Esplendor Geometrico – SIDE-LINE

V/A Forms Of Hands 23 (Album – Digital/CD – Hands)

Inferno Sound Diaries — Tue, 17 Sep 2024 07:00:00 +0000

“Forms of Hands” is now in its 23rd edition, showcasing 14 tracks from some of the most esteemed names in modern Industrial music who have long been associated with the German label. This installment is notably intense, featuring a robust selection of Rhythmic-Noise that often blends with hard Techno elements and IDM. At times, Breakcore rhythms cut through the sonic landscape, creating a dynamic and powerful auditory experience. Among the merciless tracklist, S.I.N.A. offers a unique yet understated moment of rest. This edition features exclusive tracks from legendary artists such as Esplendor Geometrico, Sonar, and Greyhound, alongside prominent figures like ICD-10, MS Gentur + Sven Phalanx, Heimstatt Yipotash, 13TH Monkey, Saturmzlide and SKET. Additionally, emerging names like Anarchotech, Hysteresis, Strobo.Lolita, and Supersimmetria contribute to this extraordinary collection. “Forms of Hands” Volume 23 is truly a grand cru of the genre. (Rate:9).

Listen to “Urgencia” from Esplendor Geometrico:

Urgencia by Esplendor Geometrico

About Hands

Hands Productions was founded in 1990 in Fürth, Germany, by Udo Wiessmann as a platform for his own projects Winterkälte, Atrum and Severance. Over the years the label’s catalog spanned minimalist ambient, breakbeat and rhythmic noise, with Winterkälte’s early vinyl releases helping define the drum’n’noise style associated with the label. Hands later moved its operations to Dortmund, Germany, and has released early work from acts including Orphx, Needle Sharing and Ah Cama-Sotz. “Forms of Hands” is the label’s recurring various-artists compilation series; this 23rd volume gathers current and past Hands artists.

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

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Dame Area return with brand new album: ‘Toda la verdad sobre Dame Area’ – First single out now

Bernard - Side-Line Staff — Wed, 07 Aug 2024 13:17:52 +0000

(Photo by Fabio Calabretta) On September 13th, the Barcelona-based, post-industrial duo Dame Area will release their fourth studio album, “Toda la verdad sobre Dame Area” (“The Whole Truth about Dame Area”), a collaboration with the labels Mannequin Records and Humo Internacional.

The album serves as a companion piece to 2022’s “Toda la mentira sobre Dame Area” (“All The Lies About Dame Area” – Màgia Roja and B.F.E Records), which had a stronger focus on melody, while this latest record is more aggressive and industrial-influenced, with a greater emphasis on percussion.

Here’s already a new track, “Si No Es Hoy Cuándo Es“.

Formed in 2017 within the underground scene of Barcelona’s Màgia Roja club, Dame Area comprises the Italian-Catalan duo Silvia Konstance and Viktor Lux Crux. They fuse industrial-tribal polyrhythms with minimalist synth basslines, drawing inspiration from avant-garde masters such as Esplendor Geometrico, Throbbing Gristle, Suicide, Einstürzende Neubauten, Can, Coil, Swans, Big Black, and Wolf Eyes. Dame Area released their debut album “Centro di Gravità” in 2018 on Màgia Roja and B.F.E Records. This was followed by “Ondas Tribales” in 2021, released on the Berlin-based label Mannequin Records.

Dame Area Tour Dates

09/08/2024 – WINCHESTER (GB) Three Wheel Drive Festival
10/08/2024 – CASTELBUONO (IT) Ypsigrock Festival
16/08/2024 – ALVESTA (SE) Kalabalik på Tyrolen Festival
17/08/2024 – SAINT-MALO (FR) La Route Du Rock
23/08/2024 – TORREMOLINOS Canela Fest.
24/08/2024 – LEIRIA (PT) Extramuralhas
30/08/2024 – BIRMINGHAM (GB) Supersonic Festival
14/09/2024 – LEFFINGE (BE) Leffingeleuren Festival
19/09/2024 – MEXICO (MX) 316
20/09/2024 – SAN JOSE (CR) Edificio Steinvorth
21/09/2024 – BOGOTA (CO) Asilo
27/09/2024 – SANTIAGO (CL) TBA
28/09/2024 – SAO PAULO (BR) Club Madame
03/10/2024 – MUNICH (DE) Rote Sonne
04/10/2024 – BERLIN (DE) Neue Zukunft
05/10/2024 – HAMBURG (DE) MS Stubnitz
11/10/2024 – PARIS (FR) Petit Bain (Gonzaï Night)
12/10/2024 – AURAY (FR) Les Nuits Soniques
18/10/2024 – MADRID (ES) TBA
19/10/2024 – VITORIA (ES) TBA
24/10/2024 – BRUXELLES (BE) Beursschouwburg
25/10/2024 – CHARLEROI (BE) Le Vecteur
26/10/2024 – INNSBRUCK (AT) Positive Futures Festival
31/10/2024 – LUZERN (CH) TBA
01/11/2024 – LAUSANNE (CH) Le Romandie : Le Bourg
02/11/2024 – LONDON (GB) The Lexington
05/11/2024 – BRIGHTON (GB) The Hope and Ruin
06/11/2024 – LEEDS (GB) Headrow House
08/11/2024 – BRISTOL (GB) Strange Brew
09/11/2024 – COURTRAI (BE) Sonic City Festival
10/11/2024 – POITIERS (FR) Salons de Blossac – Groweekend
15/11/2024 – ARLES (FR) Cargo de nuit
23/11/2024 – LEEUWARDEN (NL) Explore The North
29/11/2024 – LORIENT (FR) Hydrophone – Soirée LFSM
30/11/2024 – SAINT-BRIEUC (FR) Pavillons des expositions Temporaires
01/12/2024 – ANGERS (FR) Joker’s Pub
14/12/2024 – MILANO (IT) Arci Bellezza

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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Exit Electronics – Learn The Hard Way (Album – Zoharum)

Inferno Sound Diaries — Sat, 27 May 2023 07:00:00 +0000

Genre/Influences: Rhythmic-Industrial, Power-Electronics.

Format: Digital, CD.

Background/Info: Justin K. Broadrick -mainly known from his Godflesh project, started this new solo-project last. This debut album was originally released on his own label Avalanche Recordings and now gets a CD edit released by Zoharum featuring two bonus cuts.

Content: Exit Electronics sounds hard, raw and merciless. The basis of the production might remind you of the legendary Esplendor Geometrico. Distorted noises plus rhythms have been mixed to get a true sonic power bomb.

+ + + : Justin K. Broadrock is an artist dealing with endless number of projects and styles; his work however remains mainly harsh and powerful which is extremely illustrated by the appropriated title “Learn The Hard Way”. He doesn’t innovate but will appeal for all lovers of extreme sensations. This is an unpolished, perverted sound carried by dark, buzzing, low tones. I like the most ‘danceable’ cuts from the album but especially “Never Learn”.

– – – : The work becomes a bit predictable at the last part of the work.

Conclusion: Exit Electronics sounds like a sonic bulldozer; robust, rough, powerful and merciless!

Best songs: “Never Learn”, “Tough Love”, “Teeth Grit”, “Expelled Like Piss”.

Rate: 7½.

Artist: www.facebook.com/jkflesh

Label: www.zoharum.com / www.facebook.com/zoharum

Learn The Hard Way by EXIT ELECTRONICS

About Exit Electronics

Exit Electronics is a solo project of English musician Justin K. Broadrick, best known for Godflesh as well as Jesu, Final and JK Flesh. “Learn The Hard Way” is the project’s debut album, self-released digitally via Broadrick’s own Avalanche Recordings in August 2022, before this extended CD edition, adding two bonus tracks, followed via Zoharum in February 2023 in an edition limited to 400 copies.

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German industrial act Non Toxique Lost returns with all new album ‘VLUS’ in August

Bernard - Side-Line Staff — Tue, 28 Jun 2022 09:33:20 +0000

KlangGalerie, the label from Vienna run by Walter Robotka, will release a new CD by the German industrial act Non Toxique Lost, named “VLUS” in August 2022. The 11-track album is right now available as a digital download pre-order on Bandcamp with a CD version also to be released via KlangGalerie later this year.

The band was featured on our most recent “Face The Beat: Session 7” with the track “Aschekreuz” taken from this brand new album.

Below are already a few tracks already to check out on Bandcamp.

VLUS by Non Toxique Lost

About Non Toxique Lost

Non Toxique Lost was founded in the beginning of the 80s in Mainz, Germany. Although the band has often been labelled as part of the Neue deutsche Welle the band itself considers it part of the industrial movement significantly inspired by industrial pioneers like Throbbing Gristle, SPK and Whitehouse. Similarities could also be drawn with bands like Pacific 231 (from France) or Esplendor Geometrico (from Spain).

In 1982, the first recordings were published on the DIY cassettes only label CAN CAN followed by circa 30 further releases. The first vinyl release “Wanton”, a strictly limited edition, was released in 1986 and held a selection of material, which had been published earlier on compact-cassettes.

It was the beginning of a long list of releases on various labels.

Bernard - Side-Line Staff

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2 limited and numbered vinyls for Esplendor Geométrico

Bernard - Side-Line Staff — Fri, 29 Apr 2022 01:19:00 +0000

Out via Geometrik Records on May 27 are 2 limited and numbered vinyls for Esplendor Geométrico.

“Mekano-Turbo” is the first one and comes in a limited and numbered edition of 600 copies, on black vinyl. Originally released on Discos Esplendor Geométrico in 1988, it was the project’s fourth album and considered as one of the mosts classic in the discography of this legendary and influential Spanish industrial cult band. The material was remastered in 2022, and unavailable on vinyl for more than 11 years.

Next is “El Acero del Partido / Héroe del Trabajo”, equally released in a limited and numbered edition of 600 copies, on black vinyl. This celebration vinyl re-issue comes 40 years after the band’s first ever album. Indeed, time flies! This was the album where the band started to define their unique style. Remastered in 2022 and unavailable on vinyl for more than 10 years, the original cover is preserved and includes an exclusive collage-insert with rare photos and texts.

Bernard - Side-Line Staff

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Esplendor Geometrico – Eurasia (EP – Hands)

Inferno Sound Diaries — Tue, 23 Nov 2021 08:00:00 +0000

Genre/Influences: Industrial, Rhythmic-Noise.

Format: Digital, Vinyl.

Background/Info: Spanish Industrial pioneers Esplendor Geometrico remains a true phenomenon. The band has been a source of inspiration for numerous Industrial projects, but still an absolute reference when it comes to Industrial music and Rhythmic Noise. Their newest work “Eurasia” features four new cuts and it’s the very first time they released a production on Hands.

Content: The EP features 4 different cuts, which are more standing for the ‘softest’ or should I say ‘slower’ side of the band. The tracks are driven by slow, shamanic rhythms, which are mixed with bombastic sound arrangements and spoken samplings. Some passages remind me a bit of Muslimgauze.

+ + + : It’s great to see Esplendor Geometrico working together with Hands; a great label for a great band! Sound-wise I can’t say it’s the best work I’ve heard from the duo, but it sounds however visionary. The rhythm is slower, but still pretty transcendental. I like “El Despertar Del Gigante Asiático” for the Eastern sphere that has been added on top. Another cool cut is “La Ruta De La Seda”, which is quite comparable in approach.

– – – : I’m just missing one harder, merciless piece. The title track, which is the last track of the work, is definitely not the best one.

Conclusion: I can’t say this is the best Esplendor Geometrico release I’ve ever heard, but it remains a true experience in Industrial sound and rhythm.

Best songs: “El Despertar Del Gigante Asiático”, “La Ruta De La Seda”.

Rate: 7½.

Artist: www.facebook.com/esplendorgeometricooficial

Label: www.handsproductions.com / www.facebook.com/hands.official

Eurasia by Esplendor Geométrico

About Esplendor Geometrico

Esplendor Geométrico is a Spanish industrial band formed in Madrid in 1980 by Arturo Lanz, Gabriel Riaza and Juan Carlos Sastre, all three of whom had left El Aviador Dro y sus Obreros Especializados. The name comes from “Geometric and Mechanical Splendor and the Numerical Sensibility”, a text by the Italian futurist F.T. Marinetti. Arturo Lanz and Saverio Evangelista are the current members.

The band worked through the early-1980s international tape scene, releasing the single “Necrosis En La Poya” on Tic Tac in 1981, the cassette “EG-1” in 1982 and the LP “El Acero Del Partido / Héroe Del Trabajo” the same year. Later work includes “Kosmos Kino” in 1987, “Mekano-Turbo” in 1988, the tenth-anniversary double cassette “Diez Años De Esplendor” in 1990, “Arispejal Astisaró” in 1993, “Polyglophone” in 1997, the remix album “EN-CO-D-Esplendor” in 1998 with contributions from Coil and Chris and Cosey, “Compuesto De Hierro” in 2002 and the double-CD “Anthology 1981-2003” in 2005.

The four-track EP “Eurasia” was released on 10 September 2021 and is the duo’s first record for Hands. Side-Line also reported on two limited vinyl reissues from Esplendor Geométrico issued through Geometrik in December 2021.

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Machinery Directive / Hypnoskull – Lobotomy Springs / Vier Geschichten (Album – EE Tapes)

Inferno Sound Diaries — Sat, 13 Nov 2021 08:00:00 +0000

Genre/Influences: Rhythmic-Noise, Industrial.

Format: Digital, CD, Cassette.

Background/Info: This production is a split release between a newcomer aka Machinery Directive and a veteran aka Hypnoskull. Both projects are hailing from Belgium while the album has been released on the good-old Belgian label EE Tapes.

Content: Machinery Directive wants to remain anonymous, but seems to be a project by Sem Cappaert (also involved with a few other projects). The 6 tracks by this artist are moving from merciless Rhythmic-Noise towards a few more Experimental passages although driven by hard, Industrial sonic manipulations with the overall sphere supporting the work sounds hostile.

Hypnoskull doesn’t need any further introduction and takes off straight away with a devastating Rhythmic-Noise piece reminding the glorious days of Esplendor Geometrico. And here again there’s an interesting mix between devastating, sonic assaults at one side and a few ‘softer’ cuts.

+ + + : I’m not that fond of split releases, but I like this one for the coherence between both artists. There’s a kind of match between their sound and approach, which becomes even more interesting as Hypnoslull is a long-time renowned artist and clearly a reference in this music genre while Machinery Directive clearly appeals to be an ambassador for the next Industrial generation. I would especially recommend “Closer To God” from Machinery Directive and “Why So Nothing” from Hypnoskull. The last mentioned cut features a few vocal parts. Another great Hypnoskull cut is “Beyrouth Hunt For Dead Terrorist”, which sounds like an Industrial version of Muslimgauze… while it has been composed to pay homage to Bryn Jones. This is a great wink to the genius of Bryn Jones.

– – – : If you’re not into Industrial, Rhythmic-Noise and related music genres, this album will be your worst nightmare! I don’t see real minor points!

Conclusion: This is the sound of the Belgian Rhythmic-Noise scene: hard and merciless, sonic terrorism and hostile tracks!

Best songs: Machinery Directive: “Closer To God”, “Lobotomy Spring 2”, “Lobotomy Springs” + Hypnoskull: “Why So Nothing”, “Beyrouth Hunt For Dead Terrorist”, “Steal Kneel”.

Rate: 8.

Artists: https://soundcloud.com/machinery-directive / www.facebook.com/therealhypnoskull

Label: www.eetapes.be / www.facebook.com/eriek.vanhavere

Lobotomy Springs / Vier Geschichten (split release) by Machinery Directive / Hypnoskull

About Machinery Directive and Hypnoskull

Hypnoskull started in 1992 as the project of Belgian artist Patrick Stevens, combining analog electronics with harsh rhythm structures. Stevens had earlier formed one half of the Belgian rhythmic industrial duo Sonar, and has also worked with Raoul Roucka of Noisex as Cybernetic:Fuckheadz and under the names Sona Eact, Reset, Sliding Elements, Trivial Gender and 33MHz.

The albums “Rythmusmaschine 1-2” in 1998, “Ffwd>Burnout!” in 1999 and “Electronic Music Means War To Us” in 2001 established the project. Later records include “Panik Mekanik” in 2006 and “Industrial Owes Us Money” in 2008, both on Ant-Zen, “Operation Mean Machine” in 2012, and the 7-inch single “The Trickster” in 2020. Side-Line marked the project’s 25th year when Hypnoskull celebrated its 25th anniversary with the ‘die4.generation’ 2CD album, and published a ‘Click Interview’ with Hypnoskull in January 2018.

Machinery Directive is listed on Discogs as a newcomer in the Belgian noise and industrial scene. “Lobotomy Springs / Vier Geschichten” is its first release to appear on the Belgian label EE Tapes, run by Eriek Van Havere, and is the only entry the project shares with Hypnoskull.

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Two limited vinyl reissues from Esplendor Geométrico to be released via Geometrik in December

Bernard - Side-Line Staff — Fri, 29 Oct 2021 14:37:58 +0000

Out on December 3rd via the Geometrik label are two vinyl releases by Esplendor Geométrico, the cult pioneers of industrial rhythms, the first being “Live in Utrecht” which comes in an expanded edition. The original album was released in 1990 (Discos Esplendor Geometrico), re-released in 1999 (Geometrik) and in 2010 (Captain Trip Records, Japan).

Recorded 25th November 1989 in the Cultural Centre EKKO, Utrecht – Holland, it was produced for the program De Bovenbouw/Nos-Radio, Hilversum, Holland. Except for “Signos de Energía” (a faster version than the one in the “Mekano Turbo” album) all of the tracks were completely new at the moment this record was released.

This special “expanded” edition comes additionally with an extra LP, featuring not less than seven tracks from the late 80’s, that were originally released on cassette only: four tracks are from 1987, the other three are from the studio sessions of “Mekano Turbo” (1988), but were not included on that album.

Next is the 40th anniversary edition of “EG-1” which comes in a limited and numbered edition of 500 copies.

After their first single, “Necrosis en la poya” (1981), Esplendor Geométrico released their first cassette that same year: “EG-1”. The first edition of “EG-1” (300 copies) quickly sold out in the international underground circuit of cassette labels that was emerging during those years. It was reissued on the same format by different labels, such as Datenverarbeitung (Germany, 1982), Ortega y Cassette (Barcelona, 1985), EGK (Madrid, 1987) and Línea Alternativa (Madrid, 1989), and later on there would be two CD editions – equally deleted for ages.

For this special limited reissue on vinyl, the material got remastered from the original tapes. It also includes an exclusive insert and each copy has been individually customized with stickers and hand-stamped.

Bernard - Side-Line Staff

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Templər – Myths And Consequences (Album – Hands)

Inferno Sound Diaries — Tue, 24 Aug 2021 06:30:00 +0000

Genre/Influences: Industrial, Rhythmic-Noise.

Format: Digital, CD.

Background/Info: Thomas Chalandon is a French musician based in Berlin and still involved with Imperial Black Unit while running the label AreaZ. After a few EP’s under the Templər moniker, he now joined with the label, Hands to unleash the debut album of his solo-project.

Content: Listening to this album sounds a bit like the sound of a true sonic earthquake. The sound is driven by heavy, furious Industrial & Rhythmic-Noise drum patterns. It has something old-school like and yet perfectly adapted into a modern and even refreshing edit. This heavy and bombast rhythmic has been mixed with monstrous sound blasts and dark atmospheres, which are fitting with the obscure themes Chalandon deals with. Two songs feature vocals by guests Incendie and Lapse Of Reason (side-project from the other half of Imperial Black Unit). The last part of the work features 5 remixes of “A True Terror Corporation” (the song featuring Incendie) by Esplendor Geométrico, Test Dept, Orphx, Geistform and Harsh Mentor.

+ + + : Templər’s debut album sounds as a real tour de force! This artist fully succeeded in adapting retro-Industrial elements into a modern version. It somewhere reminds me of the Esplendor Geometrico so it’s not a coincidence this band has created a remix. But the difference with the Spanish duo is that this production sounds more high-tech. There’s a kind of unpolished approach and yet it’s a powerful, top-notch production. I enjoyed the constant power of the tracks, excelling at “I Shared A Whiskey With A Ghost”, “The Inner Flame” and “Under Pressure”. Among the remixes I’ve to mention great jobs done by Esplendor Geometrico and Orphx, but still Test Dept injecting some of their own old-school Industrial elements in the remix.

– – – : “A True Terror Corporation” is not exactly my favorite song from the album so I was a bit wondered this song has been exposed to remixers. And I honestly prefer most of the remixes instead of the original edit.

Conclusion: Templər has accomplished a true masterpiece, which will appeal for lovers of heavy Industrial music driven by infernal rhythms.

Best songs: “I Shared A Whiskey With A Ghost”, “The Inner Flame”, “Under Pressure”, “Camera Silens”, “Road To Jouniek”, “A True Corporation feat. Incendie – Esplendor Geometrico Remix”, “A True Corporation feat. Incendie – Orphx Remix”.

Rate: 8½.

Artist: www.facebook.com/templernoise

Label: www.handsproductions.com / www.facebook.com/hands.official

Myths And Consequences by Templər

About Templər

Templər is the solo project of Thomas Chalandon, a French producer based in Berlin. He is one half of the EBM-oriented duo Imperial Black Unit and the founder of the AreaZ label. Before the album he issued a number of EPs under the Templər name, including one with Monya, according to the Hands release notes.

“Myths And Consequences” was released on 4 June 2021 by Hands on CD and as a download. It is the first Templər album. The nine original tracks are “Road To Jounieh”, “Let The Soul Chase The Sorrows”, “A True Terror Corporation”, “Le Crime Par La Pensée”, “Under Pressure”, “Camera Silens”, “Myths And Consequences”, “I Shared A Whiskey With A Ghost” and “The Inner Flame”, followed by five remixes of “A True Terror Corporation” by Esplendor Geométrico, Test Dept, Orphx, Geistform and Harsh Mentor. Chalandon wrote and produced the album, Eric Van Wonterghem mastered it and Nicola Bork made the artwork and photography.

The second album H.A.C.E. followed on Hands in 2023 and was reviewed on Side-Line in September of that year. Chalandon also works with Incendie as the duo ATT Corp and appears on the label compilations Forms Of Hands 21 and Forms Of Hands 24. Templər played the sold-out HANDS Label Night at Urban Spree in Berlin on 4 January 2025. “Myths And Consequences” is the album that started his run on the label.

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Escupemetralla – Quiero Ser Guitarra De Esplendor Geometrico 1994 / 25 Años De Paz Remezclas 2019 (2 Albums – Novak)

Inferno Sound Diaries — Thu, 14 May 2020 19:30:31 +0000

Genre/Influences: Industrial, EBM, experimental, minimal-electro.

Format: Digital, Double CD.

Background/Info: Spanish project Escupemetralla was mainly active during the 80s and 90s. the Spanish Novak label already released some forgotten productions from this formation. This opus is totally different. It’s rather a kind of remix-album featuring twenty five songs. The main idea was to celebrate the 25^th anniversary of the band’s songs “Quiero Ser Guitarra De Esplendor Geometrico”, which was featured at a compilation (cf. “Noise Club 1”). It has nothing to do with Esplendor Geometrico, but was just a funny title, which can be translated as “I Wanna Be Esplendor Geometrico’s Guitarist”). The title was also inspired from another Spanish song while “25 Años De Paz Remezclas” refers to a district in Barcelona that was inaugurated during the Franco dictatorship in 1964 to celebrate the years that has passed since it was violently set up.

Content: The title song of the album is the one that has been remixed by most artists. But there also is a remastered version from Escupemetralla from 2019 revealing the electro-minimalism of the song. The song has been remixed by a majority of less familiar artists although you’ll also find Rapoon and Esplendor Geometrico among the list.

The work also features other songs so in the end it all feels a bit like a compilation album mixed with remixes.

+ + + : I like the minimalism from the title song, but still some of the remixes by Esplendor Geometrico, Jet7, Rapoon, Anki Toner and Permutation. Escupemetralla did a cool remix as well. From EBM to industrial- to experimental music, this album covers a wide range of influences and is a fully enjoyable experience.

– – – : This work reveals a weird concept. I’m not convinced by some of the most experimental tracks, but globally speaking this album is a way to discover interesting names.

Conclusion: Novak moves on to make us (re)discover a forgotten and less familiar project from the Spanish industrial scene.

Best songs: “Quiero Ser Guitarra De Esplendor Geometrico – Permutation Remix”, “Quiero Ser Guitarra De Esplendor Geometrico – 25 Años de Paz Remix”, Jet7 “Quiero Ser Remezcla De Escumetralla”, “Quiero Ser Guitarra De Esplendor Geometrico – Rapoon Remix”, Ō Paradis “Indiscriminada”.

Rate: (7).

Label: www .novak .es / www .facebook .com /novakrecs

About Escupemetralla

Escupemetralla is an electronic and industrial project from Barcelona, Spain, active since the late 1980s. Discogs lists the cassette albums “Sublimado Corrosivo” (1988), “Burros De Dios – Asses Of God” (1990), “Vida Y Color” (1991) and “Multimierda” (1995), all on Clonaciones Petunio.

The project moved to the Spanish label Nøvak with the CDr “Poison Of Dead Sun In Your Brain Slowly Fading” in 2017, followed by “Fe, Esperanza Y Caridad” in 2019.

The double set “Quiero Ser Guitarra De Esplendor Geometrico 1994 / 25 Años De Paz Remezclas 2019” followed in 2020, gathering remixes of the band’s older material by acts including Rapoon and Esplendor Geometrico.

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Brand new Esplendor Geometrico album expected in January 2020

Bernard - Side-Line Staff — Mon, 02 Dec 2019 13:39:45 +0000

(Photo by Carsten Stiller) Esplendor Geométrico, the influential industrial pioneers of the pulsating, hypnotic and mechanical rhythms, returns with a new album “Cinética”, after their previous “Fluida Mekaniko” (2016). The new album comes in a lmited and numbered edition of 600 copies only as far as the vinyl edition goes, and on 500 copies for the CD version.

Based now in Shanghai and Rome, the band recorded 8 tracks for the LP version and 10 for the CD version (the 2 bonus tracks are “Control de tonos eléctricos” and “Estancia radiofónica”). All of the material was recorded between 2018 and 2019. The material sounds less raw, but still holds the classic EG elements: hypnotic rhythms and innovative industrial music, danceable and tribal sometimes.

You can check some audio samples below.

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Esplendor Geométrico issues ‘Selected Tracks 2 (1995-1998)’ on 2LP vinyl

Bernard - Side-Line Staff — Tue, 09 Apr 2019 17:32:22 +0000

“Selected Tracks 2” is a double album (in gatefold cover) with a new selection of tracks recorded by the Spanish industrial band Esplendor Geométrico between 1995 and 1998. It is the second part of ‘Selected Tracks’, the first one was published in 2015 (in a 4xLP Box). Ten of the thirteen tracks on this release appear for the first time on vinyl.

You can order the 2LP version right here on Bandcamp. The package also features some rarities, previously released on very limited CD-Rs only, during the 90s and without real distribution.

The songs have been chosen from albums like “Polyglophone” (released only on CD in 1997), “EN-CO-D-ESPLENDOR” (published in Japan only on CD in 1998), and exclusive live tracks that do not have studio versions: “Al Asalto”, “Nuevo Frente”, “Elektrozavod”, or “Ciudad Électrica”. Also included are 3 tracks from the “Syncrotron” EP (Hymen 1998).

Esplendor Geométrico are true pioneers and masters of rhythmic industrial music since their formation in Madrid in 1980. Arturo Lanz, Gabriel Riaza, and Juan Carlos Sastre had all been members of El Aviador Dro Y Sus Obreros Especializados before forming Esplendor Geométrico. In 1981 the band released their first single, “Necrosis en la Poya”, on the Tic Tac label, followed by their debut LP, “Héroe del Trabajo / El Acero del Partido” in 1982.

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Carnera announces its ninth release (‘Colpo Di Mano Nella Zona Grigia’) including remixes by Esplendor Geometrico and Ancient Methods – preview it here

Bernard - Side-Line Staff — Tue, 19 Mar 2019 13:08:25 +0000

The experimental dark wave act Carnera is releasing a brand new EP, “Colpo Di Mano Nella Zona Grigia”, with 4 original tracks and two remixes from Esplendor Geometrico and Ancient Methods. The 12″ will be out beginning of April 2019. You can check out the previews below.

Carnera was founded in 2014 as a multimedia project by Giovanni Leonardi (Siegfried, Div. Sehnsucht, SNNC) and by visual artist Simone Poletti (Dinamo Innesco Revolution). In 2016 the sound designer Yvan Battaglia and Monica Gasparotto (Les Champs Magnétiques) joined the collective. They have released two albums “Strategia della Tensione” (2015) and “La Notte della Repubblica” (2017), both released for the historic Old Europa Cafè, and several collaborations, remixes and singles.

The EP was recorded and mixed by Carnera in Italy during 2018 and was mastered by Yvan Battaglia Sound Design. The EP is being released via She Lost Kontrol Records.

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Esplendor Geométrico gets double vinyl treatment for ‘Selected Tracks 2. 1995-1998’

Bernard - Side-Line Staff — Tue, 15 Jan 2019 16:49:03 +0000

“Selected Tracks 2. 1995-1998” is a double album (in gatefold cover) with a new selection of tracks recorded by Esplendor Geométrico between 1995 and 1998. It is the second part in the ‘Selected Tracks’ series, the first one was published in 2015 as a 4xLP box. Ten of the thirteen tracks appear for the first time on vinyl (which you can order right here)!

The package also features some rarities, released on very limited CD-Rs ONLY, during the 90s and without real distribution. T

On this double album we find machine- and hypnotic rhythms, metallic sounds, tribal sonorities, distortion, collages with voices …, which also show their influence on current trends of industrial techno. The songs have been chosen from albums like “Polyglophone” (released only on CD in 1997), “EN-CO-D-ESPLENDOR” (published in Japan only on CD in 1998), and exclusive live tracks that do not have studio versions: “Al Asalto”, “Nuevo Frente”, “Elektrozavod”, or “Ciudad Électrica”. Also included are 3 tracks from the “Syncrotron” EP (Hymen 1998).

The band are true pioneers and masters of rhythmic industrial music since their formation in Madrid in 1980 and have been enjoying international cult ever since.

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Orphx – Learn To Suffer (Vinyl 12” – Sonic Groove)

Inferno Sound Diaries — Mon, 24 Dec 2018 19:30:07 +0000

Genre/Influences: Industrial-techno, IDM.

Background/Info: “Learn To suffer” is the first real new work since the last Orphx-album “Pitch Black Mirror” (2016, Hands). Canadian duo Rich Oddie – Christina Sealey moved back to Sonic Groove (label of Adam X) to unleash four new cuts.

Content: “Learn To Suffer” is clearly inspired –and taken, by the live performances of Orphx. This is music for the dancefloors! But it once more reveals the sound intelligence of this duo. Sophisticated songs revealing elements of IDM, industrial music and even EBM are carried by solid dance beats. Orphx reveals their most danceable ‘techno’ side while the last song sounds more ‘classical’ although very dark and bouncing.

+ + + : Orphx is not reinventing their sound, but they seem to be in a constant progress. The songs are elaborated and achieved with great sound intelligence. The opening cut “Solipsist” is a perfect example showing this sound approach and which even reminds me a bit of Frontline Assembly (which they recently remixed). On “Bare Life” they’re injecting something EBM to their work while “Pain Is A Teacher” sounds rougher and even a bit Esplendor Geometrico-like. You get 4 brilliant songs without a single remix!

– – – : I don’t have any minus point about this genius EP, but I just can imagine early Orphx fans would not be that enthusiast about this kind of productions.

Conclusion: Orphx is one of those bands, which even throughout the years never stops to improve their sound. They’re truly sound wizards reflecting an avant-garde vision of industrial-techno music.

Best songs: “Tröma Nakmo”, “Bare Life”, “Solipsist”, “Pain Is A Teacher”.

Rate: (9).

Artist: www.orphx.com / www.facebook.com/orphx

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

About Orphx

Orphx is a Canadian industrial techno duo founded in late 1993 by Rich Oddie and Christina Sealey, with Aron West an early and later contributing member. “Learn To Suffer” follows the album “Pitch Black Mirror” (2016, Sonic Groove / Hands), and the duo went on to release “Primordial State 1994-1995” (2022) and “The Way Through All Things” (2023), both on Sonic Groove.

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Spanish electronic scene from the eighties compiled on ‘Cronica Tecnica: compilation of industrial and noise from Madrid 1981-1991’ 2LP vinyl

Bernard - Side-Line Staff — Tue, 06 Mar 2018 14:39:58 +0000

This is a gem for fans of early (80s) electronic music from Spain. Out in the next weeks is a double vinyl called “Cronica Tecnica: compilation of industrial and noise from Madrid 1981-1991”.

The set includes an 12 page A4 booklet with information, images, photos and two exclusive texts, in Spanish and English, by Francisco Felipe (La Otra Cara de un Jardin) and Andrés Noarbe. You can order this 2LP vinyl right now.

The selection for the compilation (check out the tracklist) was made by Andrés Noarbe, manager and editor of Esplendor Geométrico since its founding in 1980 and director of the pioneer label in publishing electronic music in Spain: Discos E.G. (now Geometrik Records). The compilation is the second volume of the Spanish Underground Cassette Movement series after the first one: “Fungus Cerebri”, dedicated entirely to Esplendor Geométrico and still available right here.

The Spanish electronic scene in the eighties

During the 80s, the Spanish electronic scene saw a ton of electronic music cassettes being released, often edited and distributed by the artists themselves. You could find releases from pioneers such as Esplendor Geométrico (EG-1, 1981), La Otra Cara de Un Jardín (1981), and el Internado (the first project of fame Francisco López). Shortly after, artists and labels appeared throughout the Spanish geography, such as Ortega y Cassette and Laboratorio de Música Desconocida, both in Barcelona, Auxilio de Cientos (Granada), Interacción (Madrid), El Consumo del Miedo (Jaén), Necronomicón (Puertollano), STI (Zaragoza), and so on.

In Madrid you would find cassette labels such as Toracic Tapes (directed by Miguel A. Ruiz), I.E.P. (founded by musician Luis Mesa), Proceso Uvegraf (by Juan Teruel), and EGK (the sub-label for cassettes of Discos Esplendor Geométrico). The compilation we talk about here picks from this Madrid-based scene with music recorded between 1981 and 1991 and which focused mainly on Industrial, noise and experimental music. Some of the musicians, such as Uvegraf or Miguel A. Ruiz, are still active.

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Greyhound – Ground (CD Album – Hands)

Inferno Sound Diaries — Mon, 22 Jan 2018 20:00:00 +0000

Genre/Influences: Power-noise, rhythmic-noise.

Background/Info: Steffen Lehmann is terrorizing the industrial scene for numerous years now and became one of the flag holders in rhythmic-noise. He regularly switches from Greyhound to the more techno-industrial Syntech project, revealing impressive writing skills in both of his projects. “Ground” is the seventh official album for Greyhound.

Content: If you’re familiar with the merciless industrial assaults of Greyhound you already know what you’ll get. I however have to say the opening cuts are a little bit different. The tracks remain pretty hard, but also revealing a few different elements, which are more ambient-like and accomplished with cool sound effects. But quite progressively the ‘sonic monster’ is awakening and starts to produce good-old and powerful industrial music. It sounds heavy, sometimes a bit into bombast, then as a wink to one of the greatest instigators in the genre (cf. Esplendor Geometrico) and finally into transcendental rhythmic-noise waves.

+ + + : The opening songs are quite interesting for showing a more complex and elaborated approach. It’s not that Lehmann is reinventing his sound, but he clearly became a little more sophisticated. Quite progressively he invites the listeners for a deadly industrial ride made of a rough sound sculptures and sharp noises. But the main strength of this work is that it progressively brings you into trance. Steffen Lehmann is a truly industrial genius who throughout the years have somewhat polished his work with subtle noises, samplings and other little details.

– – – : The tracks become a little bit comparable after a while. The sound formula is often the same so in the long run the tracks become a little bit predictable.

Conclusion: If Greyhound was to become sex, it definitely could be associated with a gang-bang featuring 16 tracks! This is a kind of shameless, perverted sound made by a truly industrial shaman!

Best songs: “Stop Holding”, “The Space In Space”, “Sign”, “A Mature Thought”, “Run”.

Rate: (8).

Band: www .facebook .com /Greyhound .Syntech

Label: www .handsproductions .com / www .facebook .com /hands .official

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‘Click Interview’ with Hypnoskull: ‘Radical Ideas Have Always Inspired Lots Of People’

Inferno Sound Diaries — Fri, 05 Jan 2018 18:00:45 +0000

Patrick Stevens set up Hypnoskull in 1992. The Belgian producer became one of the industrial pioneers experimenting with techno influences of was he just a techno producer walking at industrial fields? Twenty five years later Hypnoskull has accomplished an endless number of productions and has achieved one more new opus entitled “Die4.Generation”. The album has been released on Ant-zen revealing a new overwhelming production.

(Courtesy by Inferno Sound Diaries/ Pictures by Tom Van Hee)

Q: 1992 – 2017! 25 years of Hypnoskull, I think it can’t leave an artist insensitive. What comes into mind when evoking this anniversary and why did Hypnoskull became the main project you ever have been involved with?

Patrick: It came as a surprise almost. I realized it somewhere in the beginning of 2017. What can I say? Well, it is a confrontational thing to discover that your brainchild became 25 years old. It simply means I became 25 years older. The most frightening part is that it doesn’t feel like that long. I mean, in my mind it is always ‘just the start’. I always want to improve things, sounds, messages and I think the entire anniversary thing put my feet on the ground showing me that time is running fast…

Hypnoskull became the main project simply because it was my own solid solo-project. Obviously I can’t throw myself out or get thrown out, which is pretty difficult, cause I had plenty of moments when I just thought it was done and nothing should be added. But after that I felt the urge to create and improve again.

Q: Artists often release ‘best of’-albums to celebrate this kind of event, but you simply released a new album. I’ve always considered ‘best of’-albums as something for teenagers and grandparents. New work is more original don’t you think, but what can you tell us about this new opus?

Patrick: I don’t know if I can admit what I will say now, but I don’t like the idea of a ‘best of’ format because each and every time I released albums or EP’s, each and every time I kind of ‘don’t like’ the result. Like I said before, I can only think about improving it. So the day a new album hits streets I am already ahead in a kind of future and most of the time working on new material… There will be one exception now in 2018 and that is the vinyl release of a few tracks from the 1999 “ffwd>burnout!” album on the Berlin techno label Repitch Recordings. I agreed on that one because of the fact that it will also contain a great remix by a producer I respect a lot, and because the people behind the label are superb young producers who were highly influenced by what we were doing in the nineties.

But what can I say about “Die4.Generation”? Well, it’s my most worked out album ever on all levels.

Q: It also seems to be a very personal and somewhat intimate album, but at the same time still a bit political- and social like. What is it all about and where do you place this work in the wide discography of Hypnoskull?

Patrick: I’d place it in the shelves called ‘more mature works’. I mean, it is on all levels indeed very personal, and in my opinion extremely political. It is a personal kind of ‘internal’ call to not lose radicalism. In times where ‘radicalism’ is only portrayed as something negative, I dare to call it a necessity for any sane society. Radical ideas have always inspired lots of people, and being radical does not mean being violent. Radical art, literature, film, music,… noise. Everything I do myself comes from so-called ‘subversive’ art. I want to stay awake and question everything, and I hope I can influence some of my audience to do the same.

Q: I think you’re one of those artists who created a sonic bridge between industrial- and techno music. But you already did it in times when techno music was not really liked by industrial lovers. How do you explain the crossover between these music genres?

Patrick: To me there was always a logical connection. I started as a techno producer in 1994 and I have always produced the rougher kind. So, with my background in alternative music also I rapidly started to mix those two worlds into one new form. To me it is not even a crossover, rather a logical match. The cold, monotone drone of machines – mathematical, straightforward, hard. And yeah, it created a kind of ‘new’ subculture in industrial music with lots of new events back in the days like f.e. “Maschinenfest” and some others.

You can believe that nowadays I am very pleased to see and hear that a lot of huge leading technoclubs are scheduling serious industrial techno or sometimes even the ‘real’ stuff. Esplendor Geometrico in “Berghain”? Hypnoskull at “Kit Kat” or “Arena”, who would have predicted that to happen?

Q: So you’ve been in a way a ‘visionary’ artist who dared to innovate and explore new sonic paths. What’s your perception about our contemporary ‘underground’ scene and elements/movements of innovation?

Patrick: I never thought in terms of scenes. That kind of both helped and did not help me. I think a lot of innovation in music is done when you dare to suck in a lot of influences and spit them all out in some other form. So I mainly believe in that kind of open mind which is required to do so. So… I don’t think a lot of innovation will be done when you limit yourself inside a scene, with very own sets of ‘rules’ and expectations. Like I said, that attitude also worked very much against me. But it brought a lot too. Always new kinds of live situations for example, or finding yourself suddenly working with people like Dutch super-producer Kubus, a hip-hop beatmaker. I don’t regret.

Q: I would like to get your opinion about music and journalism and especially the evolution (referring to social media, streaming platforms etc) during the past few years? What can we expect from the future and what does it mean for the music industry generally speaking?

Patrick: I studied journalism myself so I like the question a lot. I think the ‘new’ media brought a lot of advantages and disadvantages in the same time. It is much easier to get music and messages ‘out there’ now, but also much more difficult to be seen amongst the millions of others. So the traditional music media don’t play that important role anymore. I don’t think that is bad, since my impression was anyway that the traditional music media and the music industry were playing dirty games anyway. Endorsed interviews and reviews as a part of the marketing plans of some managers who didn’t care if they either sold music or cars. As an underground producer I never cared about coverage anyway. It was nice to get, but also ok to not get coverage. Nowadays I see that the effect of f.e. being inside the mix or podcast of a promising new or established deejay brings a lot more fresh attention and new audience. That’s a great, and musical way of promotion. I discovered a lot of new interesting music myself by listening to these mixes.

The future… Well. Who knows… I am ready to be surprised any time. As long as I can be surprised I will believe in the future.

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Maschinenfest 2017 compiled and available in a few weeks from now

Bernard - Side-Line Staff — Wed, 18 Oct 2017 18:00:17 +0000

Out in a few weeks is “Maschinenfest 2017”, a compilation including all artists who have performed at Maschinenfest 2017. You can order this set right here. This year’s event will take place from Friday 27 October 2017 until Sunday 29 October 2017 at the Turbinenhalle in Oberhausen, Germany

On the compilation you’ll find material from the following bands: Ah Cama-Sotz, Alarmen, Aphexia, Dive, Empusae, Esplendor Geometrico, Gatto Nero, Geneviéve Pasquier, Gold, Goreshit, Greyhound, Haus Am Rand, Horskh, Imminent/Synapscape, In Slaughter Natives, Lustmord, Meta Meat, Mono No Aware, Monolith, Nur Zwei Linien, S.K.E.T., Siamgda, Somatic Responses, Suicide Inside, Sutcliffe Jügend, Yura Yura and more.

Maschinenfest is a yearly, 3-day underground music festival in Germany, featuring industrial, power electronics, noise and other alternative electronic performers.

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Dive – Underneath (CD album – Out Of Line)

Inferno Sound Diaries — Fri, 19 May 2017 19:45:48 +0000

Genre/Influences: Electro-industrial. Background/Info: Dive aka Dirk Ivens (The Klinik, Absolute Body Control, Sonar, Blok 57) is back with his legendary solo-project. While many industrial lovers thought that Dive would never again release a new opus, “Underneath” comes to break the silence after 13 years. Ivens asked some good-old collaborators to join in for this new adventure. Ivan Iusco (Nightmare Lodge and Minus Habens owner) plus Rafael M. Espinosa (Geistform) contributed to this new work featuring 10 fresh songs. “Underneath” also is the first new studio album released on Out Of Line. Content: If you’re familiar with the electro-industrial sound of Dive this album will sound pretty familiar. “Underneath” is based on the good-old sound formula mixing electro-minimalism and harsh industrial rhythms. During the 90s Dive was a revolutionary artist although inspired by the industrial work of Esplendor Geometrico, and also influenced by legendary artists Suicide and Fad Gadget. “Underneath” doesn’t sound that different although it’s without a shadow of a doubt the most elaborated work in Dive’s discography. The duo Iuso – Espinosa sound like they’re simply part of Dive. This work is pure electro-minimalism carried by vintage sound treatments and the charismatic, spooky and sensual vocals of Dirk Ivens. + + + : I honestly was a bit skeptical when listening to this album, but Dive took me by surprise. The album sounds dark, sometimes a bit tormented, always danceable through the heavy, industrial kicks and pure vintage-like with the magic of the electronic treatments. Time is passing by, but the vocals of Ivens have never been better. This work reveals numerous great songs and no doubt about it you here will find some new tracks that will enter into history. “Let Me In” is probably one of the most unusual Dive songs I’ve heard, but still one of the most sophisticated ones. It’s pure innovation and carried by brilliant, minimal sounds. – – – : Some tracks are maybe a little too short, but it always has been a kind of trademark of the artist. Among the 10 songs there’s just “A Man Came”, which can’t convince me. Conclusion: Dive is back with a new album and that’s already a major thing! The bad news for ‘young’ artists is that this electro veteran is showing them how you compose a creative, intelligent and efficient work! Best songs: “Let Me In”, “Sacred Skin”, “Far Away”, “Something”, “I Want You”. Rate: (8½). Band: www .dirkivens .com / www .facebook .com /dirk .ivens .3 Label: www .outofline .de / www .facebook .com /outoflinelabel

Read the news on ‘Underneath’.

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Esplendor Geométrico sees 80s tape material released on double vinyl LO: ‘Fungus Cerebri (Selected Tracks From Cassettes 1981-1989)’

Bernard - Side-Line Staff — Thu, 08 Dec 2016 20:00:58 +0000

Fungus Cerebri (Selected Tracks From Cassettes 1981-1989) is a double LP in deluxe gatefold sleeve which includes a selection of tracks by Esplendor Geométrico originally released on cassette and recorded between 1981-1989. You can order this very limited edition right now, it’s being sent out by the end of December.

You can expect minimalism, raw and harsh analogue electronica, distortion, Arabic sounds and shortwave radio recordings as you can hear below on the track “Fungus Cerebri”. Duet Emmo fans will love this material for sure!

All tracks have been remastered from the original tapes for this edition. The 16 tracks are taken from the “Sinn & Form” cassette compilation (Daterverarbeitung 1982), “En directo Madrid y Tolosa” (EGK 1987, cassette), “Esplendor Geométrico en Roma” (EGK 1986, cassette), “Madrid Mayo 89” (Línea Alternativa 1990, cassette), and “Diez años de Esplendor” (Línea Alternativa 1991, double cassette).

The track selection is by Andrés Noarbe, the band’s manager since their beginnings in 1980 and director of Geometrik Records.

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Le Moderniste – Desistere Mortem Timere (CD Album – Hands)

Inferno Sound Diaries — Sat, 30 Jul 2016 21:55:28 +0000

Genre/Influences: Power-noise, rhythmic-ambient & noise.

Background/Info: Laurent Delogne aka Le Moderniste belongs to a selected number of renowned Belgian artists dealing with power-noise. He released an impressive number of productions on labels like Le Petit Machiniste, Modern Tinnitus Theory and since 2013 on Hands. It also is 3 years ago that Le Moderniste released a new opus so I was really wondering about the new sonic creation of this band.

Content: The new work has been announced as a reinvention in sound by Le Moderniste. That’s partly true, but one thing is for sure, I’ve already heard harder and more extreme releases by this artist. Power-noise remains the main source of inspiration, but the work becomes more complex. Laurent Delogne is manipulating the knobs of his machines like a possessed.

The power-noise loops have been joined by some mysterious atmospheres and this is for sure the main evolution –and innovation in sound. Some cuts move from ‘soft’ and intriguing introduction passages towards harder noise fields. The artist is once again building a heavy noise wall, but it all becomes more accessible through the injection of ‘ambient’-influences. The album remains dominated by low, monstrous sound vibrations and other heavy blasting passages.

+ + + : Le Moderniste can be seen as one of the natural rightful heirs of Esplendor Geometrico while this work also reveals a very personal and more intriguing input. The ambient content is quite compatible with the harder power-noise sound and makes it even more accessible.

– – – : Le Moderniste remains an extreme sound creation, but maybe not extreme enough for the die-hard fans of the band and the genre.

Conclusion: “Desistere Mortem Timere” is a ‘modern’ album maybe revealing a new and future sound for Le Moderniste.

Best songs: “Liber Diaboli”, “Filth Cleans The Blind”, “That May Occur”, “La Beauté Naît Dans La Mort”.

Rate: (7½).

Band: www .facebook .com /lemoderniste

Label: www .handsproductions .com / www .facebook .com /hands .official

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Xotox – Essentials (DCD Album – ProNoize/Dark Dimensions)

Inferno Sound Diaries — Wed, 04 May 2016 21:45:36 +0000

Genre/Influences: Industrial, electro-industrial. Background/Info: Andreas Davids set up Xotox during the late 90s. When future-pop music was dominating DJ-sets and alternative charts, Xotox created a solid and efficient antidote called ‘industrial for hyperactive people’. Dancefloors got infected by a dangerous sonic virus, which was not that really new, but people simply liked it. “Essentials” is a great look back to the impressive discography of Xotox featuring 2 discs and 35 cuts. Content: The real break-through happened with the real official debut album “Lichtlos”. I think there was no better way taking off with this heavy electro-distorted piece of industrial music. A harsh, stumping cadence directly leads into frenetic moves while electronic sequences add an extra frozen touch to the already tormenting atmosphere. This song (and album) was a solid basis for the sound of Xotox. On one side we get this electro-industrial mixture, but on the other side we get an even darker and especially more industrial-orientation. Some tracks in the genre even reminded me of Esplendor Geometrico and I especially refer to “Ritmo Diabolico”, which is a rather recent song. The industrial sound formula created by Xotox always remained pretty danceable as well, which explains the popularity of the band by DJ’s. It sometimes comes pretty close to a kind of industrial-rave music. But Xotox also explored more minimal and refined fields. It’s not the most renowned side of Andreas Davids and that’s maybe why we discover it throughout a few ‘unreleased demo’-cuts from the early millennium years. The album also features demo versions from familiar tracks. The album comes to an end with three technoid-minded remixes featuring the noticeable Denny Engler remix. + + + : A nice selection of Xotox’ essential pieces giving an interesting evolution of this electro-industrial project. The album also features multiple unreleased cuts, which is a nice surprise, even for the biggest fans. Speaking for myself I always have been more into the industrial cuts mixed with some electronic sequences. – – – : It will be always the same thing with compilations and other ‘best of’ concepts; you’ll always wonder why some songs have not been featured on it! Conclusion: Xotox remains without a shadow of a doubt the most ‘industrial’-driven band from the big ProNoize/Dark Dimensions group and family. “Essentials” is an overwhelming electro-industrial sound orgy! Best songs: “Dunkelheit”, “Eisenkiller”, “Pumpe/Düse”, “[Psi] – Hard Mix”, “Schwanengesang”, “Im Kreuz Ist Heil – Demo”, “Grenzdebil – Demo”, “Ritmo Diabolico”. Rate: (8). Band: www .xotox .info / www .facebook .com /xotoxmusic Label: www .darkdimensions .de / www .facebook .com /pages /Dark –Dimensions –Label –Group /486014725206

Read the news on ‘Essentials’.

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Siechtum – Zeiten:Wende (DCD Album – Trisol)

Inferno Sound Diaries — Mon, 02 Nov 2015 09:22:02 +0000

Genre/Influences: Electro-industrial.

Content: When I discovered this album I first thought that Siechtum had been awakened after a hibernation of 14 years! The electro-industrial project that was set up by Thomas Rainer (L’Âme Immortelle, Nachtmahr) and Joachim Sobczak (Schattenschlag) was active right after the millennium during a rather short lapse of time.
“Zeiten:Wende” is just a re-release of their 3 full length albums (cf. “Gesellschaft:Mord”, “Kreuz:X:Feuer” and “Diagnose:Zeit”), which have been placed on 2 discs. Siechtum has been considered as a pioneer in the genre, which I think is an interesting statement.

I remember industrial music during the 80s, which was composed with an impressive arsenal of hand-made equipment resulting in a kind of ‘art-brut’ sound. Bands like Test Department, SPK and Einstürzende Neubauten were absolute masters in the genre, but there were many less famous and recognized projects dealing with a similar taste. The industrial music progressively evolved towards electro-driven compositions where the sounds got manipulated by monstrous studio effects creating this typical distorted-electro format. Esplendor Geometrico probably was one of the most famous pioneers in the genre, which would rapidly contaminate numerous other bands.

The ‘industrial’ style of Siechtum moved a bit further getting us to the point where dark-electronics and electro-industrial music merged together. I’ll not start a controversy about who really was the first one in the genre, but Siechtum were one of the precursors.
“Gesellschaft:Mord” (2000) brings us back to this early years revealing a typical electro-industrial sound carried by bombastic rhythms and haunting atmospheres. The work remains rather elementary, instrumental and repetitive. A few samplings injected some diversity, but globally speaking this album really suffers from the weight of time. It sometimes starts a bit like an improvised jam session of industrial-inspired music. This is the kind of work, which left me rather skeptical today, but I have to admit that I enjoyed it back in time.

“Kreuz:X:Feuer” (2001) sounds more diverse and sometimes reveals unexpected influences like acid bleeps (cf. “Gegenschlag”) and a kind of technoid-industrial style (cf. “Wiederstand”). The album even explores passages of cinematographic-industrial music (cf. “Die Ruhe Nach Den Sturm”) and other parts carried by metal (sampled) guitar riffs (cf. “Chaos”).

“Diagnose:Zeit” (2001) finally appears to be the most convincing album (today), but the least industrial minded. Siechtum now added real vocal parts to the work, which makes it more dark-electro driven with industrial flavors on top. It definitely is not a classical dark-electro production but rather a band exorcizing some ideas.

We again notice different influences running through the work, which move into epic passages (cf. “Follow Me”) to a kind of ritual approach (cf. “Winterstahl”). This album appears to be the most accomplished and for sure the most elaborated one. The title song remains the best example in the genre.

Notice by the way that the original albums of Siechtum were released by Matrix Tube, which was an earlier subdivision of Trisol.

Conclusion: This album is available in a beautiful digipak format while there also is a box-edition for the biggest fans of the band. I think this work is mainly meant for the fans of Siechtum and Thomas Rainer in particular.

Best songs: “Diagnose:Zeit”, “New Breed”, “Judas Ischariot”, “Gedankengift”, “Atomkernspaltung”, “Wiederstand”.

Rate: (DP:7)DP.

Band: www.facebook.com/siechtum.official

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Esplendor Geométrico issues 35th anniversary 4LP vinyl boxset ‘Selected Tracks 1: 1992-1998’

Bernard - Side-Line Staff — Fri, 09 Oct 2015 08:13:15 +0000

Early November you can expect a 4LP boxset from Esplendor Geométrico titled “Selected Tracks 1: 1992-1998” (pre-orders available here). This limited and numbered edition of 700 copies is celebrating Esplendor Geométrico’s 35th anniversary. The band, formed in Madrid in 1980, quickly became one of the most influential pioneers of industrial music.

The 4 LPs come packaged inside a deluxe box, including a poster and have been individually screen printed using a metallic copper ink. The 4 covers, when put together, make up one image. The LPs feature a selection of tracks recorded between 1992 and 1998, a period during which the Esplendor Geométrico sound evolved thanks to the digital synthesisers available at the time.

The tracks were originally released only on the CDs “Control Remoto 1.0”, “Veritatis Splendor”, “Balearic Rhythms”, “Tokyo sin fin” (released only in Japan) and the “30 km de radio” EP. However, for this release all tracks have been remastered by Alek Stark with improved sound quality.

You can order your copy right here, you’ll also find the complete track list.

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Esplendor Geometrico united with Hijokaidan on live vinyl ‘EG Kaidan’

Bernard - Side-Line Staff — Tue, 07 Jul 2015 08:59:48 +0000

Out next month, but available here already, is a collaboration live recording on vinyl by the Spanish Industrial music pioneers Esplendor Geometrico and the legendary King of Noise in Japan, Hijokaidan. The live recording was made in Tokyo in 2013 at the SuperDeluxe club.

This collaborative release between the 3 labels Geometrik (Madrid), Alchemy & Suezan Studio (Tokyo) was also released on CD format in Japan only but sold out immediately. The vinyl version will probably also be sold out in no time, so order your copy right now.

The vinyl holds 6 tracks: “E.G.KAIDAN 02”, “E.G.KAIDAN 03”, “E.G.KAIDAN 04”, “E.G.KAIDAN 06”, “E.G.KAIDAN 07” and “E.G.KAIDAN 08”.

Below is a sample to wet your appetite…

Bernard - Side-Line Staff

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