Cologne’s Blue Shell hosts a brand new event series: The Neue Klangordnung (New Sound Order, NKO). The newly founded NKO collective brings the “Blue Shell” back to its roots: rough industrial underground sound, rooted in body music (EBM), post-techno and the new cold / dark wave.

The NKO sees itself as a space for dance and sound experiments, “in which people regain control of their smartphones and their heads are freed for the experience.”

Max Esser explains: “By mainstreaming underground music genres such as techno, the NKO wants to shape new, alternative music styles of tomorrow with its DIY approach. This is inspired by sound pioneers such as Cabaret Voltaire, DAF, Test Dept. and Esplendor Geómetrico, and the next chapter of Industrial is to be entered into at NKO under the term Post-Techno. This is implemented behind the mixing desks of DJ and darkwave performer BORGBORG, the industrial-purified mixing master Hugo Dirac, the Cologne selector Klaus F., and the sound researcher MX Probe.”

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For fans of: Einstürzende Neubauten, Esplendor Geométrico, NAKED, Spit Mask, Broken English Club, Parrish Smith, Bauhaus, Severed Heads, DJedjotronic, ADULT, Fixmer/McCarthy, Boy Harsher, Alessandro Adriani, Ancient Methods, Randolph & Mortimer, Unconscious, Sarin, Alen Skanner, Years of Denial, Whitehouse, Throbbing Gristle/Psychic TV, Qual.

This is what the NKO Spotify playlist sounds like.

What, where and how of The Neue Klangordnung

• When: 24. November 2023 – 22:00 o‘clock
• Where: Blue Shell, Luxemburger Str. 32, 50674 Cologne
• Cost: 8€ Box office, 6€ limited presale via Rausgegangen

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.

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Prior to the Nitzer Ebb concert at Respectable Street in West Palm Beach in November 2021, the band’s frontman Douglas McCarthy suffered complications from a pre-existing, non Covid related medical condition. He was admitted to hospital and was declared stable and undergoing continued treatment and observation so the band’s management informed.

Despite the illness of Douglas McCarthy, the tour continued with Bon Harris stepping in to perform lead vocals. This was a temporary lineup, yet a special one for those who were at the concerned shows. The band was at that moment on tour including the original band members David Gooday and Simon Granger.

Since then McCarthy has been working on his health and comeback. In a 2022 video he announced he was indeed coming back to the stage.

But he is back now, and we have seen him perform across Europe, including last night in Oslo together with Front 242. He is not the old one yet, but he’s clearly enjoying the shows. And that is what counts after all.

Welcome back Douglas!

About Douglas McCarthy

Douglas (John) McCarthy (born 1 September 1966) is the vocalist of the English EBM band Nitzer Ebb. Apart from Nitzer Ebb he has appeared on multiple recordings by Recoil (Alan Wilder) and has released material in collaboration with DJ Terence Fixmer as Fixmer/McCarthy. He also contributed vocals to tracks by Die Krupps, Motor, KLOQ (band), Client, and Kenneth James Gibson’s Reverse Commuter project.

After Nitzer Ebb originally split, McCarthy began his work with Recoil, then left the music business and focused on film studies and design in Cambridge. He moved to London in 2000 to work in the advertising field.

McCarthy’s first solo album was originally titled “Life Is Sucking the Life Out of Me”. The album was written, recorded and mixed at Easier with songwriter/musician/producer Stephen Papke and British house DJ/producer Mark “Blakkat” Bell. All songs were co-written by McCarthy, Papke and Bell. Performing as Douglas J. McCarthy, his first solo album, “Kill Your Friends”, was released in November 2012 on the Los Angeles-based label Pylon Records followed by the EP “Move On” in 2013.

McCarthy then collaborated with Headman and producer Scott Fraser on the “Noise” EP, and with Cyrus Rex on the “DJMREX” EP.

You can read a long interview with Douglas McCarthy here on Side-Line.

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.

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Originally from New-York (USA), but living in Berlin (Germany), Adam Mitchell is known in the industrial- and EBM scene for his minimal-electro driven projects Adam-X and ADMX-71. Adam is also running Sonic Groove, which is a visionary dark-techno/body label releasing productions from artists such as Orphx, Rhys Fulber, Fixmer / McCarthy, Monolith,  The Panacea, Blush Response ao. He is a renowned DJ, producer and event organizer (Tresor Club). For more than 10 years now he’s also releasing music under the Traversable Wormhole moniker. This project is definitely more techno-driven, but always featuring a dark touch on top. After numerous EP’s, Traversable Wormhole is now back with its first self-released full length album “Regions Of Time”. The album is available on digital platforms and as a double vinyl edition. The work stands for the obscure side of techno music and is for sure worthy of examination.

(Courtesy by Inferno Sound Diaries)

Q: You set up Traversable Wormhole already a while ago, but you didn’t really release new stuff under this moniker for a few years while you were more prolific with your other projects Adam-X & ADMX-71. Where was this break good for and what brought you back to Traversable Wormhole and this new production?

Adam: Traversable Wormhole is a very specific conceptual sound for me. I’m very much into creating soundtracks for space travel themes. For a while I felt I pushed the boundaries as far as I could go with the sound. So I needed to take time and space from the project until I could come up with new ideas. I was also busy with another formerly anonymous side-project titled The Secret Initiative, which ran consecutively at the same time as the Traversable Wormhole releases. This project was a bit more loose feeling and fun for me to make from Traversable Wormhole as it’s taking old techno and EBM ideas and transforming them into the present day. I had way less restrictions recording this project and recorded 20 songs over the course of the last decade. So I had my hands full with other projects and lost focus on recording new Traversable Wormhole material.

Q: “Regions Of Time” is the first full length album so what incited you to achieve an album instead of new EP’s and what is the album all about?

Adam: I created it more on instinctual feeling then anything else. I made two songs for a single, but then the ideas just kept flowing. I thought why not just go all the way on it as I know the fans of the project would love hearing a full length album way more then a single. It is also way more gratifying as an artist to record an album then a single. I wanted a new challenge and so I took it on.

Q: You always claimed this projects stands for the sci/fi side of techno music, but what do you really understand with this ‘quote’ and what does it reveal about your personal interest for science fiction, space and wormholes?

Adam: I love astronomy, star gazing and all things related to outer space. I also love science fiction movies & comics and that has a big influence on me too. I love the segment entitled “Jupiter & Beyond The Infinite” in the movie “Space Odyssey : 2001” where Dave is traveling through space and then entering into the rings of Jupiter. Traversable Wormhole songs can easily be my rendition of a soundtrack to that particular scene in the movie. Also I’ve always had a huge passion for techno that has a sci-fi futurism feeling to it. It invokes thoughts in me of outer worldly subjects and fantasies and I love music that creates thought provocative images.

 Q: Tell us a bit more about the writing of this album? What have been the different stages you’d to go through? The equipment you used? And do you notice main differences in the composing process between Traversable Wormhole and your other projects?

Adam: I have been making music solely with Ableton and plug in synth’s since 2005. I’ve done the hardware thing for the 15 years prior to this of releasing music. For me it’s not about the tools you use it’s how far you can expand your mind to create. I also love total control in every event happening in my songs. I’m a total perfectionist. I go deep into automation with several events often happening at once on a note with effects, filters etc. You cannot do with two hands and hardware. I’m limitless now where as when I worked with hardware I felt more constricted. With that being said when I tell other producers that I don’t use any hardware many are quite in shock stating my music sounds like it’s done on hardware. What I really love about using Ableton is I usually will create several different song sketches at first. Then I will bounce back and forth between the sketches so as I don’t get bored of working on the same song for hours on end. It also helps me keep the flow of the album this way as I’m hearing several different songs in a day. I’m more in tune with the overall feel this way. This process of writing and recording is the same for all the projects I do.

Q: Whatever you want to call it, I experienced “Regions Of Time” as the dark side of techno music! It’s filled with icy sound treatments and hostile atmospheres, but it all remains definitely techno- and danceable like. There clearly is a scene in Berlin for this kind of techno music. Tell us a bit more about it? Is it an important scene (clubs, artists, promoters etc)? Why is it that specific for Berlin?

Adam: What you experienced is my actual intention for the listener to feel. I want the listener to feel very heavy low, deep bass, the sonic boom per se in space travel. In technical terminology the sound of Traversable Wormhole is often 10-15 hertz lower in frequency then most other techno music. Most low bass in techno music is recorded in the 50 and higher Hertz range of low frequency. Traversable Wormhole is hitting much lower in the 38-45 Herz range. This creates a huge feeling on a sound system with great sub bass cabinets/speakers.

There is a scene globally for this kind of music. I’ve played many countries under this project. The Japanese especially love deeper, dark music as such. So I wouldn’t say the sound is more enjoyed in Berlin then other places. It’s quite universal in techno.

Q: How do you see this scene evolving and how do you see yourself evolving towards your next productions? What brings the future for Traversable Wormhole?

Adam: I’ve entered into 30 years in 2020 since my first record came out in 1990. One thing I’ve learned in this time is it’s awfully hard to predict what comes next. I really have no idea what the next changes are to come in the music scene itself. Early in the 1990’s when I began music styles were changing rapidly year to year. Changes are super slow in modern day times. There really hasn’t been any significant changes in techno since the early part of the last decade with exception of some artists speeding the BPM’s up plus 10.

As for my own productions it’s also hard to say. I try not to think too far in the future because I’m already nearing 50 years old and have lived more then half a life. I prefer to live day to day and let my music take me instinctually to wherever it can without over thinking how I can evolve with it. I will always have an urge to push boundaries as long as I’m creating music. So you can expect more futurism forthcoming in the industrialized techno bubble I live in.

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.

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Genre/Influences: Techno-body, minimal-EBM.

Background/Info: French DJ/producer Jérèmy Cottereau is now based in Berlin. He can look back at an impressive discography featuring an endless list of EP’s and remixes for other artists. “R.U.R.” is Djedjotronic debut full length available as double 12’ vinyl.

Content: The gap between techno music and good-old EBM is getting smaller and smaller. “R.U.R.” sounds as an ultimate fusion between good-old EBM characterized by terrific bass lines and modern, dark-techno music. The songs are totally vintage-like, sometimes revealing Kraftwerk-like sequences.

But there also is a real noticeable cover version of Gary Numan’s legendary “Are Friends Electric”. This work will appeal to fans of Fixmer/McCarthy and related bands. I guess it’s not a coincidence if Douglas McCarthy has been featured on one of the tracks.

+ + + : If you like minimal-EBM and you’re not familiar with Djedjotronic you’re going to have the shock of your life! This album sounds like a the perfect merge between both styles, but you’re going to get wild discovering the carrying bass lines and the global intelligence of the production. The cover version of “Are Friends Electric” is just sublime; such a clever approach in sound treatments and a totally reworked, but recognizable song. The entire album is worthy of examination and a truly sonic masterpiece!

– – – : There also is an experimental flavor running through a few cuts, but it’s not really a point of discussion.

Conclusion: It has something confusing realizing that influences from the past mixed with something personal and contemporary can be seen as the EBM from the future? This album is worthy of examination!

Best songs: “Are Friends Electric”, “Electric Body”, “Take Me Down”, “Cops”, “Cockring Robot”.

Rate: (8½).

Artist: www.facebook.com/DJEDJOTRONIC

Label: www.boysnoizerecords.com / www.facebook.com/boysnoizerecords

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

Genre/Influences: EBM, dark-electro, techno-body, electro-pop, industrial-rave, minimal-electro, future-pop, electro-industrial.

Background/Info: One of the leading labels of the electronic underground scene is back on track with the second edition of the “Electronic Body Matrix”-series. Six years after the first volume we already get a sonic orgy featuring 4 discs (76 songs) plus a download card featuring 40 extra bands and songs. I also want to express my gratitude to label owner Séba Dolimont for having asked me to make some prospection and tipping bands that finally got a place on this sampler.

Bands: Front 242, Nitzer Ebb, Rhys Fulber, Fixmer/McCarthy, Pouppée Fabrikk, Funker Vogt, Dive, NZ, Orange Sector, Noisuf-X, Komor Kommando, Daniel B, Spetsnaz, Autodafeh, Neurotic Fish, Plastic Noise Experience.

Content: What can I say about a massive compilation featuring 116 songs. The list of bands is too long, but “Electronic Body Matrix” first of all is an impressive cocktail of electronic underground mix. Most of the bands are EBM-inspired, but you also will discover related genres such as future-pop, dark-electro, minimal-electro, industrial-rave and co.

+ + + : The compilation brings some bands back a alive or at least formations we haven’t heard for quite a long time. It also is an opportunity to discover exclusive (re)mixes and I here for example want to mention the remix of Front 242’s “Take One”. It also is an opportunity to discover less familiar names dealing with electronics, which are here in good company. The 4 discs are really great and according to me even the best compilation ever released by the Belgian label!

– – – : I expected a bit more from the download card. The selection of bands is not bad at all, but a level under the CDs. From a very personal point of view, I was not that convinced by the few electro-pop songs, but that’s maybe because there’s no real link with EBM here.

Conclusion: This compilation is an absolute must have or the right gift for a friend who’s discovering this kind of music. A real great compilation from the ‘matrix’ headquarters of electronic music.

Best bands: Fixmer McCarthy, Autodafeh, Dive, Elektroklänge, Pouppée Fabrikk, Neon Electronics.

Rate: (9).

Label: www.alfa–matrix.com / www.facebook.com/Alfa.Matrix

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

Genre/Influences: EBM, minimal-EBM, techno-body.

Background/Info: Minimal techno-body guru Terence Fixmer and Nitzer Ebb vocalist Douglas McCarthy are back on track dealing with “Chemicals”. This EP seems to indicate that this great duo is finally active again; releasing their second EP in less than 2 years and this after a studio break of several years.

Content: If you’re already familiar with the work of this French-English duo you immediately will recognize the minimal grooves of Terence Fixmer and of course the unique and charismatic timbre of voice of Douglas McCarthy. The sound formula hasn’t changed, but “Chemicals” definitely is the rawest and most industrial work by the duo thus far. The instrumental version of the title track will give you a real shock. This is brilliant and tormenting, but transcendental dance piece while the version with vocals is more into EBM.

The B-side cut sounds pretty vintage-like and will ravish lovers of Crash Course In Science.

+ + + : “Chemicals” is according to me the most genius cut released by this duo. There’s a perfect balance between the raw grooves and powerful vocals, but both artists have been never more complementary as on “Chemicals”. The instrumental version is nothing less than a sonic jewel, which will please to industrial lovers, techno heads and EBM freaks. The cold and powerful industrial sounds are brilliant while the danceable vibes will get you into trance! The B-side cut is much more than filler and is a lust of the ears of vintage electronic lovers.

– – – : The only regret I have about this 12” is that it only features 3 songs. Time for an album guys!!!

Conclusion: I like when a production gets me down on my knees obliging me to beg for more. This is the kind of stuff representing the new EBM standards based upon good-old influences while driven by cold techno vibes.

Best songs: “Chemicals”, “Chemicals – Instrumental”, “Wrong Planet”.

Rate: (9).

Band: www.fixmermccarthy.com / www.facebook.com/FixmerMcCarthyOfficial

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

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