Frontal &#8211; SIDE-LINE

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.

Frontal Boundary exclusively presents ‘Shutting Down’ music video

Bernard - Side-Line Staff — Fri, 30 Aug 2024 11:30:00 +0000

The Los Angeles-based dark electro act Frontal Boundary is to release a new album, “Shutting Down”, on Re:Mission Entertainment on September 27 (you can pre-order it now on Bandcamp). But before that the band now exclusively presents the video for the excellent title track “Shutting Down” which was released earlier as a single.

The band comments: “In moments of feeling inadequate, many individuals find themselves Shutting Down. Overwhelmed by self-doubt and the pressures of life. Shutting Down is a story of these ups and downs and the emotions that it can bring. Music often serves as a powerful antidote, providing solace and a means of expression that can help navigate these emotions. The right melodies can uplift spirits, foster resilience, and inspire a sense of connection, reminding us that we are not alone in our struggles. Engaging with these ideas can promote personal growth and improvement, transforming feelings of inadequacy into a journey of self-discovery and empowerment. With Shutting Down we wanted to touch on a side that is often overlooked. A side that is usually hidden from the view of others. You’re not alone.”

The upcoming album so far sparked 3 singles: “Resurrect Me”, “Shutting Down” and “Without a Chance”.

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.

Frontal Boundary launches ‘Without a Chance’ with C-Lekktor and Clockwork Echo remixes

Bernard - Side-Line Staff — Fri, 21 Jun 2024 09:55:26 +0000

The Los Angeles-based dark electro trio, Frontal Boundary, have just released their new single, “Without a Chance” via Re:Mission Entertainment. The single is available from Bandcamp and on all major digital platforms, and features exclusive remixes by C-Lekktor and Clockwork Echo.

“‘Without a Chance’ is a song about the constant effort of failing over and over but pushing forward to try and overcome those hurdles,” explains the band. “Sometimes we have to fight and do what we can to accomplish those goals but sometimes end up failing. But Without a Chance… we would never know what we are capable of.”

The release of “Without a Chance” marks the third single from Frontal Boundary’s forthcoming full-length album, “Shutting Down”.

Without a Chance by Frontal Boundary

Aesthetische and Techno Body Music: ‘It’s all in the details!’

Bernard - Side-Line Staff — Sun, 16 Jun 2024 08:15:45 +0000

Since 2012, Brazlian electronic artists Fab Viscardi and Gui Pires (ex-AGHAST VIEW) have been releasing a bunch of albums, Eps and remixes under their new band project AESTHETISCHE through which they are both seamlessly blending modern dark dance vibes with hard-hitting cyber EBM assaults, all while infusing irresistibly catchy future pop choruses into the mix. They recently made a triumphant return and dropped a new dynamic 6-track EP entitled “Confidence Is Silent”. We asked Fab giving us some more insights on how the duo worked on this new release…

Confidence Is Silent EP by AESTHETISCHE

SL. The title-track fo your new EP “Confidence Is Silent” draws inspiration from iconic acts like CYBERAKTIF and FRONT LINE ASSEMBLY. Can you share more about the creative process behind this track and how these influences shaped its sound?

F. This track particularly started with the Chorus. Soundwise our creation process always starts with sound-design. Before starting a track we tweak synths, plugins and modules until we find the correct pack of bass sounds, fx, drums, etc to develop a new track. The lyrics of this track are related to one’s inner – faith. Being compared to FLA is really a big compliment as they are probably our biggest influence overtime. Gui is also good friend with cEvin Key from Cybearktif and has already co-written two Cyberaktif tracks with him.

SL. “Nudity” is described as an addictive EBM-pop anthem. What themes or messages did you aim to convey through this track, and how did you approach blending EBM elements with pop sensibilities?

F. It is a track about the unfortunate life of a cattle abattoir. Sad and true. This track has both a hard and a more melodic edge to it. I guess the contrast makes it interesting.

SL. “The Hidden Layer” is highlighted as a mind-bending frontal EBM killer. Can you delve into the production techniques used to create the intense and dynamic atmosphere of this track?

F. This track has a big amount of synth layering, using frequencies of all bass spectrums and a good amount of fx as well. The techniques are – sound design, layering, equalization, saturation, compression and mastering. The arrangements are very particular to our own writing style, not sure ai can describe it. I can say it has several – more than 30 tracks.

SL. Everything Ends” stands out as a moody experimental industrial soundscape. What inspired the experimental approach to this track, and how does it contribute to the overall sonic diversity of the EP?

F. This is small piece that really carries a big influence from Gui´s Cyberaktif sessions with cEvin Key…

SL. With each track offering a unique sonic journey, what do you hope listeners take away from the EP as a whole, and how does it reflect your evolution as artists within the underground techno body scene?

F. We really just hope that more people get to know and share our sounds… We feel that there are many potential fans out there…. as we are unable to tour it is somewhat difficult to reach a broader community.

Frontal Boundary returns with 2nd single ‘Shutting Down’ from forthcoming LP – Out now

Bernard - Side-Line Staff — Mon, 29 Apr 2024 13:52:16 +0000

Out now is the brand new Frontal Boundary single “Shutting Down”. The EBM / dark electro single’s lead track is backed by two remixes by unitcode:machine and Panic Lift.

Frontal Boundary is a Los Angeles-based dark electro trio and with “Shutting Down” they release their second single and title track from their forthcoming album, the follow-up to their 2021 full length “The Fall”.

According to the band, this new single “explores the universal struggles we all face – the internal battles of balancing our emotions and those of the people around us. It’s a reflection of the constant effort to move forward, even when it feels like we’re never quite enough.”

The single is out now on all platforms via Re:Mission Entertainment.

Shutting Down (single) by Frontal Boundary

Brendin Ross started Frontal Boundary back in 2008. A first album, “Lost and Recovered”, was never released on any platform, and consisted of mostly instrumental b-sides that Ross had written between 2005-2008. There are a few tracks floating around the internet from that. After moving to Los Angeles, in 2014, he started focusing more on the other bands he was in such as Dawn of Ashes, INVA//ID and Bornless Fire. First out were two mini-albums, “Electronic Warfare” and “Electronic Warfare V2”, which were both centered around his time in the US Army and his divorce that were both happening at the same time. Note that for “The Fall” album Krz Souls would take over the vocal duties in the band.

Working with Fad Gadget and Daniel Miller was an exciting treat says Jean-Marc Lederman

Bernard - Side-Line Staff — Wed, 06 Sep 2023 08:41:10 +0000

(Photos from the personal archives of Jean-Marc Lederman) This article draws from various updates posted by Jean-Marc Lederman (The Weathermen, Kid Montana, Jules et Jim, Ghost & Writer, Lederman / De Meyer, Rohn-Lederman…) on his Facebook profile, which we’ve consolidated into a comprehensive piece. This compilation offers a profound understanding of the workings of the indie music industry during its ‘golden era’. Additionally, it provides specific insights into Mute Records, the label of Daniel Miller, as numerous individuals, including Fad Gadget, mentioned in this article have significant associations with the iconic UK label.

Digital Dance (1978-1979) / Daniel Miller

The year was 1979 and I had just quit, well I was sacked tbh, from Digital Dance , the first band I was in.

We were doing post punk/cold wave/new wave stuff and it was really exciting. I started doing bass with them on a..ARP 2600 whci I had bought working on building sites, yeah, far too much of an overkill I agree. We were rehearsing here and there but did a time at the famous Plan K where we supported Joy Division. Actually, that day I went to pick up Ian and Bernard Summers at the very seedy hotel they were in and I drove them to the gig.

They were laughing like kids, you know, young musicians being happy to play abroad. It was such a cold day, everyone was freezing and Ian even came close to Stefan Barbery (Digital Dance guitar player) who was close to an electric heater to tell him “Well, I guess this is why they call it Cold Wave…”

We also opened to Magazine and Fisher-Z and it was becoming too much of a routine for me: the Brussels band that does all the new wave support slots but hasn’t even got a decent recording contract…

Oh, we had one, and they made us record our very fast cover version of Kraftwerk’s “RadioActivity”. At the end of the session, they made me do some terrible sound effects, hoping to catch on the fad of the moment, and it just ruined the whole song. Tells you that if a thing sounds bad and contrived and cheesy on monday, still sounds the same the day after and 40 years later. Sorry Stefan, my fault.

Then Phil Wauquaire (whom I had met from Streets, the punk band he was in and I actually played with them live on a couple of songs with a…AKS, another overkill) joined us and I played synth with a Korg MS20 then with a Yamaha CS50M who weighted like half an olifant after a drinking binge.

Anyway, after a couple of gigs with Digital Dance at the Gibus in Paris, i was let go (which was fine, really). Two days later, I call Daniel Miller whom I had met in London a few months ago. Digital Dance had been foolish and crazy enough to believe that if you go to London you can pretty much be sure you’ll find a gig. All we did was rehearsing (below Beggar’s Banquet where I met Peter Kent from the future 4AD label) and waiting in our hotel off Kings Road. Anyway, we were trying to get Geoff Travis from Rough Trade to listen to our demo and he stopped it 20 seconds in and tell us: if you go to “Better Badges” now, you’ll see a man called Daniel Miller (from label MUTE RECORDS) and maybe he’ll like your stuff….

So, off we went to Better Badges and there we met Daniel, with a green basket full of The Normal badges.

Daniel and I hit directly like if it was an “International Conference Of Synths Fanatics”. I mean: synths weren’t as known or popular then as they were then. It was still a relatively rare sight on stage or in gigs or in bands that weren’t poppy or progrock. No, we’re talking new industrial scene in the UK: noisy and determined, not minimoogs played by long haired musos…

So, Daniel and I exchanged phone numbers and we traded letters and phone calls here and there. So, remember, I’m sacked from Digital Dance and I then realize that if I wanted to really go anywhere in music, Brussels isn’t the place to be and I must move to where things are happening. At that time, London was THE center of music in Europe and I decide that I want to try my luck and the two major chords I know there. I pick up the phone and call Daniel, asking him if he knew any musician that would be interested in moi ?

Yeah, I know someone, he’s on my label now, he’s looking for musicians, call him… His name is Frank Tovey….

Frank Tovey / Fad Gadget #1 (part 1)

The audition was simple: we didn’t even play a note or try to do a song, we just sat and drank coffee and laughed a lot. But there was no try-out, no keyboard or synths tickering… And that’s how Philippe Wauquaire and I became members of Fad Gadget #1 for a few months in 1980: a simple coffee cup meeting and an unmistakable good chemical feeling between us. Frank had played a few gigs on his own but wanted musicians around him so he could concentrate a bit more on being a little bit less concentrated if you know what I mean.

There was Frank: clever, astute, open, funny, with a lot of wit doubled with a good dose of sarcasm: totally my alley. But he knew what he wanted musically, there was no doubt about what he wanted to sound like. The plan was: rehearse at my place in Brussels, a first gig here, then play a few gigs as support for Deutsche Amerikanische Freundschaft in Germany and going to tour the UK as support for The Monochrome Set.

So, we start rehearsing in my attic: Frank on vocals, Pearl Syncussion and distorted electric piano, Phil on Fender bass and Korg MS 20 and myself on handling the cassette player (each song had its drums/rhythmic parts on a single cassette and I would feed the machine with a new cassette every song) and my 4 notes polyphonic, Yamaha CS 50M. Again, an overkill.

After a few hours of rehearsals, we have our first gig: support-act for Orchestral Manoeuvres In The Dark. We are all extremely nervous but the gig goes well: Frank doesn’t go into the mad behaviours he’s known for yet but you can see he’s holding up something big inside, something is boiling there. After the gig, we proceed to the German border and sleep in a motel there. In the morning, I’m being handed an envelope with my per diem (every day allowance a musician gets when on tour): it is the first time someone hands me money for doing something I love doing: playing music. I couldn’t believe it and I took a second piece of bacon and refilled my coffee cup. We are about to go to Dusseldorf to play The Ratinger Off as support for Deutsche Amerikanische Freundschaft.

Something started to happen at the Ratinger Hof: maybe it was the roughness of the place, the German lager (naaaaah) or the history of the place but this thing Frank had inside him but it slightly came out at that gig. See, there was an animal inside Frank, and that animal was as extrovert as Frank was introvert: Frank was then frontal and loud and, yes, obnoxious but in a gentle and friendly way but he wasn’t the shy Frank. In response to Frank’s changing live attitudes, Phil and I started to play loser and noisier and wilder (and there were far more bump notes on my part) but the band started to make sense.

The crowd wasn’t there for us, they were there for what would later become DAF, but the reaction was good and people liked us. I recall Frank and I going out in front of the place and that guy comes out dressed as a mod, full parka mode with a patch “Remember Brighton” which made Frank laughed a lot, people were out there with their beer and… Omg what am I saying: IT JUST FELT GREAT.

Deutsche Amerikanische Freundschaft at the time was a five piece band and they were fun and chaotic. You couldn’t miss Chris Haas, the synth guy, who was classy and special. He had a very specific body language when playing live: he would stand back, have a smile and just come here and there to play a few notes…He is the real grandfather of EBM as he introduced the famous 1/16th bass line (Korg MS 20 and SQ 10 sequencer) that will be the bone of so many records later on.

The morning after, we went out to the next gig. Daniel, Phil, Chris and myself embarked in my mum’s yellow Civic and we went down the motorway, singing loudly “Fahn Fahn Fahn Auf Der Autobahn” laughing and laughing… I guess Chris must have done that thousand of times before but, for Daniel, Phil and I it meant something different: we were doing it. We were travelling in Kraftwerk’s motherland and going to play electronic music there: it was immense.

We only played one more gig in Germany and then the whole tour was somehow cancelled… Roland Beelen: I saw the animal in Frank I guess a few months later at the Paasfestival in Koninfshooikt (organized by my friend Guy Vanwoensel) I was a stagehand there. Frank smashed a crucifix that was hanging above stage in the hall (parochiezaal)with his magic stick. The whole village was in shock when the news spread the next morning. The vicar organized a special service the next day to please the smashed fallen Christ ! they say he resurrected a few weeks later! All end, good end !

Frank Tovey / Fad Gadget 1980 (part 2)

Something had clicked in Frank after a few gigs: it’s like he had been showed by practice that it could work, that the songs were good, the voice was good but even more than that his FG personnae and ideas had an impact on the crowd. He would go out, do his thing, see people respond to his songs, lyrics and theatrics and then he would retrieve after the gig in the gentle and shy Frank Tovey. Phil and I were providing a background that wasn’t perfect but for Frank it was a great practice for FG future.

When we toured as support for The Monochrome Set, we were sometimes in fire and I could really feel people’s amazement at that born-to-be showman. He would play with the crowd and slowly take them into the show. Our sound might not have been very sophisticated but with Frank’s distorted piano, the CS50 brutal in and out sounds, Phil’s impeccable swirling bass, we were like The Stooges with synths and Frank was a perfect bionic Iggy Pop….I began to be very proud of us, we were quite something indeed and I was going on stage with a mission: to show people the songs and to let them fall in Frank’s performance.

I also remember that after the last show of the tour, possibly at the YMCA gig, one of the roadie came at the CS 50 and started to play some Bach’s prelude. I was stunned and shameful of the snobiness i may have shown the roadies on that tour, or before tbh. I learned a lesson that night and never again would I be feeling above anyone on a stage, or in studio, be them multiple charts success artists or simple roadie.

Something wild happened after our gig at the 100 club. Jock Mac Donalds (from the future Bollock Brothers) was very drunk and he started to look for a fight with us and being extremely aggressive, a bottle in his hand, waving it at us. Phil, FG’s bass player, was a karate black belt and he was looking very calm, coming closer to Jock inch by inch. Suddenly he jumped at Jock, put two fingers on his Adam’s apple and said with a slow voice: “OK, let’s kill”, his eyes deep into Mac Donald’s eyes.

The bottle instantly fell on the ground and the guy just ran out the club swearing loud and clear… Phil and I were sleeping at Daniel’s mom place for a few days and we were making music late at night. One of these nights, Daniel was on Phil’s MS 20, I was trying Daniel’s infamous Korg 700S (the one that was on TVOD and Warm Leatherette) and Phil was on the CS 50M but it was visibly too loud and too late as Daniel’s mum came down and asked us to PLEASE STOP !

Next gig to come was going to be the Clarendon, but we were told this would be our last gig with Frank as he wanted a full band behind him to totally free him from any other duties but vocals. I was devastated…

Frank Tovey / Fad Gadget #1 (part 3)

So, we were invited to headline Stevo’s kinda festival at the Clarendon, on June 27 1980. Stevo was a very colourful character who will make himself known later when managing bands like Soft Cell and The The. The bill was very symptomatic of the time: DAF, Naked Lunch, B.Movie, Vice Versa, Clock DVA,…

So, Fad Gadget #1 had started touring as a relative unknown a few months ago and we were by now talk of the town and headline this festival. It felt good and it felt also important and I was nervous. Everybody was. Frank had a song by Georges Folmby playing before we would go on. Folmby was a Lancarshire working class comedian and he was famous for playing double entendre ukulélé songs. It was a known and safe thing for British people and Frank used it as contrast as chaos would start when we would cut Folmby and go straight into “State Of The Nation” and follow that with most of what is on the album Fireside Favourites.

State Of The Nation
Back To Nature
The Box
Fireside Favourite
Newsreel
Pedestrian
Coitus Interruptus
Ricky’s Hand
Back To Nature

Yes, Frank wanted shock and chaos, and he got that except that at the Clarendon it went a bit further than expected. During one of the early songs, Fad had already taken over Frank, he smashed up his face with one of the two Syncussion drums and it started pouring blood. Phil and I looked at him and he made us understand it was fine and let’s continue…So we continued until someone took Frank off stage as it was just like a fountain of blood by now. The gig was stopped.

We went backstage and Frank was adamant he was fine but Babra (his wife) disinfected the wound and placed a cloth on it. We went back on stage.

The crowd went MAD. Frank was standing there, his white clothes with red blood all over it, singing to the public that was all won. It was an incredible sight, and being on stage, playing the songs with a singer that went beyond the call of duty was something unexplainable. After the gig, we had to take the 5 am ferry. I was sitting on the stairs of the Clarendon and, yes, I was crying, letting all the tension, the fears of the gig off my system but also the sadness I felt after having lived some incredible times with
Frank, as synth player in Fad Gadget. I saw Frank playing with Fad Gadget #2 a few months later and he invited me to play in the encore: we were cool.

Still, I wasn’t done with London and would come back later…

German dark electro duo Darkness On Demand releases all new AI generated video, ‘Reactor 4’, ahead of album ‘Digital Outcast’ out this Friday

Eldrina Mich — Wed, 06 Sep 2023 07:25:50 +0000

A few days before the official release of their all new album “Digital Outcast” (available as download on Bandcamp and on CD), German duo Darkness On Demand releases a video for the album track “Reactor 4”. The video uses AI technology to bring back to live a story about a nuclear incident resonating in the lyrics: “I feel like an atomic booster, I feel like a toasted rooster, Don´t wanna stand in fallout rain, Gamma rays inside my brain.”

Here’s the video.

The single follows the duo’s last singles “Hang On” and “Female Grace” and the exclusive EP “Final Way” and is a new teaser for the all new album from the ex-Dance Or Die members. The album will be out this Friday digitally and on CD via the Belgian label Alfa Matrix records.

Darkness On Demand has been active since 2017 and offer a sound where they merge moody melodic electronics with dark vocals and upbeat frontal EBM industrial. “Digital Outcast” will be a what the label describes as “a major call for freedom of art & expression, heavily criticizing autocratic regimes, mass-media manipulations, freedom restrictions and all other excesses of our society reminding us how prophetic dystopian social science fiction novels like “Brave New World” or “1984” were…”

Digital Outcast by DARKNESS ON DEMAND

Below are the previous videos.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

Ex-Dance Or Die members return as Darkness On Demand with a modern EBM 6-track EP ‘Final Way’

Eldrina Mich — Fri, 19 May 2023 08:15:44 +0000

Darkness On Demand, the Berlin-based project by artists Wagner and Falgalas, who are former members of Dance or Die, is set to release a new 6-track EP titled “Final Way” on June 2, 2023. Pre-orders are now available from Bandcamp including 2 tracks for immediate download.

The “Final Way EP” will be available for digital streaming and download via Alfa Matrix, a Belgium-based label well known for hosting influential musicians from the underground electronic scene since 2001.

Final Way EP by DARKNESS ON DEMAND

Darkness On Demand continues the legacy of merging moody melodic electronics, dark poignant expressive vocals, and upbeat frontal EBM industrial assaults, a style that they have been refining since 2017. They are known for their strong and engaged lyrical focus that bridges science fiction themes with major issues of our current society.

The upcoming EP exemplifies the band’s unique blend of classic dark electro and modern EBM. It showcases their ability to compose highly melodic club electro tracks characterized by addictive sinister soulful melodies, hammering beats, incisive synth sequences, and Wagner’s unique poignant charismatic vocals.

The EP “Final Way” follows the release of the single and video clip for the slow, catchy, and dramatic ballad “Hang On” in collaboration with their neo-folk martial side-project Winterhart. This release comes before their new album “Digital Outcast,” which is announced for a September 2023 release.

Here’s the teaser for the new EP.

Below are the official video clips for the tracks “Hang On (Winterhart remix)” and “Female Grace”.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

Ex-members of Dance Or Die release free single via Bandcamp under Darkness On Demand moniker

Eldrina Mich — Fri, 05 May 2023 07:00:00 +0000

(Photo by Pixel Studio Berlin) Available now as a free download via Bandcamp is the brand new single from Darkness On Demand, “Hang On (Winterhart remix)”. Darkness On Demand is comprised of Berlin-based artists Wagner and Falgalas, who are former members of the cult act Dance Or Die, which was signed to Machinery Records. The duo has now joined the Belgian label Alfa Matrix for their third album, “Digital Outcast”, set for release in September 2023.

First, however, you can enjoy the ballad “Hang On” in a Winterhart remix as a free download on Bandcamp. The single itself is an atypical tune for the band’s more aggressive electro style.

Seba Dolimont from Alfa Matrix describes the song as follows: “Dramatic echoing piano lines and orchestral synth arrangements beautifully leave room for these almost depressive dark and touching vocals that you will quickly sing along with, and that will bring back memories of the claustrophobic moments of the Covid-19 lockdown and all the societal excesses and abuses it generated.”

It is worth noting that Winterhart is the duo’s neo-folk martial side-project.

Hang On (Winterhart remix) by DARKNESS ON DEMAND

Darkness On Demand has been active since 2017, offering a mix of moody melodic electronics, dark expressive vocals, and upbeat frontal EBM industrial assaults. Their lyrical focus bridges science fiction themes with major issues of our current society.

You can also watch the video clip filmed for this song.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

French techno-pop duo Cercueil lands new dark techno-pop EP ‘Bad Posture’

Bernard - Side-Line Staff — Fri, 04 Nov 2022 12:01:45 +0000

Out now via Citizen Records is the last Clivage Music release of the year: “Bad Posture” by Cercueil EP.

This new dark and experimental techno-pop EP from the French duo Cercueil offers a mix of genres, somewhere between electronica, pop and krautrock. On the EP you’ll find what the label describes as “four organic, cold and tribal tracks”.

Check it our right below.

About Cerceuil

Cerceuil consist of the duo/couple Nicolas Devos and Pénélope Michel. They met via all kinds of experimental and performative groups and in 2005 founded the electro-pop group Cerceuil (French for coffin). The duo quietly released their first EP under the name Cercueil in 2006, but it was in 2009, with the release of their first album “Shoo Straight Shout” on the Optical Sound label, that the two musicians really launched their trademark sound.

With the release of their second album “Erostrate” in 2011 on the Le Son du Maquis label, the duo again offered experimental pop and tribal infused with dark electro. Accompanied live by drummer Olivier Durteste (Gomm, Dddxie), the project played in Belgium, Germany, England, Switzerland, Iceland, Denmark and the Netherlands but also North America (Canada and the United States).

Pénélope and Nicolas are behind the Puce Moment project in parallel with Cercueil. That project is much slower and melancholic compared to Cerceuil. As Pénélope points out: “With Cercueil, we reframe the structures a lot more. The relationship to the voice is different, it is more frontal. In Puce Moment there may be voice, but these are only evocations of voice. It remains behind the music and becomes an instrument in its own right.”

‘Click Interview’ with Vexillary: ‘Music Has Always Been An Anchor For Me’

Inferno Sound Diaries — Sun, 30 Oct 2022 18:00:00 +0000

Vexillary is the sonic project of New-York based producer Reza Seirafi. The name of the project stemmed from his need for something abstract that didn’t convey a meaning right away. A name that took on color and meaning overtime as the project evolved. Vexillary sounded witchy, dark, and abstract. The sound is mixing different influences together; from Techno to Cold-Wave to EBM to Electroclash to Industrial. Reza Seirafi this year unleashed his second full length album “Crash And Yearn” by Con:trace. The work moves on there where the debut album “Full Frontal Lunacy” stopped while there’s a Pop touch on top. This is a project you definitely have to discover and talked about it with Reza Seirafi.

(Courtesy by Inferno Sound Diaries)

Q: Vexillary is already active for numerous years. How do you look back at the earlier work and your evolution as musician/producer, but still the evolution in influences and music styles?

Reza: Might seem a little cliche but the key to moving forward and evolving the project is to not look back often. I’m beyond proud of every release of mine but it’s pretty apparent that the first 6 EP’s were like an apprenticeship of sorts to get me ready to do my recent LP’s.

There’s been lots of leaps and growth musically in recent years thanks to the earlier work that set the foundation, but I only rank the quality of my music based on the latest projects and outputs. Luckily in my case the latest is usually the greatest and I hope to keep up that trend.

Of course, over time you grow to create your own pallet and box of tricks but for me it’s always about expanding that pallet and getting outside of my comfort zone. I’m inspired and influenced by new things as well which is something that I’m proud of. It’s good to be influenced by new things and try to put your own lens on it. It’s a sure way to end up in interesting territories.

Q: Your debut-album “Full Frontal Lunacy” released last year was a kind of introspective- and very personal work dealing about inner demons, right? How do you look back at this period and what has been the strength and impact of music as ‘cure’ or ‘therapy’?

Reza: I always saw “Full Frontal Lunacy” as an exaggerated self-portrait. it was very me, I was that leather clad burn out drinking absinthe in odd corners of the world. So, tracks like “Burnt Leather” and “Absinthe Minded” and others were self-reflective.

But I’ve always been lucky enough to come back from the fringes naturally one way or another. That’s where the similarities stop. The album highlights a story in which the protagonist couldn’t return to normal and the flirt with madness quickly descended into a downward spiral. It was asking what if there is no return, what if I pass that point?

I think music has always been an anchor for me, more so than a cure or therapy. It’s a way to stay grounded through the madness of the day to day. The recording sessions for “Full Frontal Lunacy” was proof of that. Despite the intense vibes of the album it was actually some of the most methodical and focused working sessions I’d ever had.

Q: The new album “Crash And Yearn” seems to be inspired by the famous fall of Icarus? I see the title as a metaphor to the world we’re living in, but what did you exactly try to express and deal with? And how do you transpose themes into music?

Reza: Yes, it’s loosely based on the Fall of Icarus. Not sure if the theme was there first or it slowly shaped up throughout the recording of the record. Not to reveal too much, but It was again stemming from a personal crash, highlighting a time where I totally hit a wall through the endless pursuit of my own obsessions. I’ve always been an over doer for better or worse and my life has echoed the story of Icarus numerous times. I think most people who are driven by their passions have a similar story to tell. To me, it’s totally humanistic.

But I like to leave things open to interpretation and your point is an interesting take. I think as a society we’re approaching a melting point and an inevitable crash. To me it’s also a fetishistic idea too, that no matter how hard the fall, one would do it again and ‘yearn’ for more just because the potential reward seems worth it.

About the use of themes, for me it’s nice to have a concept when approaching songs or albums, it helps with staying focused and work with specific type of sounds and tempos, etc. For me it’s crucial to keep it somewhat abstract though, so that it’s more of a personal or unique retelling of a story vs the obvious. The concepts are there if you choose to look deeper but it’s way more important to make sure the record works sonically on its own when removed from the story.

Q: How did the transition from “Full Frontal Lunacy” towards “Crash And Yearn” happened? Do you see an impact of the theme(s) you’re dealing with upon the atmosphere, rhythmic… and global production of the songs/albums?

Reza: I never stopped recording after making “Full Frontal Lunacy”. I knew that the record was done at some point but I was enjoying staying in the studio mode so I just kept going. First few songs after the album lacked direction but I was naturally writing more rhythmic patterns.

I knew I wanted to do something different this round but it was the recording that told me where to go vs me coming in and saying the next thing has to be x, y, and z. Once I started seeing a trend towards the higher bpms, lyricism, and emotions in my new stuff that’s when I realized that the new album was going to be this Technoid Dark-Wave album. From then it was a matter of filling the blanks.

Working with Baylee, the vocalist on most of the album, also brought a new angle. Suddenly I felt like I could push the song driven ideas more and move away from writing ‘tracks’. There were some growing pains to get that right though, I have to say. Songs like the title track and “The Fall” and “Bow Down” were a completely new territory for me but it felt exciting, so I forged ahead.

I’m beyond happy with where I’ve landed with this record at the end. When you make records and albums back-to-back in a short period you run the risk of making the same thing over again, but here we are. “Crash And Yearn” feels completely different, which is great.

Q: The vocals are getting more important and definitely are an important evolution compared to early EPs. What are vocals adding to your music and what are the main criteria you’re using to work with guest singers? What’s their impact and input on lyrics and eventually composition?

Reza: I think there’s more vocals now cause simply I got more to say. I’m well aware that I mainly did instrumentals in the beginning so those are still a strength of mine and fun to work on. Things kick into a new gear however once I’m thinking about vocal melodies. Think the vocals are simply replacing some of the extra synth parts that occupied the same space in the past. But now the concepts can be conveyed lyrically as well as musically.

In terms of the guest vocalist I’ve been lucky to have had a few great collaborators. I foolishly think I can do all sorts if male vox which is why so far I’ve done all the male vocals and guests are invited to add the female voice and POV. Think some lyrics can be more potent when delivered by a female voice which is how I generally assign tracks.

On “Crash And Yearn” however, I stuck with Baylee on 6 of the tracks and I did only one myself. Think her voice brought a nice focus to the record and kept the album in a viewers POV. With “Full Frontal Lunacy” most of the lyrics was from a first person view, “I’M Absinthe Minded”, “Welcome To My Lunacy”, “I’m Tarred And Feathered” to paraphrase a few parts. This round it was all about how the actions were viewed “You Crash And Burn, You Never Learn” and so on.

“Crash And Yearn” as a result is like the flip side of “Full Frontal Lunacy” to a degree.

Q: What’s your way of working and composing songs? How do you see yourself as musician/producer? And what’s the next step now?

Reza: I’m a beat maker at heart and naturally all else is designed around the initial beats that I’m putting together. Once I have a series of beats that are connected and react to each other, I have the basis of an arrangement. From then I usually pick a key for the track (not always though) and write riffs, bass lines, and synth parts.

I’m an Ableton producer so I don’t write in a linear way, I create jams and see how they all sit with each other. Things that work together and gel are elaborated on. Once I have an arrangement, I get into sound design and pick the right sounds much like casting a movie, the sonic characters must be right for the parts that I’m assigning.

The vocals are next, usually working off a demo that I track earlier in the process. Once the final vox is ready, I go to town with the mix. The only part that I don’t do is the mastering, simply because you can get immune to certain sounds after mixing a track for a while so nice to get that taken care of by someone with fresh set of ears. Eric Sneo killed it on the masters this time I must say.

Next steps for me are releasing the videos for the new album. The video for “Come As Your Madness” should be out by the time our chat is published. I’ve also made videos for “Le Diable”, “Bullet” and “Haute Cadaver” which should be following soon. I’m also working on a split EP with an exciting artist from Spain that might drop before the end of the year. And yes, album number 3 is in full gear too, so hope to share that with you guys as soon as it’s ready.

Vexillary – Crash And Yearn (Album – Con:trace)

Inferno Sound Diaries — Mon, 19 Sep 2022 07:00:00 +0000

Genre/Influences: Techno, Future-Pop, Minimal-Electro.

Format: Digital.

Background/Info: American producer Reza Seirafi last year released the successful debut album “Full Frontal Lunacy”. He’s now back on track unleashing a new opus of nine songs inspired by dark themes.

Content: “Crash And Yearn” takes off with Minimal-Electro infused with Techno music. Techno sounds as the common thread between all the compositions but filled with different influences. Sometimes moving on the edge of Future-Pop, but often achieved with icy cold treatments this new opus remains in the line of its predecessor and yet it’s also different and innovative.

+ + + : This album sounds as the perfect alternative to ‘classical’ Techno music has been achieved with Pop influences and accentuated by hot female vocals which can be also pretty ghost-like. The work sounds refreshing.

– – – : It’s not that easy to label this album, Vexillary definitely appearing to be the sum of multiple music styles and influences.

Conclusion: Diversity is the key to the sound of Vexillary, which creates a connection between different music genres and -lovers. I however preferred the previous album.

Best songs: “Le Diable”, “Haute Cadaver”, “Come As Your Madness”, “Bullet”.

Rate: 8.

Artist: www.facebook.com/Vexillarymusic

Label: www.facebook.com/contracemusic

Darkwave project Distance H debutes with ‘Bitch 16’ single feat. Ophelia from Saigon Blue Rain

Bernard - Side-Line Staff — Thu, 23 Jun 2022 13:25:18 +0000

Out now is “Bitch 16”, the debut single for the French darkwave project Distance H featuring Ophelia from Saigon Blue Rain.

The track will appear on Distance H’s forthcoming EP, “Intimacy”. For the project’s debut EP Parisian producer ManuH invited a string of female singers.

Here’s what ManuH says about the new single: “The track is in some ways opposed to Sweet 16 and its form of happy, carefree transition. When sweetness gives way to brutality; when detachment gives way to obsession, when desire gives way to disgust. It is a frontal and direct title, that a more distant , disconnected and almost salutary passage does not manage to soothe.”

“Bitch 16” is available on all digital platforms.

Dark electronic pop duo BlakLight releases first single from their forthcoming double remix album

Bernard - Side-Line Staff — Fri, 04 Mar 2022 14:41:47 +0000

The Los Angeles based dark electronic pop duo BlakLight, Brian Belknap (Mind Machine) and Adam Collier (Crush333, Full Frontal Disco and MDA), have released the first single from their forthcoming double remix album, “Out Of The Void – The Remixes”. “Waiting” in a Solar Fake Remix is available right here from Bandcamp.

“Waiting”, originally from the band’s second album, “Into The Void”, is remixed here by Solar Fake’s Sven Friedrich, and includes a bonus instrumental version exclusively on Bandcamp.

Waiting (Solar Fake Remix) by BlakLight

Also released today is a new, exclusive track, “Wicked Face”, taken from the forthcoming “Generation Blitz 2: Concrete and Chrome” compilation.

Generation Blitz 2: Concrete and Chrome by BlakLight

In further news the band makes their live debut on March 18th 2022, joining Matte Blvck and Vain Machine, presented by Luna Negra at Bart Lounge in Cathedral City, CA, followed by an appearance at Bar Sinister in Hollywood, CA and at the inaugural Darkness Calling Festival in Los Angeles, CA. You can find all dates and ticket info right here.

The duo will release an additional remix single on March 18th with a further remix single and Bandcamp album pre-order on April 1st. Adam and Brian are continuing work on their third and fourth albums.

Vexillary – Full Frontal Luncay (Album – Con:trace)

Inferno Sound Diaries — Wed, 05 Jan 2022 08:00:00 +0000

Genre/Influences: Techno, Techno-Wave, EBM, Electroclash.

Format: Digital, Cassette.

Background/Info: Reza Seirafi is a New-Yorker (USA) producer who released several EP’s and singles during the past years. The lock down incited him to compose his first album, which is meant as a ‘therapy to examine the darkest parts of his own psyche’.

Content: “Full Frontal Lunacy” takes off with a retro-style, which reminds me of the good-old years of Electroclash. The album explores different influences, which can be now into EBM empowered with Industrial sound treatments and then more into a kind of refreshing Techno-Wave music. I noticed some melodic parts and other darker passages driven by humming sequences. The work also reveals male and female vocals featuring guest singers ‘Warteraum’ and ‘La Strange ‘.

+ + + : This work is revealing a real strong sonic cocktail, which resulted from the exploration of diverse Electronic music styles and a top notch production. The tracklist is impressive and everyone will find one or more great songs on it. And if you’re open-minded you definitely like the album from start till end. I however have a preference for the cool Electroclash opener, the powerful EBM-driven title song, the darker “The Descent” also featuring cool male- and female vocals and the more Techno-Wave “Maniac”, which is an instrumental piece with some melodic approach.

– – – : Diversity is the main strength of the album although it might sound a bit versatile to other listeners.

Conclusion: “Full Frontal Lunacy” is a work that will appeal to a very diversified audience; from Techno lovers to New-Wave nostalgia. A great production!

Best songs: “Scent Of Torture feat. Wateraum”, “Full Frontal Lunacy”, “The Descent”, “Maniac”, “Sanity Fades”.

Rate: 8½.

Artist: www.facebook.com/Vexillarymusic

Label: www.facebook.com/contracemusic

BlakLight – Into The Void (Album – BlakLight)

Inferno Sound Diaries — Sun, 12 Dec 2021 08:00:00 +0000

Genre/Influences: Electro-Pop.

Format: Digital, CD.

Background/Info: American Electro-Pop duo BlakLight took me last year by surprise releasing the album “Music In A Time Of Uncertainty”, which became one of my favorite full lengths of the year. Driven by Brian Belknap (Mind Machine) and Adam Collier (Crush333, MDA, Full Frontal Disco) BlakLight already released a few singles to introduce their second album.

Content: “Into The Void” is pure Electro-Pop music, which moves on there where the previous album stopped. The global sound production became more mature, the songs being more polished and elaborated with empowering guitar playing –by guest musician Pano Coromelas. Some songs have been accomplished with some retro elements. BlakLight invited two guest singers, Gene Serene (The Frixion) and Magnus Dahlberg (More) to sing each on one song.

+ + + : BlakLight again took me by surprise, but I now got more impressed by the professional approach of the song writing and global sound production. The album also takes off with the great “Paranoid” featuring an irresistible chorus and a powerful production. I also enjoyed tracks like “Nightmares” for its empowering guitar play and “Reset” which sounds more vintage-like. Both songs were also released as singles. There also is the more sensual and melancholic “Vampires” featuring male & female vocals. The production of the vocals is also great and totally matches with the Electro-Pop sound.

– – – : I’ve listened a few times to the new album and can’t get away from the idea “Music In A Time Of Uncertainty” featured more potential hits.

Conclusion: BlakLight confirms great writing and production skills; this is a band with an own and refreshing sound and I honestly can’t understand why this band isn’t signed on a leading label of the scene.

Best songs: “Paranoid”, “Vampires”, “Reset”, “Nightmares”, “Into The Void”, “Skin”.

Rate: 8½.

Artist: www.facebook.com/BlakLightband

Darkwave/industrial act Vexillary releases debut full length ‘Into Full Frontal Lunacy’

Bernard - Side-Line Staff — Wed, 10 Nov 2021 14:22:03 +0000

The darkwave/industrial act Vexillary is the brainchild of the New York-based producer Reza Seirafi. After a string of singles and EPs, Vexillary has now unveiled a first full-length album, “Full Frontal Lunacy”.

Reza explains the idea behind the record: “After the conceptual “SurViolence” EP, I wanted to create a personal record as a form of therapy to examine the darkest parts of my own psyche. The resulting eight tracks that shape the record document the demise of a protagonist from flirting with madness and burnout, all the way to the point of total nervous breakdown and mania.”

“Full Frontal Lunacy” is available on limited edition cassette and digital formats via the project’s Bandcamp page.

You can check out the full album below, and here’s already the video for “Burnt Leather” reworked for the Scorched Mix.

And here’s the full length to preview.

Full Frontal Lunacy by Vexillary

BlakLight to release new album ‘Into The Void’ on October 8 – check already 3 tracks

Bernard - Side-Line Staff — Sun, 03 Oct 2021 13:39:54 +0000

Los Angeles based dark electronic pop duo Brian Belknap (Mind Machine) & Adam Collier (Crush333, Full Frontal Disco & MDA) release their second album, “Into The Void” on Friday October 8th.

“Into The Void’ is available for Bandcamp pre-order since Friday October 1st, before its release everywhere on Friday October 8th. Fans get to hear a third track from the album, “World”, featuring Magnus Dahlberg from MORE, streaming on Bandcamp along with the two previous singles “Nightmares” and “Reset”.

BlakLight will also be releasing “Into The Void” on a limited edition signed digipak CD as well as launching a crowd funded vinyl campaign via Qrates.

The release comes after last year’s debut album, “Music in a Time of Uncertainty”. Featuring guest vocals from Gene Serene (The Frixion) on “Vampires” and Magnus Dahlberg (MORE) on “World”, the album also adds a layer of guitars, courtesy of Pano Coromelas.

The band will make their first live performance on November 20th, joining Vain Machine, at Bar Sinister in Hollywood, CA. BlakLight will also be releasing another single from “Into The Void” in December. And on the schedule for early 2022, is also an “Into The Void” remix album.

Into The Void by BlakLight

Brand new electro pop project Frontal Disco lands first single – and we get (happily!) thrown back to Erasure anno 1994….

Bernard - Side-Line Staff — Fri, 25 Jun 2021 13:35:54 +0000

From BlakLight member Adam Collier comes a brand new project: Frontal Disco. The idea for Full Frontal Disco already came in late 2019 and the basic aim behind the project is to have different singers from Collier’s favorite indie bands on vocals.

The first of those collaborations is now out on single: “Beautiful Crisis”. On vocals we find Ryan Slemko from Hollowlove, who personally selected “Beautiful Crisis” as the track to work on. The track throws you back in time, and if you ask us it reminds a lot of Erasure’s splendid “Always” period in 1994.

Adam: “I have other songs ready now with a couple more male vocalists and one female and I will be releasing those singles throughout 2021. There is another song called “Deep” that is slated as the next release with Mark Bebb of Shelter.”

The single release has the radio edit, an extended version, and a club mix. Warmly recommended to fans of Erasure and related acts!

Beautiful Crisis by Full Frontal Disco

BlakLight launches 6-track remix EP ‘Control – The Remixes’

Bernard - Side-Line Staff — Fri, 18 Jun 2021 12:21:57 +0000

BlakLight returns with “Control – The Remixes” later this month (next week actually). The EP revisits the track “Control” which the duo released earlier in May. The EP features remixes from Scenius, Mind Machine, Promenade Cinema, Beyond Border, Lloyd Price and the band’s very own “stripped” version. The Bandcamp pre-order has started today (download and CD).

You can already check out a first remix below.

Control – The Remixes by BlakLight

BlakLight is an American duo from Los Angeles featuring singer Brian Belknap (Mind Machine) and Adam Collier (CRUSH333, MDA, Full Frontal Disco). Last year they self-released their debut full length “Music In A Time Of Uncertainty” offering ten tracks mixing retro electro-pop elements together with melancholic and danceable parts. A new album is already in the making.

Here’s an interview with the band.

Dark electropop act BlakLight to release ‘Control’, 3rd single from debut LP, feat. cover of Peter Murphy (Bauhaus) track

Bernard - Side-Line Staff — Tue, 27 Apr 2021 07:00:26 +0000

Los Angeles based dark electronic pop duo BlakLight aka Brian Belknap (Mind Machine)and& Adam Collier (Crush333, MDA and Full Frontal Disco) are prepping a new BlakLight single, “Control”. “Control” is the third and final single from their debut album, “Music in a Time of Uncertainty”.

To be released on Friday May 7th the single will feature a new mix of “Control”, the Broken Mix on the A-side, while the B-side is the band’s cover of Peter Murphy’s “Cuts You Up”. Below is the artwork.

In further news, the band have a brand new, exclusive track on the forthcoming charity compilation “Ice Planet Goth” curated by Darkness Calling. This one will be out on May 4th. For every cent after Bandcamp’s fees, Darkness Calling pledges to make a matching donation to The Trevor Project, the world’s largest suicide prevention and crisis intervention organization for LGBTQ young people.

Check out their debut album, “Music in a Time of Uncertainty”, right below.

Music in a Time of Uncertainty by BlakLight

‘Click Interview’ with BLAKLIGHT: ‘To Be As Authentic As Possible’

Inferno Sound Diaries — Sun, 21 Feb 2021 18:00:00 +0000

BLAKLIGHT is an American duo from Los Angeles featuring singer Brian Belknap (MIND MACHINE) and operator Adam Collier (CRUSH333, MDA, FULL FRONTAL DISCO). They last year self-released the debut full length “Music In A Time Of Uncertainty”. The work reveals ten fully accomplished songs mixing some retro Electro-Pop elements together with melancholic and danceable parts. The album stands for a mature and professional sound featuring several brilliant songs. BLAKLIGHT definitely appears to be one of the most promising Electro-Pop formations from the moment.

(Courtesy by Inferno Sound Diaries)

Q: How did you guys get in touch and what incited you to set up BLAKLIGHT? What brings this new project compared to the others you’re involved with?

Adam: In 2019 I had been toying with the idea of starting a new project with multiple vocalists. Brian was on my list because I enjoy his other project, MIND MACHINE. After hearing what he did with our first song, the musical ideas flowed easily and I kept sending him more music. Our musical tastes are similar, so this project is very easy for me to come up with ideas for and Brian has always brought back amazing lyrics and melodies.

Brian: Adam did a remix for MIND MACHINE back in 2019, but we’ve only met in person a few times, and both were brief and before BLAKLIGHT was born. Adam sent me the first demo, which became “Under The BlakLight”, in February 2020. I sent him back something pretty quickly, and I guess he liked it because he sent me another, and another and we soon realized that we were onto something. I don’t write anything for MIND MACHINE, so this was the first time I’ve tackled lyrics and melodies, so I’m incredibly thankful to Adam for giving me a chance.

Q: Do you’ve specific references and handle explicit criteria when it comes to compose music as BLAKLIGHT?

Adam: There is a need deep within me for the music to come out. The only criteria I follow is how I feel. I write songs that I want to hear. I don’t follow any trends that are happening. I try to be as authentic as possible and hopefully that comes out.

Brian: Lyrically, I’m drawn to darker topics and images. However, I am rather hopeful by nature, so I try to blend the two together, as I don’t believe that you can really have one without the other, you need light and shade.

Q: How did you work together to achieve the debut album? How did you find a balance between music and vocals?

Adam: The process begins with me laying down the music. Once I am comfortable, I send the song over Brian to see if he feels anything from it. Luckily, he has liked everything that I have sent over.

Brian: Adam’s demos are pretty well fleshed out, but with plenty of room for me to fill in the gaps. I’m usually inspired by his songs straight away, and the vocal melodies come flowing. After I send him the final vocal files, he takes what I’ve done and adds layer upon layer, crafting the BLAKLIGHT sound.

Q: Tell us a bit more about the title of the album, which seems to perfectly summarize what 2020 has been for; of course Covid-19, but also maybe the turbulent political situation in your country?

Adam: The title came to me a short time after we decided to release a full album. The direction of the country looked very bleak already and then the pandemic added to the anxiety. There was a sense of urgency to finish the songs. To give people a distraction from what was going on.

Brian: I can definitely say that many of the lyrics were inspired by the current national and global situations. That being said, it was important to me to keep the songs as open ended as possible, so listeners can still draw their own conclusions.

Q: You’ve just released an EP with “Isolation” as title track. Why this song and what can you say about the different remixes and the choice of the artists?

Adam: Brian came to me with the remixers. I completely trust any ideas that he has and he was spot on with everyone that he picked.

Brian: We’ve had plans to release remixes for “Isolation” for quite some time, as it was our first single. But we shuffled our release schedule around a bit so we could get the album out last year, before the holiday season. We’ve got an Excel sheet with a list of artists that we’d like to remix our songs, and we start by reaching out to artists we’d like to work with and who we think could bring something special to the song. Some, like NATURE OF WIRES and PEOPLE THEATRE, we’re friends with, but others, like VAIN MACHINE and THE COWLS, we had only had some brief interactions with on social media. We did not know VON HERTZOG at all, but loved his work with VH x RR, and thankfully he said yes!

Q: How do you see the future for BLAKLIGHT and what about live plans? And what about your other music projects?

Adam: I am happy to say that BLAKLIGHT will continue. The response has been incredible. Again, the writing process is so easy and a complete joy. As soon as “Music In A Time Of Uncertainty” was completed, I immediately started writing songs for the next album. The direction of the next album is flowing nicely. The songs have a bit more weight to them. I picture us playing live with some nice projections in the background. I will be releasing singles from my multi vocalist project this year along with some videos to accompany them.

Brian: Adam is incredibly prolific, he has already sent me six songs for the second album, and we’ll also be including “The Fallen” from the “You Are Not Alone, Vol. 1”-compilation. Coming up in the next several months we’ve got an “Unknown Love”-remix EP, a yet to be determined third single with a new cover as the B-side and remix-EP for that one as well. We’re also working on tracks for a few tribute and charity albums. MY MIND MACHINE bandmate, Brain Olsen, has just begun work on our next album too, and we expect to release something later this year.

BlakLight – Music In A Time Of Uncertainty (Album – BlakLight)

Inferno Sound Diaries — Wed, 06 Jan 2021 19:30:00 +0000

Genre/Influences: Electro-Pop.

Format: Digital, CD.

Background/Info: BlakLight in a brand-new duo hailing from Los Angeles (USA). The band is driven by singer Brian Belknap (Mind Machine) and operator Adam Collier (Crush333, MDA and Full Frontal Disco). This self-released debut-album features ten songs.

Content: BlakLight is clearly driven by Electro-Pop music with a vintage touch on top. The songs are carried by melody lines and melancholic moods. The work has something dreamy and yet danceable. There are no real breaks in this work; there’s a non-stop succession of enjoyable and entertaining songs. Some passages remind me a bit of De/Vision.

+ + + : If the title of this work seems to be a clear indication about the horrible year 2020 has been, it also reflects a mature and impressive work. BlakLight is not reinventing the Electro-Pop style, but this is a mature composition made with great sound treatments, poignant melancholic atmospheres and a global refinement in the production. The songs are danceable, revealing several little jewels such as “Control”, “I Remember Nothing” and “This Lonely Night”. The album takes off with 3 great songs, but the final part of the work is also impressive. From a pure technical point of view this album sounds perfect; great music and a talented singer.

– – – : After the very strong debut tracks, “Unknown love” and “The Sound” both are the only cuts from the album with a little less potential.

Conclusion: BlakLight sounds as a refreshing breeze in Electro-Pop land; don’t expect that much innovation, but simply a brilliant production.

Best songs: “I Remember Nothing”, “Control”, , “This Lonely Night”, “Under The BlakLight”, “Isolation”,

Rate (8½).

Artist: www.blaklightband.com / www.facebook.com/BlakLightband

Armageddon Dildos launch 7-track download EP via Bandcamp: ‘Heut Nacht’

Bernard - Side-Line Staff — Mon, 30 Mar 2020 19:27:45 +0000

Cult German Electronic Body Music act Armageddon Dildos have launched a new EP and (title)song before the release of the new album “Dystopia”. On “Heut Nacht”, which is available now on Bandcamp, veteran artist Uwe Kanka and his gang bring full-frontal ripping basslines, minimal melodic electro sequences and powerful German vocals with a catchy chorus.

The track itself was inspired by an autumnal night stroll in a foggy forest evoking darkish childhood fairy tales souvenirs. The track itself got also reinterpreted by various artists coming from quite different musical horizons for this EP. You’ll find renditions by Dave Anderson, Messiaen Noir, AD:keY, Melting Rust Opera (who renamed the song, “Noise Nacht”), Hungarian industrial veteran First Aid 4 Souls and Flesh Wire (who renamed the song, “Silent Nacht”).

You can download the EP right below!

Heut Nacht EP by ARMAGEDDON DILDOS

Orange Sector – Endzeit (DCD Album – Infacted Recordings)

Inferno Sound Diaries — Wed, 17 Jan 2018 20:30:46 +0000

Genre/Influences: EBM.

Background/Info: Orange Sector remains one of the most famous EBM bands from the 90s. After a hiatus of several years they came back to life in 2005 and started releasing new EBM work. “Endzeit” is a look back, kind of ‘best of’ from this second Orange Sector period. The bonus disc features an impressive list of remixes.

Content: The fans of Orange Sector will rediscover some of the band’s hottest songs and mainly EP-title songs from the ‘new millennium’-years. Hard and straight forward, driven by dry, cutting bass lines, carrying choruses which are easy to keep in mind, a danceable kick and powerful vocals are the main sound elements to define the sound of Orange Sector.

Remixes have been accomplished by NZ, Plastic Noise Experience, Angstfabrikk, AD:Key, Frontal, Zweite Jugend, Wellncocktail, Dominatrix, Ionic Vision, NordarR, Blitzmaschine, Run Level Zero, Lars Timm Felker and Martin Bodewell himself.

+ + + : This album is an opportunity to rediscover some of the bands hottest songs from the 21^st Century. I’m referring to “Der Maschinist”, “Geile Zeit”, “Glasmensch”, “Monoton”, “Stahlwerk” and “Farben”. It now becomes clear why Orange Sector remained a leading EBM formation. It’s all about power, solid bass lines, energetic body beats, commanding vocals and simply a ‘healthy load of sonic violence’. Orange Sector is a sort of transposition of early DAF into modern times. The songs are enraged and some of the lyrics and samplings are clearly engaged.

The different remixes are still history and I here would recommend the work accomplished by Blitzmaschine and the poppy “Club Mix” of “Touch” by Orange Sector.

– – – : A ‘best of’ always is stuff for discussion, but it doesn’t bring anything new. I however think a band like Orange Sector deserves this kind of release.

Conclusion: Orange Sector was one of the leading formations during the 90s, but they’re still ruling over the new millennium years. I’m not sure if the best is yet to come, but I think they’ll go on releasing EBM from a high qualitative level.

Best songs: “Der Maschinist”, “Geile Zeit”, “Krieg Und Frieden”, “Endzeit”, “Terroristen” + “Farben – Blitzmaschine Remix”.

Rate: (8).

Band: www .orange –sector .de / www .facebook .com /OrangeSector

Label: www .infacted –recordings .de / www .facebook .com /pages /Infacted –Recordings /124099254321690

Final sale has started before Emmo.biz Records closes its doors for good

Bernard - Side-Line Staff — Wed, 20 Dec 2017 19:00:26 +0000

We informed you a while back that the German label Emmo.biz Records was to close its doors. The Oelsnitz based label is run by Jörg Freier and was founded in 2012. The label harboured releases for bands like Leæther Strip, Harmjoy, NZ, Frontal and MRDTC.

The label has now started a massive sale to clear its stocks, and you can definitely speak of a true sale with releases being sold for as less as 4,99 Euro!

We talked with Jörg Freier to learn some more about his decision to stop the label. Jörg: “I already have another business for the past 3 years: a butcher shop. That shop requires a lot of my time. As a result I didn’t find time enough to run two business. It made me realise I can’t help ‘my bands’ enough in our music business.”

The german Label Kompuphonik Music will take some part of the label and distribution, but the webshop www.emmo.biz will be closed by the end of this year.

We wish Jörg all the best in his new professional ‘meat endeavour’ ‘Fleisch und Wurstwaren Jörg Freier‘ located at the Kammerrat Beck Strasse 8 in Oelsnitz, Sachsen, Germany!

SadoSato – Fifiteen Shades Of Anti-Hipster (CD EP – G Minor Records)

Inferno Sound Diaries — Sun, 31 Jan 2016 16:38:02 +0000

Genre/Influences: EBM.

Background/Info: SadoSato is an EBM combo based in Graz (Austria), which has already released a few number of productions. They strike back with this funny-titled EP featuring the title song “Fifiteen Shades Of Anti-Hipster” plus 14 remixes by other artists.

Content: The title song reflects a pure and somewhat old-styled EBM in the purest tradition of the genre. The song has been clearly inspired by a band like DAF and is a well-crafted raw piece of retro body music. One of the main characteristics is the somewhat atypical and punkish way of singing.

We next get a kind of remix ‘gang bang’ revealing 14 bands. The title song has been exposed to the body skills of a few famous formations like Plastic Noise Experience and Ad:Key while most of remixes have been accomplished by less familiar names. We already have heard of bands like Invasion Of Female Logic, Frontal and the excellent Akalotz or even the Russian Synthetisch Lebensform, but bands like Elektro Ferret, Muscles On The Move, Werksfront ao are not exactly established names.

I heard several noticeable remixes, but I’ll tip the fast and powerful-like remix by Pagan Struck, which is another interesting band to discover.

↑↑↑: SadoSato is a real interesting and somewhat weird EBM act, which is progressively getting more name and fame. There’s an interesting number of unknown EBM remixers.

↓↓↓ : One single song and 14 remixes, in my opinion is a little bit too much.

Conclusion: If you’re into good-old EBM the “Fifteen Shades Of Anti-Hipster” will give you pleasure and joy!

Best songs: “Fifiteen Shades Of Anti-Hipster”, “Fifiteen Shades Of Anti-Hipster – Pagan Struck”, “Fifiteen Shades Of Anti-Hipster – Ad:Key”, “Fifiteen Shades Of Anti-Hipster – Invasion Of Female Logic”.

Rate: (DP:7)DP.

Band: www.facebook.com/SadoSato

Label: www.gminor.at / www.facebook.com/gminormusic