Fires &#8211; SIDE-LINE

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!

Cathedral In Flames release goth rock ‘Pale Rider’ single

Bernard - Side-Line Staff — Tue, 27 Feb 2024 11:57:16 +0000

Prague-based gothic rock band Cathedral In Flames has released a new single titled “Pale Rider”. The song pays homage to classic western films and composer Ennio Morricone. It narrates a dark story involving an occult battle with cancer, with production by John Freyer.

The single’s release is accompanied by a horror-themed music video set in a graveyard, featuring characters inspired by Cthulhu mythology and a reference to Clint Eastwood through the use of a replica of his hat. The band members involved in the video are Ambra, Phil, Gatsby, and Billac, with Gatsby portraying a grave desperado character.

Vocalist and lyricist Phil Lee Fall says of the record, “We’ve always loved and used the western aspects in our take on gothic rock and we’ve taken it to the max in Pale Rider. Cowboy guitars, screaming cowboys, Clint Eastwood and Lovecraftian poetics. Total country overkill. And yet it fires like a very black devils hog on all cylinders.”

And Gatsby, author of the music, adds: “I love westerns, Ennio Morricone, and I put all that into “Pale Rider.” I wrote a darkly gothic cowboy shuffle with an eerily demonic chorus. The mix was an uphill battle, with John having to dip into his reserves of patience a lot to be satisfied, but the result is worth it! After all, it is the title track of the forthcoming album.”

“Pale Rider” is available for streaming and purchase on all major digital platforms, including Bandcamp and Spotify, under the Musicraft label.

Pale Rider by Cathedral In Flames

Witchy goth pop act Metamorph returns with new single and video: ‘Woo Woo’

Bernard - Side-Line Staff — Thu, 17 Aug 2023 08:49:42 +0000

Gothic pop artist with a witchy flair, Metamorph, is back with a brand-new single titled “Woo Woo”. Accompanying this release is a music video that showcases Metamorph’s Margot Day, who was formerly a member of the iconic 80s NYC Goth band, The Plague. The musical arrangement for “Woo Woo” was crafted by Erik Gustafson (Cleopatra Records and Adoration Destroyed).

Margot Day provides insight into the track, explaining: “We narrate a story set in a tense and precarious world, where the sky seems to be collapsing and cats observe the unfolding drama with eerie fascination. In the midst of the turmoil, there emerges a longing for escape. ‘Woo Woo’ invites listeners on a turbulent journey, where medical cautions fade into a faint backdrop. The smoke from hillside fires trails the Witch character, and desires ignite with the intensity of a fervent dance. Infused with a touch of ‘abracadabra’ enchantment, the chorus reveals a deep craving for an unparalleled euphoria, seasoned with a hint of mystical ‘woo woo’, fusing elements of the bewitching and the sensual.”

“Woo Woo” is now available on all major digital music platforms.

The video for this new single is available for viewing below.

Gothic rock band Girls Under Glass unveils new music video/single ‘We Feel Alright’

Bernard - Side-Line Staff — Wed, 29 Mar 2023 14:48:59 +0000

Gothic rock band Girls Under Glass have unveiled their new music video “We Feel Alright” as the first single from their upcoming album “Backdraft”. Returning after a long hiatus, the Hamburg-based group presents a set of brand new tracks on the “Backdraft” album which is set to be released on June 2, 2023.

“We Feel Alright” is also available as a digital single, featuring two Girls Under Glass remixes, “Who the F*** Is Killing Joke?” and “Into the Shining Light”, on regular platforms. Watch the black and white music video for “We Feel Alright” right below.

Girls Under Glass describes their new album “Backdraft” as a “creative explosion, blending sounds from our previous works into a seamless record (…) the album transitions between catchy gothic rock, electronic dark wave, and melodic post-punk.”

The album title “Backdraft” is inspired by a phenomenon related to large fires, symbolizing “our creative energy being reignited.” Initially planning to compose a few new tracks for an EP, Girls Under Glass found themselves with a renewed creative spark, and the project expanded into a full-length album. The lyrics in “Backdraft” reflect dystopian themes relevant to today’s world, perfectly fitting the band’s powerful and sinister sound.

The album also marks the return of former vocalist Thomas “Tom” Lücke, who not only joined the band on stage but also recorded with them for the EP released alongside the album.

Girls Under Glass, formed in Hamburg in 1986, quickly became a leading force in the German gothic rock and dark wave scene. Between 1994 and 2006, they experimented with rock, crossover, and metal sounds, amassing an impressive discography. The current lineup consists of Volker Zacharias (vocals, guitar), Axel Ermes (synth, electronics), Falko Grau (bass), and Tom Lücke (vocals on all EP tracks). The album also features guest musician Mortiis on the track “Tainted.”

“Backdraft” was recorded, mixed, and produced by Axel Ermes and Volker Zacharias, mastered by Chris Harms at Chameleon Studios, with cover art by Greg Rolfes and graphic design and artwork by Ulrike Rank.

Mentallo & The Fixer’s ‘No Rest For The Wicked’ see 30th Anniversary release in a very limited edition

Bernard - Side-Line Staff — Mon, 03 Oct 2022 18:18:49 +0000

“No Rest for the Wicked” is the debut studio album of Mentallo & The Fixer, released in 1992 by Simbiose Records. It now gets a 30th anniversary release via Mentallo Big Cartel and Re:Mission Entertainment in various limited formats holding 4 bonus tracks.

This reissue contains the original seven tracks remastered by JM Mastering.

1992’s “No Rest for the Wicked” was the band first major underground release and while the recording was low-budget it introduced their audience to the band’s dynamic energy and sense of melody. The recording sessions were completed during 1990 and 1991 but the album’s release was stalled for personal reasons by the band, with founding member Gary Dassing discussing the lyrics as being about his sister’s placement in an asylum.

The digital version will contain all twelve tracks from the original CD plus four additional songs from the 1991 “Wreckage + Ruin + & + Regrests + [Redemption]” GPC cassette tape.

Available are also two vinyls, a limited edition in black vinyl and one in silver vinyl, the latter is already completely sold out. The vinyl versions hold the restored original artwork, but also a folded poster autographed by Gary and Dwayne Dassing.

You can order these releases via Mentallo Big Cartel or via the Re:Mission Bandcamp page.

No Rest For The Wicked: 30th Anniversary by Mentallo & The Fixer

About the album

Mentallo And The Fixer was born from the minds of brothers Gary and Dwayne Dassing in 1988.
The duo began their career earlier by experimenting with traditional rock instruments such as
guitar and drums, but made their focus synthesizers and samplers with their first band
Benestrophe with vocalist Richard Mendez. From that project spouted two tapes worth of
material released via Ras Dva Records as “Sensory Deprivation” and “Auric Fires”. Mentallo And
The Fixer soon formed after Benestrophe went dormant.

Their debut album “No Rest For The Wicked” saw released on Portuguese label Simbiose
Records, whilst also gaining the attention of Zoth Ommog records.

Gary Dassing recalls: “Thirty years have passed since our first release, “No Rest For The Wicked”. Dwayne and I have been fortunate to have kept this band going in some capacity after all these years. Mentallo And The Fixer came about after our first band Benestrophe disbanded due to a number of reasons. Dwayne moved from San Antonio to Austin for better job prospects in the electronics industry. Rich Mendez had other priorities being school and computer programming. I was left to my own devices and began recording tracks on my own, continuing to work on music in the privacy of my home studio, which I dubbed The Churchyard. I had no interest in being a vocalist much less a front man. I decided to throw caution to the wind and give it a shot. I had nothing to lose and figured the only ones hearing my music, and having to put up with my nonsensical garbling gibberish at the time would be my close friends and parents.

Back in the day, technology was a far cry from what it is today. Our recording methods were quite archaic. Everything was recorded on a standard Teac tape deck. I was monitoring the mix using a Panasonic jambox, and Commodore 64 as our sequencer, taking 15 to 20 minutes to load the program off a floppy disk, a 12 channel Ross mixer which was intended for live sound, load in a 90-minute cassette and hit record.

For these tracks, nothing was structured and everything was recorded on the fly, even the vocals. I would randomly change drum patterns, effects, muting and unmuting synth sounds and levels, etc. The sequencing program would run on a loop, repeating, until I hit the spacebar to stop the song. It was a bit of unwavering controlled chaos. Half of what I was recording vocally was completely improvised. I was trying to capture a feeling, filling up one side of the cassette and selecting the best version.”

Ordo Rosarius Equilibrio reveal new single on release date new album ‘Nihilist Notes’

Bernard - Side-Line Staff — Tue, 24 May 2022 09:38:38 +0000

Ordo Rosarius Equilibrio release their new album “Nihilist Notes” today and now also share the new single “I remember, the perpetual Search for the Meaning in Nothing”, which follows the 4-track mini-album “La Fleur du Mal” released in March.

“Nihilist Notes (And the Perpetual Quest 4 Meaning in Nothing)” is the fourth full-length album by Ordo Rosarius Equilibrio on the German label Out Of Line to which they signed in 2010 following the demise of Swedish cult label Cold Meat Industry.

“Nihilist Notes” is released today as CD Digipak and on cassette (in red incl. a pencil), and as a deluxe wooden box set, strictly limited to 444 pieces, which, in addition to the CD, also exclusively includes the album on 10″ vinyl and 5 collector’s coins with a noble case.

Ordo Rosarius Equilibrio explains the album’s concept: “In a world where the idea of hero and tyrant never has been more urgent. In a world where disinformation has become the new gospel. In times where the concept of good and evil is colored by crayons in various shades of grey. Nihilist Notes kindles the last fires of hope and takes us on a perpetual quest 4 meaning in nothing.”

Here’s the new single.

Ukrainian dark folk act Pororoka releases new song and video: ‘Дим’

Bernard - Side-Line Staff — Tue, 23 Nov 2021 10:39:00 +0000

(Photo by Vitalij Shyshkevich) The Ukrainian dark folk act Pororoka just released a new song and video, “Дим”. The band’s a mix of three different types of voices, grunge guitar, tender bandura, piano and djembe next to other ethnic instruments as you will see in the video. The video features Andrij Bojchenko as a special guest on vocal duties.

Here’s the video for “Дим” which is devoted to the large-scale forest fires in Ukraine to remind us all about the importance of forest fund conservation. The video contains a lot of documentary shots, which were gathered with the help of photographer Vitalij Shyshkevich(from the Zhytomyr region), journalists Nadia Toropenko and Ivan Bykhtiyarov(from the Luhansk region) and volunteer fire and rescue squad Karg(from the Kyiv region).

The main hero of this video is the 9-year-old Artem Sytnik from the Ostrovy village near the Ukrainian-Belorussian border. In spite of last year’s tragedy, when a big fire destroyed 20 houses in his village, he continues to live at his native house with his parents, brothers and sister.

Says the band: “Forest fires in Ukraine have become a frequent phenomenon. The main reason is arson attack with different motives. It happens because the agriculture sector looks on fire as a quick method to take off deadwood and prepare soil for sowing. Very often, fire is going out of control. There is also the additional risk for Ukraine, which has to live with the 8th year in a state of war.”

Here’s the video.

Synthpunk annex witch house act Suffer Ring release hard-hitting new single ‘Hands’ on Re:Mission Entertainment

Bernard - Side-Line Staff — Fri, 22 Oct 2021 07:48:56 +0000

Synthpunk annex witch house act Suffer Ring has just launched one of the most hard-hitting singles we have heard in a while. “Hands” goes accompanied by an equally angry reactionary video which you can view below.

“Hands”, released on the Oklahoma City based label Re:Mission Entertainment, is a protest song and ties into the themes of the forthcoming Suffer Ring album “Hauntology”. The concept of “Hauntology” has a few vectors of reification in this album, some more positive than others.

Says the band: “It’s a reference to revisiting the aggressive energy from the first album, but it also speaks to culturally dead elements of the past being regurgitated to haunt us in the present. It speaks of consequences. Planting seeds and covering our eyes, screaming in confused horror at the cancerous fruit that’s born. It is an angry reactionary statement, and it is a lamentation for the innocence that is lost at the moment of enlightenment when you realize you are complicit. We ravaged nations. We are choking the earth. We’re starting the fires. You can’t wash this blood from your hands and neither can anyone else.”

“Hauntology” will be released on December 21.

Here is the video already for “Hands” to be played loud!

And here is the Bandcamp download.

Hands by SUFFER RING

Tunnels Of Āh reworks lost album ‘Iron Speaks’ and releases it afterall

Bernard - Side-Line Staff — Thu, 21 Oct 2021 08:47:16 +0000

“Iron Speaks” has become known as the ‘lost’ Tunnels Of Āh album since it was abandoned as the fifth album release due to it sounding ‘unengaged’ to writer Stephen Āh Burroughs. Until now that is. Dense informs us that after reworking the original material, “Iron Speaks” emerges as a rediscovered official sixth album release.

The material itself on this album deals with the transitional stages of life and death. The title, “Iron Speaks”, is a reference to the chapter in the Koran which states that iron emerges from the heavens as a gift to mankind.

The release is out on the Italian label Hypershape Records and comes in a limited metal box.

Iron Speaks by Tunnels Of Ah

About Tunnels Of Āh

Formed in January 2013, Tunnels Of Āh is Stephen Ah Burroughs (previously part of the cult band Head Of David).

Tunnels Of Āh signed to historical UK label Cold Spring Records in 2013 for the debut album “Lost Corridors”, followed by “Thus Avici” (2015), “Surgical Fires” (2016), “Charnel Transmissions” (2018), and “Deathless Mind” in 2020.

Second album by Peruvian electro act Varsovia to be released in February 2021 – check the title track

Bernard - Side-Line Staff — Tue, 17 Nov 2020 10:43:17 +0000

Buh Records will be releasing Varsovia’s “Diseñar y destruir” LP in February 2021. “Diseñar y destruir” (Design and destroy) is the second album by the band Varsovia holding tracks recorded between 2015 and 2017. Varsovia is a project formed in early 2012 by Dante Gonzales (composer and former member of other well-known electronic acts such as Ensamble, Estación Perdida, El Hangar de los Mecánicos and Pestaña) and Fernando Pinzás.

The album reflects the second period of the band, which starts with the incorporation of Carla Vallenas as lead singer in the summer of 2015, replacing frontwoman Sheri Corleone. In contrast to their debut album, Recursos Inhumanos (Inhumane Resources) (2014), this production includes darker sounds on the one hand, while, on the other, it becomes closer to industrial music and EBM, keeping their direct and aggressive attitude.

The lyrics on this new album follow a concept, inspired by the political violence in Peru during the 80s such as the blackouts, terrorist car bombs or the uncertainty of living between two fires. “The events might have occurred decades ago, they become relevant today, due to the terrible conjuncture caused by the Covid-19 pandemic,” so the band says.

Here’s the video for the title track of the album. Pre-orders for the album are available on Bandcamp.

https://www.youtube.com/watch?v=Q78QbbIM_3o&feature=emb_title

About Varsovia

Varsovia is an electronic band formed in 2012 in Lima. It combines synthesizers with punk’s anger and noise experimentation. Its style could be described as ‘synth punk’ or ‘minimal synth’ with nods to darkwave, techno and industrial music. Since mid-2012, the band has played a lot of gigs within the local underground scene, standing out for its intense performances, mainly characterized by synth improvisation over heavy rhythms.

By the end of 2011, Fernando Pinzás was playing keyboards with a more synth-punk-oriented band called Televisión SS, and was looking to work on more electronic-oriented arrangements. Then he met experienced electronic musician Dante Gonzales (former member of bands such as Pestaña, Ensamble and Estación Perdida); a friendship was born between them and they started to make music together. After composing and recording several tracks, singer and guitar player Sheri Corleone joined them in this project (now she is in Amsterdam with her solo project Bang Bang Band Girl).

Their first album “Recursos Inhumanos” (Inhumane Resources) was released through Peruvian label Buh Records, managed by Luis Alvarado. For the recording, they used synthesizers, drum machines and guitars with effects. Upon this release, Sheri Corleone went to Europe to continue with her solo music projects, and was replaced by performer and friend of the band, Carla Gwen, in early 2015.

In 2018, Varsovia went on hiatus due to the temporary departure of Dante Gonzales, who started other projects. Fernando Pinzás joined the darkwave band Specto Caligo as bass player, among other musical projects.

In 2020, within the coronavirus worldwide crisis, Buh Records re-issued “Recursos Inhumanos” on vinyl and finally will release “Diseñar y destruir”. Previously, Carla Gwen had announced she would definitively leave the band. In October of 2020 Dante and Fernando were called to work on a soundtrack for “The Cabinet of Dr. Caligari”, in commemoration of the 100 years of the film. This version was virtually exhibited at the ‘Al Este de Lima’ film festival.

Noir – A Pleasure (EP – Metropolis Records)

Inferno Sound Diaries — Sat, 22 Feb 2020 20:30:17 +0000

Genre/Influences: Electro-pop.

Format: Digital.

Background/Info: Athan Maroulis will be always linked to Spahn Ranch and Black Tape For A Blue Girl, but the past few years he got involved with a new project called Noir. The album “Darkly Near” (2013) was a cool introduction to the dark-romantic pop style of the project. A few more EP’s were released while “A Pleasure” (released by the end of 2019) is the newest production. Athan Maroulis got some help from programmer/producer Erik Gustafson (Adoration Destroyed, Grendel), keyboardist/vocalist Kai Irina Hahn (The Sedona Effect), keyboardist/vocalist Demetra Songs and cello player Tracey Moth (Antidote For Annie).

Content: The title song (cf. “A Pleasure To Burn”) is a dark, bombastic outburst with a carrying chorus and featuring the charismatic vocals of Athan Maroulis. The song was remixed by Fires and Seeming.

We next get another new song (cf. “Luxury”), which has been written by Athan Maroulis, Erik Gustafson and Jean-Marc Lederman (The Weathermen ao). This song is more evasive. The last song of the EP is a “Reprise” of “Luxury”, which rather sounds as a short outro. Last, but not least you also will discover a cover version of the famous Fad Gadget song “Back To Nature”.

+ + + : Athan Maroulis remains a brilliant, charismatic singer. His unique timbre of voice injects a true spirit into the music. And the music of the title song is quite interesting for the mixing of bombast and refinement. Among the remixes I especially recommend the up-tempo edit by Fires. Covering “Back To Nature” is not that original, but the way the song has been adapted into the bombastic ‘style-noir’ is absolutely remarkable.

– – – : I didn’t experience “A Pleasure” as an absolute ‘hit’, but Noir isn’t exactly the kind of band achieving poppy-hits!

Conclusion: We can’t speak about a come-back, but “A Pleasure” is a good way to put Noir back on the map!

Best songs: “A Pleasure To Burn”, “A Pleasure To Burn – Fires Remix”, “Back To Nature – Radio Edit”.

Rate: (7½).

Artist: www .facebook .com /NOIRmetropolis

Label: www .metropolis –records .com / www .facebook .com /MetropolisRecords

About Nøir

Noir is a revolving-lineup project conceived and fronted by vocalist Athan Maroulis, also known for his work with Spahn Ranch and Black Tape for a Blue Girl. The project released its debut album, “Darkly Near”, in 2013 on Metropolis Records, featuring Maroulis alongside Jamie Parganos and Kai Irina Hahn. This “A Pleasure” EP includes a cover of Fad Gadget’s “Back To Nature” and remixes by Fires and Seeming, and was followed in 2023 by the “Fallen” EP, dedicated to the late Metropolis Records co-founder Dave Heckman.

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.

DIE KRUPPS – Vision 2020 Vision (CD Album – SPV/Oblivion Records)

Filip Wildhoney — Fri, 29 Nov 2019 10:48:10 +0000

Genre/Influences: Industrial-metal, Neue Deutsche Haerte, EBM

Background/Info: DIE KRUPPS are a phenomenon in the German music scene, active since 1980 and based in Duesseldorf. Together with bands as Einstuerzende Neubauten and Kraftwerk they are seen as one of the pioneers of electronic and industrial music. They inspired many famous acts like Front 242, Nitzer Ebb, OOMPH! and Rammstein.

Content: On the first song “Vision 2020 Vision” Juergen is rapping in a smooth way all over the pumping staccato metal-riffs, this is for sure the best song of the album! “Welcome To The Blackout” was released as the first videoclip of the new album and warns us that the end of the world has definitely started. “Trigger Warning” has a deep EBM-bassline while some musical parts reminded me on the sax of Yello’s “The Race”. After the calmer “Wolfen (Her Pack)” it is time for the nice uptempo “Extinction Time”, headbanger’s ball with an electronic sauce over it. The Genesis-cover “The Carpet Crawlers” shows another (softer?) side of singer Juergen Engler. It is definitely a surprise to hear this song in between so much guitar violence although the cover is well done. Time to dance again on the very melodic “Fires” on which Juergen also sings a bit different (read: more Bowie-like) than normal. “Obacht” has german lyrics and is for sure one of the better powerful songs. “DestiNation Doomsday” and the earlier released “F.U.” are 2 more songs dedicated to the “president of darkness” also known as Donald Trump. The anti-politics song “Alllies” has a bit of Nine Inch Nails’ “Closer” in the end. “Active Shooter Situation” is driven on a deep bassline followed by the uptempo “Human” to close the album.

+ + + : DIE KRUPPS goes back to their early 90’s crossover period. The artwork of the album is really amazing! The limited edition fanbox contains, besides the digipak cd and live at Wacken Open Air 2016 dvd, also a t-shirt, a pair of sunglasses, a postcard and a sticker.

– – – : Maybe “The Carpet Crawlers” should have been better as last song, because now it disturbs a bit the flow of the album.

Conclusion: Musically, this album takes us back to the “II – The Final Option” period. In this era (1993) DIE KRUPPS defined how crossover should sound. Lyrically, this album warns us that the end is very near and that the future is not looking good at all!

Best songs: “Vision 2020 Vision”, “Welcome To The Blackout”, “Extinction Time”, “Fires”, “Obacht”.

Rate: (9) WH.

Artist: www.diekrupps.com / www.facebook.com/diekruppsofficial
Label: www.spv.de / www.facebook.com/spvhannover Read the news on ‘Vision 2020 Vision’.

About Die Krupps

Die Krupps formed in Düsseldorf, Germany, in October 1980, founded by Jürgen Engler and Bernward Malaka, who had previously played together in Male, an early German punk band. The group’s sound evolved from noise and EBM into industrial and, by the mid-1990s, metal-influenced material, including cover versions of Metallica songs. Die Krupps went on hiatus between 1997 and 2005 before resuming activity. “Vision 2020 Vision”, released in November 2019 via SPV/Oblivion Records, arrived as the band closed out the year ahead of its 40th anniversary in 2020.

NØIR set to release new EP ‘A Pleasure’ incl. Fad Gadget cover

Bernard - Side-Line Staff — Thu, 31 Oct 2019 16:06:55 +0000

The New York City-based dark electronic act NØIR will be releasing a 6-song EP entitled “A Pleasure”. It will be the band’s first new material since 2017. NØIR consists of vocalist Athan Maroulis (Spahn Ranch, Black Tape for a Blue Girl) and features programmer/producer Erik Gustafson (Adoration Destroyed, Grendel), keyboardist/vocalist Kai Irina Hahn (The Sedona Effect) and keyboardist/vocalist Demetra Songs.

“A Pleasure” includes the lead song “A Pleasure to Burn” with remixes by Fires as well as the band Seeming along with a new song entitled “Luxury”, co-written by Jean-Marc Lederman (The Weathermen) and features cellist Tracey Moth (Antidote for Annie).

Dedicated to famed English actress Julie Christie, this release also features a cover of Fad Gadget’s “Back To Nature”. “A Pleasure” will be released digitally by Metropolis Records on November 15th and will be supported by a string of select NØIR live dates.

‘Click Interview’ with Zavoloka: ‘I Want To Make A Timeless Art And Can’t Affirm That Only Some Music Styles Influence It’

Inferno Sound Diaries — Wed, 27 Feb 2019 18:00:17 +0000

Kateryna Zavoloka is an Ukrainian female musician, sound artist, performer and graphic designer. She’s involved with different music projects, Zavoloka being her solo-work where she explores digital- and analogue sound synthesis combined with Ukrainian ancient folk songs and traditional instruments. Zavoloka is already active for several years now and has released a respectable number of productions. Her latest album entitled “Promeni” is part of a conceptual series around the purification by four universe elements. The work sounds as a mix between experimental-, industrial- and ambient music, but still reveals some IDM influences. “Promeni” has been released on Kvitnu for which, Kateryna Zavoloka is also doing the graphic design.

(Courtesy by Inferno Sound Diaries)

Q: I noticed you’re artistically involved with different projects. Can you briefly introduce yourself and tell us all projects you’re dealing with?

Kateryna: Hello! I am Zavoloka, a sound and visual artist, composer and performer from Kyiv, Ukraine. I often collaborate with Dmytro Fedorenko a.k.a Kotra. Together we’re running the label Kvitnu where we recently have released the new split-EP “XII”, and my latest solo-album “Promeni”. We our project Cluster Lizard we also released a new album entitled “Prophecy”, which has been released on Prostir.

Q: Let’s talk about your music project Zavoloka. What means music to you and what do you try to express by this project?

Kateryna: Music is my freedom, an alchemical creativity that enhances vibrations, transformational force and my very own way to have a dialogue with the Universe.

Q: Your newest album “Promeni” is a conceptual work, which is part of a series dedicated to the purification by four universe elements. How did you get the idea of this concept and what did you try to accentuate on the newest album, which is dedicated to the element of ‘fire’?

Kateryna: I have started the series many years ago and this series is my exploration of purification by four universe elements, a kind of spiritual practice. I started with the air element –“Viter”, then water the element –“Vedana”, later the earth element –“Syngonia” and the final chapter is dedicated to the fire element –“Promeni”.

The Ukrainian word ‘промінь’ can be translated as ‘ray’. Lesya Ukrainka who’s the most famous- and my favorite Ukrainian poetess, has the authorship of this word. She introduced it into the Ukrainian language by the end of the 19th century, and this word has several meanings –as rays, light waves, or verb ‘променію’ – a manifestation of happiness.

Q: I experienced your music as a mix between different influences (industrial, dark-ambient, IDM…), which is perfectly representing the concept featuring different ‘elements’. What are your personal influences and references when it comes to composition?

Katya: I want to make a timeless art and can’t affirm that only some music styles influence it; it can be a book I read, good films, just a deep meditation or a heavy experimental techno party. I think everyone should explore their own way of creativity and integrate it into life on many levels. It just simply makes you bloom from inside. I love to explore various digital synthesis, analogue bass errors, experiment with different sound sources like lo-fi recordings of ancient Ukrainian songs in a village or dirty noises on the streets with riots, or just to have a very clean record of a voice or an instrument in the studio. It is interesting to me to combine various sounds –tune flows from one to another and transforms during a time travel.

Q: I’m always fascinated by concepts and the way artists put it into sounds and songs. What has been the main focus when working on these albums and what makes “Promeni” maybe different from the other releases? What can you tell us about sound creation?

Kateryna: “Promeni” is a very personal album, it is an audiovisual map and history of metaphysical transformations and inspirations throughout my whole life; from strong personalities that influenced me with their powerful inner fire or significant events that ignited my flame from within. For example the track “Sontse | Сонце”, which can be translated as ‘Sun”, is dedicated to ancient Slavic polytheistic religion. During one of my expeditions to the Polissya region in the North of Ukraine I have met an old woman, Dominika Chekun, who has a very beautiful and powerful vibrato voice and has an amazing knowledge of hundreds of traditional Ukrainian pre-Christian songs.

The track “Gromovytsia / Громовиця”, which can be translated as “Thunderbolt”, is a tree that has been struck by lightning and in the Carpathian mountains “громовиця” has been used by Molfars, Ukrainian Hutsul shamans to create magical artifacts. The most famous Carpathian musical instrument Trembita, sounds at its best when it has been made out of it.

The track “Fire Consecration | Вогнехреще” is inspired by Maidan revolution of 2013-2014. On January 19th in Ukraine it is a holiday called Водохреще and then people follow a ritual by sinking into the Holy water. But during that day the Hrushevskogo street in Kyiv turned into the first fires, molotov cocktails and exploding fireworks from protestors against the riot police forces. Back then I have been so amazed by very young and brave kids, that had this strong fire from within and courage to fight for their future.

Or the track “Inhale The Light | Вдихай Світло” is about a powerful and harmonious meditation, when you have to visualize inhaling and exhaling the light, and become the light.

Another track entitled “Iskra | Іскра”, which you can translate as “Spark”, is devoted to contemporary magicians.

Q: The artwork of the album is definitely artistic, but still somewhat cryptic and mysterious. What did you try to express and what’s the link with the music?

Kateryna: I designed the artwork, made the graphics and visuals for “Promeni”. There are nine tracks connected to nine visual symbolic cards; it is like an audiovisual psychotronic art, or an abstract sonic sacred geometry that has transformational influence with conscious intention.

5th volume ‘Electronic Saviors’ 6CD set finally revealed – limited distribution, get yours here

Bernard - Side-Line Staff — Thu, 03 May 2018 17:28:08 +0000

Out in June is the charity 6CD compilation set “Electronic Saviors 5: Remembrance”. Out via Distortion Productions, and not via Metropolis this time, this fifth volume this volume was again compiled by cancer survivor and industrial scene promoter and DJ, Jim Semonik aided by Chase Dudley.

The 6CD boxset can be ordered here – note that it only has a limited distribution.

On this 6CD set you’ll find tracks by coldwave and industrial rock greats such as Pig, Mindless Faith and 16Volt next to Psy’Aviah, FIRES, Esther Black, Encephalon, Ashbury Heights, Stoneburner, Ludovico Technique, Red Lokust and so and so on. 105 tracks in total.

The fifth edition will be available in a strictly limited edition boxset run on only 500 copies. It also includes a wristband, bumper sticker and autographed postcard.

Here’s the album teaser:

Adoration Destroyed launches ‘Never Mine Redux’ video – exclusive premiere on Side-Line

Bernard - Side-Line Staff — Fri, 30 Mar 2018 09:54:28 +0000

“Never Mine Redux” is the second music video for Austin, Texas-based dark electro act Adoration Destroyed and is as the band calls it ‘an exploration into jealousy, heartbreak’. You can exclusively view the video for the very first time here on Side-Line.

This track is a more somber and sultry reimagining of the original song “Never Mine” as featured on the Cleopatra Records-released debut EP “Ritual Damage”.

Look our for Adoration Destroyed on tour in early June with the likes of with Fires (Metropolis Records) and fellow Cleopatra Records band Xentrifuge.

Purchase the EP now at iTunes and stream it at Spotify.

No Rest For The Wicked (Remastered – Bonus Tracks Version) by MENTALLO & THE FIXER

Back-catalogue Mentallo & The Fixer (and projects) reissued via Bandcamp in a remastered version – available now

Bernard - Side-Line Staff — Mon, 19 Feb 2018 09:42:44 +0000

Out of the blue Alfa Matrix has started a reissue series of the back-catalogue of the cult industrial music pioneers Mentallo & The Fixer and the band’s side-projects Benestrophe and Mainesthai.

The 5 reissues have been fully remastered by Gary Dassing himself and are available now via Bandcamp. In the next weeks all 5 releases will also be available on all other digital platforms. For the occasion, a new artwork cover artwork has also been designed for every new rerelease.

So let’s see what you can expect. Included are the Mentallo & The Fixer albums “Continuum” and “No Rest For The Wicked”. “Continuum” is an album that the Texas-based electro act released as a kind of collection of unreleased material left from the wreckage of the earlier days as Mentallo & The Fixer. “No Rest For The Wicked” is the act’s cult debut album which was later reissued with bonus tracks.

From the side-project Mainesthai you get “Out To Lunch”, the first album released under this moniker. Mainesthai is the project that the Dassing brothers created in 1994 together with vocalist Michael Greene. Although embracing the same harsh complexities as the mother project, Mainesthai was intended to be more melodic and humanistic than Mentallo & The Fixer.

From the side-project Benestrophe we get 2 albums. “Sensory Deprivation” and “Auric Fires” are the first 2 releases of Benestrophe with remastered material taken from the original tapes recorded from early 1989 to 1990. Benestrophe is the first electronic music project that the Dassing brothers created together with vocalist Richard Mendez. They later created Mentallo & The Fixer and worked as a duo.

Below are the releases as they are now available on Bandcamp. Side-Line readers, be aware that you can get a 25% reduction if you use the code sideline2518 .

Continuum (Remastered) by MENTALLO & THE FIXER

Out To Lunch (Remastered) by MAINESTHAI

Auric Fires (Remastered) by BENESTROPHE

Sensory Deprivation vol 1 (Remastered) by BENESTROPHE

Fires – Red Goes Grey (CD Album – Metropolis Records)

Inferno Sound Diaries — Wed, 27 Dec 2017 20:30:17 +0000

Genre/Influences: Electro-pop. Background/Info: Fires is a new project set-up and driven by Eric Sochocki (Cryogen Second, Becoming The Devourer). The project was set-up in 2016 and immediately got signed to Metropolis to unleash this debut album “Red Goes Grey”. Content: Both opening cuts reveal great electronic treatments and powerful pop vibes. The sounds are rather raw, creating a kind of evil pop approach. The upcoming songs progressively get quieter and carried by astral electronics and other psychedelic passages. The songs became moodier. I also noticed a powerful, instrumental song. + + + : The opening cuts are absolutely great. It’s not only about the dynamic running through the songs, but also the great sound treatments featuring an unexpected pop sound. Sochocki clearly took care to create noticeable sound treatments. I also like his psychedelic approach and even a few moody-like cuts. But my favorite song is the instrumental one (cf. “Follower”) for its impressive sound manipulations. – – – : I was a bit disappointed with the contrast between the mind-blowing debut cuts and the rest of the tracklist, which is softer and moody-like. It gives you the impression of hearing different bands on one album; like a band in search of his true sound identity. Conclusion: “Red Goes Grey” is switching from overwhelming, great songs towards more average-like cuts. I however think it’s a band to keep an eye on. A new opus with remixes has been already been released. Best songs: “Follower”, “Counting Walls”, “Believe Me”. Rate: (7). Band: www .facebook .com /firesofficial Label: www .metropolis –records .com / www .facebook .com /MetropolisRecords

Read the news on ‘Red Goes Grey’.

Nashville industrialheads from Fires return to school with ‘Red goes grey’ album

Bernard - Side-Line Staff — Tue, 20 Jun 2017 07:00:03 +0000

Out in September is the label debut album “Red goes grey” by Nashville’s industrial act Fires. Not that you should take that industrial tag literally as the band mixes American industrial with pop and dark electronic. According to the band you’ll be able to enjoy influences by the more pop elements of acts like Imperative Reaction, The Killers, Carpenter Brut, S U R V I V E, & Kesha. Fires is the project launched by Eric Sochocki, who has already contributed a few remixes and tracks to compilations in the past. The album can be ordered right here. Here’s an impression of what to expect:

Read the review of ‘Red Goes Grey’.

‘Click Interview’ with Golden Apes: ‘We Never Cared About Stylistic Drawers And Templates’

Inferno Sound Diaries — Wed, 03 May 2017 18:15:01 +0000

Berliner formation Golden Apes saw the daylight in 1998. Nearly 20 years after their creation the band has released an impressive number of productions on labels such as Shadowplay Release, Echozone and AFmusic. They recently released their newest opus “MALVS”, which according to me maybe sounds as their best work in history. The sound of the band is hard to define, but clearly inspired by darker new-wave and rock influences from the 80s. I’ve been in touch with singer Peer Lebrecht for an interesting chat.

(by Inferno Sound Diaries)

Q: Do you see main changes/evolutions in the original goal of Golden Apes and today?

Peer: So what was our goal when we started the band some 20 years ago? I think it was about making music, which had to be ‘absorber’ and ‘reflector’ at the same time. That mixture of external musical influences and passions, and internal creative impulses and restless unsubduedness. We started with no template, no route, neither musically nor conceptually and I think this was and is the best condition for doing something substantial (at least in your own perception, what is the only one important).

We´ve never intended to do this whole Goth/Wave thing without objection, we just came all from that musical background. We´ve never thought about the idea to become a part of something like an economical machinery, roaring and disgorging rates and decimal places (and we failed in that moment when we got close to this), we just wanted to do songs, play them and stick them in a sonic diary now and then.

And we never wanted to fit any schemes or serve expectations. From the very first tune on that left our amplifiers, we created music with gut instincts, guided by the aspiration to feel right with it, to have it stirring the own soul.

And in this light it seems that there was no change at all during the years. It is still the same (maybe naïve) fervent idealism that keeps us running, that keeps us curious and restless.

Q: It’s maybe because of this thought to ‘never become a part of something’ that it has been always difficult to define your music as a particular genre! Can you give me a definition and tell me something more about potential sources of inspiration throughout the years?

Peer: You are so right; defining music is always a hell of job, especially if it´s your own. As mentioned above we all have a similar socializing musical background, lined with names like Joy Division, The Cure, The Psychedelic Furs, Fields, Sisters, Nick Cave and so on and consequently you can find traces of those all over our work. But apart from this common nucleus our musical passions are widely scattered, linking Bowie to Beethoven, New Model Army to Amon Düül and Pink Floyd to John Cage. And those with eyes to see can find shades of these too.

So how to frame all this? And why? In the end we never cared about stylistic drawers and templates and for a flawless classification we don’t possess enough historico-cultural knowledge. For us it was and is important how it feels, how close it comes and how well we feel in its waters.

Q: Referring to your influences, I experienced your new work as a move back to the 80s for the new-wave inspiration while mixed with darker rock elements. What is it all about?

Peer: As I said – there is no conceptual layout we muse about before we start writing music and I would be a liar if I would say “MALVS” sounds the way we intended it to sound – because there was no intention! Between the albums first finished song (“Verity”) and the last one (“Halving Moons”) are stylistic light years and every incident, every condition and every mood swing has an influence on the atmosphere under which the things inside your head are coming into life. And how many mood swings you may face in a period of four years! So there was no way to presage the albums final atmosphere and to be honest –it is always so exciting to see it grow, changing shapes and colors, names and places. I think we even would get bored quickly if everything would be predictable.

And of course it is no surprise that there are palpable traces of the 80s sprinkled on our songs. That was the decade that saw us grew up, that shaped us musically and culturally. Take a look above at some of our musical influences! We can´t hide them and we never tried to do. One dogma while doing the record was to let “MALVS” become what it wants to be, to let it be the sum of our sentiments, perceptions, experiences and souls. And finally we all are not much more –the sum of our sentiments, perceptions and experiences

Q: What else can you tell us about the new album “MALVS”, which I think has been written and conceived far away from external involvement? How comes?

Peer: ‘MALVS was the moment when we stopped our way down the ladder for the first time for realizing the mirrored surfaces below, the grandeur of a hollowed veracity and the echoing falsities hidden under sticky clouds so far…

MALVS was the wrong word in our mouths, the huge, black stone, blocking our throats from swallowing the poison of a rushing moment, the toxic essence of a creed that brushed our eyes…

MALVS was the page we tore apart when the anvil hit the ground, the cloth of skin inscribed with the names of lovers and deities, with histories and heresies…with all the atrocities we failed to forget…memories of days bygone…

MALVS was the bundle of bones we danced around on open fields. Disengaged from leaden verities and the burden of doubts. Snow-white smoke and the cathartic fires of a past contrived…

MALVS was the desert we wandered through with our hearts full of hope and our faces turned away from heaven. And we ate the dark and we drank the ignorance, welling from a shiny moment, when we stopped our way down the ladder for the very first time…’

These were my thoughts when I was listening to the album in its entirety for the first time and even if this sounds quite confusing, it bears the core of the meaning for me. “MALVS” is the album we worked towards for 4 years, without any pressure, without any need to do something by anything else than the own intuition, waiting for the moments that just feel right. And so “MALVS” became not just an collection of 13 songs, but a fabric of all the things that left an imprint on us. Musically, emotionally, intellectually.

But it was not only a musical unleashing, because its creating was also a kind of a ritual, binding together interpersonally. After the release of “Riot”, our last studio album in 2012, there was an odd figure of changes within the bands structure. Our drummer left, our guitar player Eric, one of the founding members left and with Aris Zarakas we found a guy, who was more than a substitute, for he contributed new impulses and new ways of dealing with sounds and textures. And when the “Langsyne Litanies”, our acoustic album from 2014, became a kind of musically getting acquainted, then it was “MALVS”, what was our fire ordeal. And the time in the rehearsal room and in the studio makes me confidently state that at no time before the band was more bound together, had more self-conception of the things we do and more creative output that in the here and now.

And so “MALVS” was a catharsis also – the first five letters on a blank page.

Q: what can you tell us about the artwork of “MALVS”, which sounds a bit different from past releases?

Peer: The artwork is closely related to the album’s title, what is a pity now because I had and have no intention to reveal the meaning of it. ´Asshole´ you may think, but I like the fact when not every possible semantic level is unveiled for free, when some veils may be lifted by help of the context, by coincidence or even never. Maybe it is no random choice then that the title track is an instrumental! Or that there are these 5 pieces of wood on the cover.

By doing the artwork, I enjoyed to play with metaphors and ciphers, reflecting the lyrical landscape visually. I just want to say that the riddles solution is not that complicated, but will cast light on some contextual meanings. But this is just one of the keys….

Q: How will you transpose the songs of the album on stage and what do you expect from the new performances and places you’ll play?

Peer: We were never one of those bands who felt comfortable with a certain kind of studied show on stage. I think the main ingredient is the music and this is where our focus rests, but I agree that a proper atmospheric habitat can support the effect of the music. That´s why we like to play with the setting now and then, adding details, softening the topography of the stage. Recently we worked on some projections, some visual subtitles, which act as an additional layer of perception.

But the last shows have proved that the new songs are strong enough to work on stage, to keep some of your senses busy for a while.

According to the upcoming shows we hope that the well-being continues that we feel on playing “MALVS”. It is really special to invoke the songs on stage, to feel them blazing their trail through our veins every time anew. In other words -it just feels good!

And we hope of course that the people will like what they get. It is always the biggest reward to reach places beyond the edge of the stage and getting echoes from there is more than just a touching experience…

Courtesy by Inferno Sound Diaries

En Esch – Trash Chic (CD Album – Distortion Productions)

Inferno Sound Diaries — Wed, 19 Apr 2017 19:30:09 +0000

Genre/Influences: Electro, industrial, rock.

Background/Info: Klaus Schandelmaier better known under his artist name En Esch and his involvement in bands such as KMFDM, Pigface and Slick Idiot is back on track with a new full length under his own name. While En Esch released a few productions together with other artists, “Trash Chic” is his third album.

Content: “Trash Chic” is a solo-album although accomplished by the help of multiple ‘familiar’ contributors/guests such as Mona Mur, Guenter Schulz (ex-KMFDM), more collaborations with Trixie Reiss (Crystal Method), Alison Mack (Honest Marquee), Tasha Katrine & Rob Zilla (both More Machine Than Man), Raymond Watts ao.

The album became quite diversified although featuring the familiar ingredients of En Esch. The typical guitar riffs –which remain pretty close to KMFDM, mixed with electronic loops and an industrial sound atmosphere are still making the essence of this work. The vocals are mainly spooky while the female guests inject a more sensual touch.

There also is a remix of “Do Me” (which is a song that was originally released on the previous album “Spänk!”) by Leather Strip.

+ + + : En Esch is an artist I respect for having created his own style. It remains an essential aspect of this album, which mixes electronics with guitar, alternating harder, danceable cuts with softer and sometimes more experimental pieces. I’m still totally wild about the guitar riffs creating this industrial touch. There’re a few great cuts featured and I especially want to recommend “Sweet Lord” and “Super Ego” while the Leather Strip remix is another attention grabber. The fans will be pleased to discover an album featuring 18 songs.

– – – : I like the title of the album although the title-song is a rather disappointing cut. A few more experimental-minded tracks aren’t exactly the best exponents of this work. En Esch remains pretty faithful to his sound formula so there’s no real trace of innovation here.

Conclusion: “Trash Chic” is an appropriated title for an album moving in between hard, familiar and typical En Esch songs at one side and softer cuts where he likes to experiment on the other side. The fans will get what they want!

Best songs: “Sweet Lord”, “Super Ego”, “A Bullet Fires In One Direction”, “Sucker”, “Do Me – Leather Strip Rmx”.

Rate: (7)

Band: www .enesch .de / www .facebook .com /slick .idiot .1

Label: www .distortionprod .com / www .facebook .com /distortionproductions

Tunnels Of Ǡh – Surgical Fires (CD Album – Cold Spring)

Inferno Sound Diaries — Sun, 26 Feb 2017 20:30:45 +0000

Genre/Influences: Ambient-noise, experimental, dark-ambient.

Background/Info: In a previous life Stephen Reuben Burroughs got involved in Head Of David. Today he has found a new sonic canvas called Tunnels Of Ǡh to exorcise his music ideas. “Surgical Fires” is the third album by this music veteran.

Content: “Surgical Fires” takes off with noise-driven loops and that’s an essential element running throughout the entire production. Burroughs creates a kind of horror-soundscape accentuated by tormenting sound manipulations. From boiling noises and buzzing sound waves plus ghost-like whispers he creates a hostile atmosphere appealing your imagination to create dark and tortured visions.

That’s precisely what the title of this album is referring to: ‘a kind of psychic surgery’ probably to calm down the terror like visions this music is spontaneously appealing for.

+ + + : Tunnels Of Ǡh is a band, which is hard to define as one particular music style. It rather sounds as a synopsis of multiple, dark influences finally resulting in a personal dark music creation. This is a sound, which can’t leave you unaffected; it’s too freaky to leave you unmoved and that’s precisely the main strength of this work. I like the progression from rather noise-like opening cuts towards more ambient-driven cuts with solid sound treatments awakening your most secret and perverted fantasies. So in the end I would say that the ambient side of “Surgical Fires” is definitely hard-hitting.

– – – : “Surgical Fires” is the kind of work, which will be not accessible for a wider audience. That’s what all kind of underground music has to endure isn’t it? You don’t hear me to complain although the very first cuts left aren’t the most convincing ones.

Conclusion: “Surgical Fires” is the work of an alien or simply an artist finding an outlet for his most perverted music ideas. But no doubt about it, this is an artist who already has found disciples who will be ravished discovering this new creation of their Master.

Best songs: “One Hundred Gates + Eight”, “Black Air (Exhale)”, “Mind As Corpse Bearer”.

Rate: (7).

Band: www .facebook .com /TheTunnelsOfAh

Label: www .coldspring .co .uk / www .facebook .com /coldspringhq

Delerium – Mythologie (CD Album – Metropolis Records)

Inferno Sound Diaries — Wed, 02 Nov 2016 20:05:52 +0000

Genre/Influences: Ethereal-electro, ambient-pop. Background/Info: In 2017 Delerium will celebrate their 30^th anniversary. What originally started as a side-project by Frontline Assembly members Bill Leeb and Rhys Fulber progressively evolved towards an international recognized formation. Delerium progressively moved into an ethereal-electronic sound mixing sensual trip-hop rhythms together with Gregorian chants and later on heavenly female voices. Their newest opus also is the first one released on Metropolis Records. Content: “Mythologie” remains faithful to the sound-formula Delerium ever created for “Semantic Spaces” (1994). The songs are driven by slow cadences injecting this delicious, sensual feeling while recovered by low, resonating bass lines and impressive astral synth layers. The multiple piano arrangements sound like the finishing touch to this evasive opus. You indeed feel like transposed among the stars listening to the angelic voices of five different female guest singers. Mimi Page is the main vocalist who was featured on four of the 12 songs. The common point between the singers is their transcendental power to get you into pure reverie. It sometimes becomes pretty cinematographic and I often get the feeling that the music has been composed to reinforce the magic of the vocals. + + + : “Mythologie” is an album in the purest tradition of Delerium. It’s not really into innovation, but it reveals a terrific, high-tech sound production and brilliant vocal parts. I also have to say a word about the lyrical content reflecting poetry and meaningful subjects about live and love. Delerium has created a very unique sound, which is accessible for a wider audience. The mix between ambient, ethereal and electro-pop is pure chemistry. – – – : All the releases after the visionary albums “Semantic Spaces” and “Karma” never reached the same level of magic and that’s probably the main point that hurts. “Mythologie” is a beautiful album –and even better than some previous releases, but the magic is a bit gone and especially there when some passages are maybe a little less commercial-like. Conclusion: If you’ve some doubt about the existence of angels you’d better listen to Delerium who makes them sing on the cadence of a sensual slow rhythm and the dreamy atmospheres of electronics. Best songs: “Zero”, “Ghost Requiem”, “Angels”, “Blue Fires”, “Keep On Dreaming”. Rate: (8). Band: www.facebook .com /Delerium Label: www .metropolis –records .com / www .facebook .com /MetropolisRecords

Read the news on ‘Mythologie’.