MRT is an experimental endeavor by miKKa (founder of dreDDup), and began in 2007, focusing on dreams, noises, and otherworldly themes. The project is known for its atmospheric, wild, and experimental soundscapes, having produced 10 albums and 3 extended play albums. MRT also composes music for films and theater.

The prolific Serbian industrial project has just released its eleventh album, titled “Kerrang”. The album, which began production during the 2020 pandemic, showcases 13 new tracks. Part of the album’s composition was specifically created for the documentary “Novi Sad Remembrance”, directed by Aleksandar Reljić, which focuses on the historical raid on Novi Sad.

The Novi Sad Raid was a horrific event that took place during World War II in January 1942. Hungarian forces, who were occupying parts of Yugoslavia at the time, conducted a systematic massacre in the city of Novi Sad. Over the course of several days, thousands of civilians, primarily Serbs, Jews, and Romani people, were rounded up and executed along the Danube River.

The rest of the album continue the sonic themes MRT explored in their previous album, “Urwell”. Recorded entirely at DURU studio in Novi Sad, the band plans to promote the album soon, including a cassette release. MRT has had limited live performances this year but is gearing up to promote “Kerrang” with live shows.

You can listen to and purchase the album through the MRT Bandcamp page.

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.

side-line.com

(Photo by Paul Heartfield) Goldfrapp co-creator Will Gregory has shared another track, “Parabolic Sleuth”, from the upcoming deluxe edition of the Will Gregory Moog Ensemble album “Heat Ray: The Archimedes Project” inspired by Archimedes’ work. “Heat Ray: The Archimedes Project” has been completely performed on analogue synths, with the BBC National Orchestra of Wales.

“Heat Ray: The Archimedes Project” is set for release on Mute on 27 September. The deluxe edition features insights from the recreational mathematician, comedian and author Matt Parker, best known for his YouTube series, “Standup Maths”. The nine pieces written and presented by Parker each introduce a track from the album.

The album has been augmented with two bonus tracks, “Heavy Logic” and the track we present today, “Parabolic Sleuth“.

A series of live dates will coincide with the release – starting with Hidden Notes festival in Stroud before three performances with the Britten Sinfonia at the Barbican, London Basingstoke and in Saffron Walden and a further date in Southampton for the ensemble.

The Will Gregory Moog Ensemble members include Portishead’s Adrian Utley, a longtime collaborator of Will’s, who co-produced and plays on the album. Mute’s Daniel Miller is its “kind of executive producer”, and he even played on one of the tracks. “Given he’s been into synths right from his early days, and is a genius with them, that was a good moment”, alongside John Baggott, Graham Fitkin, Simon Haram, Vyvyan Hope-Scott, Ross Hughes, Hazel Mills, Daniel Moore, Hinako Omori, Eddie Parker, Harriet Riley and Ruth Wall. Their instruments include Minimoog, Moog Voyager, Korg 700s, Prophet 6 and Roland JX3P.

Will Gregory Moog Ensemble dates

• 21-22 Sep – Hidden Notes Festival, Stroud
• 8 Oct – Barbican, London – with the Britten Sinfonia
• 9 Oct – Basingstoke, The Anvil – with the Britten Sinfonia
• 10 Oct – Southampton, Turner Sims
• 11 Oct – Saffron Hall, Saffron Walden – with the Britten Sinfonia

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.

side-line.com

In the often unpredictable world of music, collaborations can either blend seamlessly or clash in a dissonant display.

With this album, we witness a masterful synergy that captures the essence of summer’s fleeting beauty and endless allure. The album is a journey through soundscapes that feel both familiar and novel, inviting listeners to immerse themselves in an experience that is as evocative as it is technically impressive.

A Fusion of Styles

There have been many amazing musical collaborations over the years, and this is definitely one to note. 

Fanum, known for his meticulous production and genre-bending approach, brings a wealth of experience to the album. His previous works have often danced between the boundaries of electronic, ambient, and experimental music, creating intricate tapestries of sound. In contrast, Ierophania’s contributions are marked by an ethereal quality, often infused with elements of neo-classical and dream pop. The marriage of these distinct styles results in an album that feels expansive yet intimate, a delicate balance that is difficult to achieve but executed flawlessly here.

The opening track, Solstice Reverie, sets the tone for the album with its lush layers of synths and soft, reverberating vocals. It’s a track that feels like the first light of dawn, gentle and full of promise. Fanum’s production is immediately evident, with every sound meticulously placed to create a sense of space and warmth. Ierophania’s voice floats effortlessly above the instrumentation, adding a haunting yet comforting dimension to the track.

Themes of Transience and Nostalgia

As the album progresses, it becomes clear that Escort of Endless Summer is not just a collection of songs but a thematic exploration of time, memory, and the ephemeral nature of summer. Tracks like Ephemeral Rays and Twilight Mirage delve into these ideas with a melancholic undertone. The use of field recordings, such as the distant sound of waves and birdsong, further enhances the album’s connection to nature and the passing of time.

One of the standout tracks, Azure Horizon, perfectly encapsulates the album’s central theme. The song builds gradually, starting with a simple piano motif before expanding into a full-bodied composition that feels both nostalgic and forward-looking. The interplay between Fanum’s rich, textured production and Ierophania’s vocal melodies creates a sense of longing as if reaching for something just out of grasp—a feeling that anyone who has watched the sun set on a summer’s day can relate to.

A Sonic Landscape

The album’s production is nothing short of stunning. Fanum’s attention to detail ensures that each track feels like a carefully constructed world, with layers of sound that reveal themselves upon repeated listens. Ierophania’s contributions, whether through her vocals or her instrumentation, add a human touch to these sonic landscapes, grounding them in emotion.

The closing track, Endless Night, is a fitting conclusion to the album. It feels like the final moments of a long summer day, where the warmth of the sun lingers even as the night begins to take hold. The track is both a farewell and a promise—a reminder that while summer may end, its memories will linger long after.

A Triumphant Collaboration

Escort of Endless Summer is a triumph of collaboration, a testament to what can be achieved when two artists with distinct visions come together. Fanum and Ierophania have created an album that not only captures the essence of summer but also explores deeper themes of time, memory, and the fleeting nature of beauty. It’s an album that demands to be listened to in its entirety, a sonic journey that will resonate with listeners long after the final note fades away.

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.

side-line.com

Data Void emerged from the collaborative efforts of Don Gordon (Numb, Halo_Gen) and James Mendez (Jihad ao). This year, they released their debut album, “Strategies Of Dissent,” on Metropolis Records. The songs feature a Dark-Electro and EBM sound, yet there’s an overwhelming Cinematic vibe running through the work. It is a remarkable opus, and I had the opportunity to connect with Don and James, who revealed many details about their work and album. (Courtesy by Inferno Sound Diaries)

Q: The two of you have been in the music industry for a long time, but what has brought you together, and what has led to the origins of Data Void?”?

JM: The very beginnings of the project initially began back in June of 2020, where I initiated the idea of collaborating on a song to see how things would progress. In response, Don shared some early ideas that which evolved into the track “Seven Seconds”. The idea of collaborating on music together was something that came up after many different discussions we had (both music / non-music related) throughout the approximate year and half we remained in contact since meeting up in Southeast Asia where I met Don for dinner in Ho Chi Minh City where he was living at that time. From there, it wasn’t something we both knew we were going to pursue and continued working on more ideas/material which sort of played out organically throughout the entire process up to what you hear on the finished album.

DG: While there wasn’t an initial plan to release anything we realized quite quickly that there was something quite unique coming together out of the experiments. This led to discussion about possibly releasing some of the material as an EP which over time expanded into an album. The conceptual framework for the album emerged after the first couple of songs were finished. The name of the project was suggested by the alignment between themes we were exploring lyrically and articles that I was reading concerned with information data voids and misinformation/propaganda.

Q: I can imagine that such a new project must be very exciting. Did it feel that way for you throughout the entire writing and production process? How did the songs on the album come together?

DG: The album was developed through the online exchange of audio and MIDI files and lots of discussion. This meant that there wasn’t a lot of real-time interaction during the writing phase. The process would start with one of us sending a sketch of a groove or harmonic progression to the other person who would use this as a creative jumping off point. The first couple of exchanges usually led to quite marked departures and evolutions from the original source idea. This iterative back and forth allowed for unexpected ideas to be introduced and a more reflective approach to development of ideas. After structuring the primary instrumental components of a song, I would write lyrics and record a version of the vocals. These were forwarded to James who would then record an alternate variation. The most interesting elements from these different versions were then used as the basis for a song’s vocals. This resulted in some songs in which the main vocal part would alternate between James and myself in the verses and chorus (i.e. “Crash, Burn & Resurrect”), other songs where both vocal approaches were integrated throughout, and in some there would only be a single vocalist (i.e. “A Failure Of Language”, “This Night Goes On Forever”). While I executed the final mixes, these too would undergo revision based on discussion.

JM: I was really exciting to see how the ideas we started out with would evolve as they developed into full-length songs, and in turn how this would lead to a complete album. It was quite interesting to see how we both approached the song writing process, along with all technical aspects (i.e., sounds, textures, percussion, mixing elements, etc.).

Regarding how the songs came about on the album; one of us would start out by sending the other a short clip (~45s – 1m) that would entail several different sequences  that represented the beginnings of an idea where the other would then add additional parts to compliment where the other left off. Going back and forth in this fashion until we completed the outline of what felt like the song should be. We would complete a rough draft of each song and then repeat the process again, starting out with more ideas until we eventually completed the next song and so on. As we continued working on each song, we would also discuss all of the details via email, chats, and video calls when things became a bit more complex, as this would save a lot of time in conveying our thought process.

We both use different DAWs (Logic Pro and Ableton Live) when writing music but also use several of the same virtual instruments / effects which helped make things a little easier when sharing files back and forth. We would share a combination of audio files, MIDI, VST patches, screenshots, configuration files, etc. so we could essentially mirror all of the individual sequenced tracks and song structures on both of our DAWs respectively as we continued to complete each song.

After we finished each song, Don would write lyrics and share them along with a rough sketch as to how they may be structured. The vocal structure would also undergo the same iterative approach going back and forth until we were content with the final outcome. After finishing three songs, we both reevaluated what we were going to do as far as a release was concerned and decided to continue working on more music until we felt we had enough songs to complete an entire album.

Q: The title of the album, “Strategies Of Dissent”, sounds intriguing and particularly relevant in the context of world politics. What is the album all about, and what inspired the lyrics?

DG: Lyrically and conceptually the album explores the themes of power, control and resistance to it, and the attraction for many to ‘lost causes’. Each song takes a different perspective, a different strategy if you will, to engaging with these themes. Not surprisingly, information spaces, misinformation, conspiracies, and technology figure into this with most of the songs having their basis in contemporary events and social/political currents. That being said, the lyrics were constructed so as not to come across as didactic, but instead to present these ideas at a more personal level.

“Nothing Changes” is intended as a ‘call to arms’ in response to the deception and erosion of individual control being exercised by big tech, corporations/banks and governments. The dilemma is that this is not some unified grand conspiracy but rather the outcome of a number of overlapping and competing self-motivated agendas.
“A Failure Of Language” and to a degree “What’s Left Unsaid” question the current collapse of language, the appeal of conspiracy theories and skepticism, and the increasing failure of our ability to communicate meaningfully and where this leads. A new Babel?

“Echoes Of Ritualised Performance”, while an instrumental track, was inspired by our need to repeat inherently negative social behaviors/tropes of the past and a seeming inability to learn from these… each echo a further degraded/distorted version of an initializing event from the past.

“This Night Goes On Forever” was conceived of as a reflection on the individual consequences for those who found themselves supporting and surviving a major conflict started for the wrong reasons, and the resultant aftermath of physical, psychological traumas and guilt that extend far past the event.

The 2020 Hong Kong protests and the 2021 coup in Myanmar resonated strongly with me after having lived in Southeast Asia for 20 years. So “Alien” was inspired by photos, reportage and interviews about these events and was an attempt to try and put yourself into the head of a person who has found their world suddenly and radically changed and themselves unexpectedly at the center of violence and/or as a symbol of resistance.
“The Goal Of Seven Seconds” was to evoke an anthemic quality while presenting a scathing critique of those who ‘sell dogma and deceit’ in order to incite an ill-conceived end of days for their own personal gain.

The tracks “Crash, Burn And Resurrect” and “Control” were written as a comment on the rise of extremist rhetoric and behavior.

Q: You’ve explained how this collaboration took shape, but can you tell us more about the chemistry between you?

DG: My sense is that the chemistry comes from our overlapping but distinct musical reference points and different approaches to our creative processes. It was the embrace of these differences that provided the creative dynamic that led to many of the interesting ideas as we developed over album.

JM: It was quite interesting for me to reconnect with Don 22 years after first meeting him in 1996 Austin, TX when Numb was on tour with FLA and Die Krupps. It became clear that we share some common perspectives and ideas about different things, which also happens to carry over into music. And because of our similar yet different musical preferences and approaches in our writing styles, this played a significant part into how the album turned out. As part of the musical journey when collaborating on the album, one thing I can appreciate is being challenged in a way that I would constantly be conscious of the writing style and mood I would contribute, to deliberately not write in the same fashion I am typically accustomed to and comfortable with. It certainly helped me take a different approach to writing for this project and in general.

Q: “As experienced musicians, do you still have certain influences or references when making and finishing a song? Also, how would you describe the album “Strategies Of Dissent”?

DG: In many ways you never outgrow your early influences as they are a baseline to which you add, refine and push-back against over the years. While I’m always listening to new artists and across genres, I find those early influences still subtly find their way into my more recent work.

“Strategies Of Dissent” is an album in the ‘old-school’ sense, a series of thematically connected songs that have been ordered in a manner so as to present the listener with a loosely structured narrative rather than just a collection of songs. I feel this provides a more interesting experience for the listener and allows them to get a better sense of where the project is coming from.

JM: Having been exposed to so many different kinds of music styles, genres, and artists over the years (to include the discovery of new bands regularly), there are many references I feel that have made their way (subconsciously) into music I’ve written years ago including some of the more recent work I’ve done. I think it’s inevitable.

With “Strategies Of Dissent” we set out to capture the intensity of early Electro-Industrial and integrate this into more contemporary Electronic music sound. The album as a whole, in my opinion, is homogeneous in that each song works well independently and thematically throughout the entire album.

Q: What does the future hold after this album? Do you have any concrete plans at the moment?

DG: We’ve been thinking about a follow-up release (EP?) with a combination of new material and dub versions of some tracks from “Strategies Of Dissent”. We’re also exploring the possibility for a version of Data Void to do some live European shows.

JM: We have discussed in passing the idea of working on some new material, whether that would be a new single/EP or possibly a new album at some point to also include some alternate versions of existing tracks. We’re also considering live alternate versions of the songs for some shows in Europe later this year and next.

Inferno Sound Diaries

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

www.side-line.com

“Artifacts” EP by Divider is out now via Re:Mission Entertainment. Vocals on “Artifacts” are by Peter Beal with synths, programming, and mixing by Bryon Wilson.

The EP holds 4 remixes of the title track plus the original version. The ‘Primitive Remix’ was executed by Peter Beal while the ‘DvDSX remix’ includes additional arrangement by Bryon Wilson and Dejan Samardzic. Also included on the 5-track EP are remixes of the title track by Hex Wolves and Snowbeasts.

You can expect hard-hitting rhythmic EBM. The EP is available on Bandcamp, all major digital platforms, and as a limited edition t-shirt as you can see below.

About Divider

Divider is an electronic music project formed by Bryon Wilson and Peter Beal. The project began in the summer of 1995 when Wilson, then 17 years old, started experimenting with electronic music. Divider’s sound encompasses elements of EBM (Electronic Body Music), industrial, and experimental minimal-electro.

Bryon Wilson and Peter Beal have been the primary creative forces behind Divider, with Wilson handling synths, programming, and mixing, and Beal contributing vocals and remixes.

Divider’s work has been featured on various label compilations and has seen them remix tracks for other artists.

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.

side-line.com

EXEC is a pseudonym for Danish singer, songwriter & producer Troels Abrahamsen, a notable figure in Denmark from the popular Danish electro-rock band VETO to solo records under his own name and the alias I Know That You Know. Out on February 12 via Tambourhinoceros (CTM, Cancer, Rangleklods, Palace Winter) is “The Limber Real” by EXEC which you can stream right below exclusively on Side-Line.

As we explained a few weeks ago, we were very much impressed by the material EXEC has offered so far, a mix of purely analogue, stripped down to piano, vocals and raw human emotion. The album offers a pure Nordic sound.

The music on “The Limber Real” is inspired by the Nordic psalm tradition with its particular harmonies and structures and has been recorded with the producer Mikkel Bolding.

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.

side-line.com

In mid-December we posted a video where EXEC (aka Troels Abrahamse) is performing his latest single “Life is a Liquid” live. Today we can announce a brand new single, which just hit the online download and streaming stores: “Going Under”. You can stream the new single below. Just like the previously released material also this new single will especially please those who appreciate the output of Antony and the Johnsons.

“Going Under” is the 3rd single off the forthcoming debut album “The Limber Real”, out February 12th via Tambourhinoceros.

The forthcoming album has been recorded with the producer Mikkel Bolding, known for his preference to work with analogue equipment. The Aarhus based producer himself is a musician and composes and publishes music under the alias Messy Shelters. He also is part of the band Larsen & Furious Jane.

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.

side-line.com

This just came in and will please those who love intimate piano work. Available now is a video where EXEC (aka Troels Abrahamse) is performing his latest single “Life is a Liquid” live. The video was shot live at EXEC’s debut concert at the Bremen Teater in Copenhagen, Denmark on November 13, 2015. In short, it’s all very fresh to say the least, and for a debut concert this sounds VERY promising.

The original version if “Life Is A Liquid” (which you can listen to below too) was released earlier this December as the second single from the forthcoming album “The Limber Real” out February 12 via Tambourhinoceros (Rangleklods, Palace Winter, CTM etc.). The forthcoming album has been recorded with producer Mikkel Bolding. The music itself is inspired by the Nordic psalm tradition with its particular harmonies and structures.

The live version:

You can stream the studio version of “Life Is A Liquid” below:

32-year old Troels Abrahamsen is a Danish producer, vocalist and singer-songwriter who has been the frontman of the rock band VETO since 2004. Troels Abrahamsen is as a producer known as SuperTroels and published in 2007 his first solo project entitled “I Know That You Know”. The album was followed by the more club oriented album “Mockin’ Bird” released on the Mockin’ Bird pseudonym. A free EP followed under the alias SuperTroels.

In 2009 he released a first solo under his own name, “WHT”. The album was followed by the slightly darker and more electronic tainted “BCLK” in March 2010. In the meantime Abrahamsen also composed music for the film “My Best Enemy” directed by Oliver Ussing.

But it’s our guess that EXEC will be his real breakthrough project.

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.

side-line.com