Say10”). Manson will be going on tour in July to promote the new album which will be released this Summer. The upcoming tenth studio album “Heaven Upside Down” is the follow-up to “The Pale Emperor” (2015).

The recordings for “Heaven Upside Down” already started in 2015 by a team consisting of Manson, Tyler Bates, Twiggy and Gil Sharone. The band recorded parts of the album in Louisiana, where Manson was filming scenes for “Salem” in which Manson is appearing as a recurring cast member, portraying a barber surgeon sociopath named Thomas Dinley.

The mastering was completed by Robert Carranza in April, Carranza is the man who also took care of the mastering of “The Pale Emperor”.

]]> Controversy isn’t the only reason that Marilyn Manson’s popularity continues to endure https://www.side-line.com/controversy-isnt-the-only-reason-that-marilyn-mansons-popularity-continues-to-endure/ Fri, 06 Jan 2017 19:44:39 +0000 http://www.side-line.com/?p=9489 Brian Hugh Warner, better known as Marilyn Manson, has been part of the rock scene...]]>

Marilyn Manson to record new album, release expected for Valentine's Day 2017

Brian Hugh Warner, better known as Marilyn Manson, has been part of the rock scene ever since the early 90s. His powdered face, complete with red lips and weird contacts, makes him immediately recognizable to fans all over the world. Still, despite his consistency, his status in culture is completely different than what it used to be. In fact, he once said in an interview that he’d made up a fake world for himself since he didn’t like the one he was living in. He may not like this world anymore, but it hasn’t stopped his die-hard fans from loving him.

His last album, The Pale Emperor, was released in 2015 and was considered to be his best in a decade. In fact, it debuted at an impressive #8 on the Billboard 200. He won lots of awards at rock magazine awards shows but, then something entirely unpredictable happened – Justin Bieber began wearing his t-shirts. Who would’ve thought that the king of teenage pop would be a fan?

Surprisingly, Manson wasn’t fazed. Not only did he post an image of album Mechanical Animals (with The Douche Show as the new title) he also pasted Bieber’s face over his own. Then, to take the absurdity to yet another level, he gave Bieber permission to repurpose his gothic merchandise as if it were his own. This particular vest has Manson’s face on the front and “Bigger than Satan” written on the back. Since that time, Manson has started wearing a similar shirt, except his says, “Bigger than Bieber” on it. The new friends have even taken a selfie together.

Admittedly, this may have been just another of Bieber’s ploys to give himself some more edge. He’s done it before with cult musical figures like Metallica, Wu-Tang Clan, and the Misfits. Surprisingly, Bieber’s teeny bopper fans love this new direction. In fact, the Marilyn Manson inspired T-shirt was the best-selling merchandise item on his Purpose tour.

As you can imagine, Beliebers are quite different from Manson’s normal fanbase. Back in his band’s early days in Florida, their show attracted a following of metalheads, dissenters, and outsiders. These concerts were filled with all types of performance art, like girls being pulled by leashes and gory props. It was because of this gruesome creativity that Manson soon became the enemy of religious groups, to the point where they tried to get his performances banned. How did they do that? They stated that those attending his performances would be witness to drug usage, rape scenes, and homosexual acts onstage.

And, that wasn’t all – after the Columbine High School tragedy in 1999, many people started blaming Manson. They lied and said that the killers were fans of his and were influenced to commit those heinous acts because of his music. They mistakenly believed that Manson (and his music) played roulette with the lives of others. This turned Manson into a scapegoat and an idol of toxic values, an association that lingers to this day.

But controversy isn’t the only reason that Manson’s popularity continues to endure. There are many myths that keep his celebrity alive. Even in the age of the internet, mobile devices, and online casinos like Net Entertainment.

It’s hard to separate fiction from fact, that’s why there are sites like Pokies Pedia for slots lovers. And, even though many of the rumors have been proven to be false, there’s still an aura of mystery that surrounds the rock star. Did he get breast implants? Did he really remove some of his ribs to make it easier to perform a sexual act on himself? Did animals meet untimely deaths at his shows? Even the most outrageous rumors seem to have some ring of truth.

Still, none if this overshadows the fact that his music is now more relevant than ever before, especially amidst all the political and cultural turbulence that many societies are in the thick of. He has never sold out his core beliefs or become softer with age. Marilyn Manson is as he always was, a rebel with a message.

]]> Wim Mertens completes triptych ‘Cran aux Oeufs’ with ‘Dust of Truths’ https://www.side-line.com/wim-mertens-completes-triptych-cran-aux-oeufs-with-dust-of-truths/ Mon, 26 Sep 2016 17:19:18 +0000 http://www.side-line.com/?p=8103 Last year we went watching Wim Mertens live at work during which he presented some...]]>

Wim Mertens completes triptych 'Cran aux Oeufs' with 'Dust of Truths'

Last year we went watching Wim Mertens live at work during which he presented some of his newest work taken from his musi-fiction triptych “Cran aux Oeufs” (2015-2016), which by then only covered 1 album (out of 3). With “Dust of Truths” Wim Mertens now presents the final part out in the next weeks.

For those unfamiliar with this genius minimal music artist, know that the first part, “Charaktersketch”, was situated in central Europe Brussels anno 2015. In it the composer questions the position of culture in a larger world context.

The second part, “What are we, locks, to do?” for piano and voice is inspired by the Alexandrian Library in Egypt (300 B.C.). Central figures are the poet Callimachus and Queen Berenice II. Mertens music reads here as a commentary on the golden age of Ptolemaic Egypt.

For the final part, “Dust of Truths”, Wim Mertens refers to the naval Battle of Actium, which happened in Preveza, Greece in 31 B.C. Opponents here were the (future) Emperor August who defeated the Egyptian warships of Cleopatra. Mertens considers this battle rather as a civil war dispute within the Roman Empire then a explicit conflict between Rome and Egypt.

Wim Mertens is a Flemish Belgian composer, countertenor vocalist, pianist, guitarist, and musicologist. In the early years of his career he was a producer at the then BRT (Belgian Radio and Television, now called Vlaamse Radio- en Televisieomroep) for which he produced concerts by Philip Glass, Steve Reich, Terry Riley, Meredith Monk, Urban Sax and others. He also hosted a program called Funky Town together with Gust De Meyer (with whom he recorded the experimental album “For Amusement Only”).

Mertens has released more than 60 albums to date, the majority of which were issued by Les Disques du Crépuscule from 1980 until 2004. Mertens also produced a number of Crépuscule releases and consulted with the label on its choice of works by contemporary composers such as Michael Nyman, Gavin Bryars, and Glenn Branca. In August 2007 Mertens signed a contract with EMI Classics (now Warner Classics) for his entire catalog. The label re-released his entire back-catalog beginning in January 2008.

To give you an idea of what this musician has produced, also check this live album from 1994:

]]>