Industrial music legend En Esch, renowned for his work with KMFDM and PIG, is back with his first full-length album in eight years, “Dance Hall Putsch”. The album is out now via GIVE/TAKE. The LP is available in a limited translucent Coke bottle clear vinyl, CD, and digital formats.

Featuring collaborations with members of bands like PIG, Hanzel und Gretyl, Lords of Acid, KMFDM, and Pigface, “Dance Hall Putsch” showcases Esch’s signature blend of industrial, electronic, and electro.

Esch began working on “Dance Hall Putsch” during the early days of the COVID-19 pandemic, aiming to create a danceable record to help escape the bleakness of that era. However, when war broke out in Ukraine, the album took on a darker, more political edge.

“This current conflict is just 500 miles from Berlin. It became a rather political album that reflects on the senselessness and nastiness of all the current wars around us,” says Esch. His lyrics dig into the devastating effects of war on the innocent, focusing on the long-term suffering of those without power.

En Esch is also gearing up for a tour this fall, playing guitar for PIG in select cities. Prepare for a sonic revolution—Dance Hall Putsch is set to be one of the year’s most incendiary releases.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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En Esch (KMFDM and PIG) has a new album out on September 27th via GIVE/TAKE. The new release is his first one in eight years, “Dance Hall Putsch”.

The album features fellow KMFDM band members Raymond Watts, Guenter Schulz and Mark Durante, plus Vas Kallas (Hanzel und Gretyl), Mea Fisher and Erica Dilanjian (Lords of Acid), Hope Nicholls (Pigface) and more,.

En Esch says he began work on “Dance Hall Putsch” in the early days of Covid-19: “I was trying to create an upbeat, rather positive and very danceable album to leave the pandemic days behind us. Then it happened that a war began near where I live with tens of thousands of civilians killed and wounded so far. Everyone was caught by surprise and it influenced me, especially lyrically. This current conflict is just 500 miles away from Berlin, and while that does not make it more horrific than other wars, it is very close to home. From living with this ‘war next door,’ the album turned out much more sinister than originally planned. It became a rather political album that reflects on the senselessness and nastiness of all the current wars around us. It’s always the innocent and those who hold no power that suffer the most. Their fate isn’t always death, but many times indescribable and long-term suffering. We must not forget them or turn a blind eye.”

The album will be out on limited translucent Coke bottle clear vinyl, CD and digital.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Los Angeles-based Apology Kink has unveiled its latest synth-pop single, “Let Me Be Your Heartthrob” via GIVE/TAKE. The b-side is the track “Cult of Your Touch” which is more EBM orientated.

Both tracks are now available on major streaming platforms, and the music video for “Let Me Be Your Heartthrob” can be viewed below.

Apology Kink is the brainchild of Augustus Watkins, known for his work with Bijou Noir, Tulip Tiger, and Deathdance. The project blends vintage synth production with modern hooks, resulting in dark synth-pop. Watkins has collaborated with Garrett Neal (Usonia, Holidae) for the production of “Cult of Your Touch” and “Let Me Be Your Heartthrob”.

In February 2024, Apology Kink debuted with a rendition of Pet Shop Boys’ “West End Girls”.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Genre/Influences: Post-Punk, Dark-Wave.

Format: Digital, CD, Vinyl.

Background/Info: This is the debut-, self-titled album by American formation Scorpion Tea. The band is featuring Christian Cruz (guitars), Anthony Diaz (vocals, synths) Edley Odowd (drums, backing vocals, electronics) and Fern Puma (bass).

Content: The album is getting us back to Post-Punk and Dark-Wave influences with a little, extra, boosting, Industrial touch on top. I don’t want to compare “Scorpion Tea” to any other formation but it sounds a bit like the imaginary hybrid between The Virgin Prunes, The Stooges and Big Black.

+ + + : This is a solid debut album driven by impressive guitar playing. It’s a raw and merciless production covered with darkness and a ‘no compromises’ attitude.

– – – : Cool songs but not really a potential hit to me.Three songs were previously released as singles but aren’t my personal favorite ones.

Conclusion: Promising debut which will appeal to Post-Punk freaks.

Best songs: “Take Solace In Suffering”, “Clandestine Whispers”.

Rate: 7½.

Artist: www.facebook.com/scorpionteatime

Label: www.givetake.life /

www.facebook.com/givetakelife Read the news on ‘Scorpion Tea’.

Listen to “Scorpion Tea”:

About Scorpion Tea

Scorpion Tea is a Los Angeles post-punk and death rock band featuring Christian Cruz on guitars, Anthony Diaz on vocals and synths, Edley Odowd on drums, backing vocals and electronics, and Fern Puma on bass. Odowd has previously played with Psychic TV and Toilet Boys.

The band’s first single, “Scarlet Misquote”, arrived in June 2023 as the introduction to its self-titled debut album, released October 27, 2023 through GIVE/TAKE, a label based in Los Angeles and Minneapolis, under catalog number GT054. The album was recorded at Studio 22 in Los Angeles by Thomas Dolas (Thee Oh Sees, Mister Elevator) and Joo Joo (Air Bol Bol), and issued on limited-edition mystery-colored vinyl with a foil-stamped jacket.

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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(Photo by Armand Egidi) Edley ODowd (Psychic TV, Toilet Boys)’s latest project Scorpion Tea has just released the single “Scarlet Misquote”.

“Scarlet Misquote” is the first single from the band’s upcoming self-titled album and a first glimpse into their full-length debut, due October 27th via the Los Angeles and Minneapolis based label GIVE/TAKE. The band mixes punk, goth, death rock, and city pop into the mix.

Included in the single is the bonus “Drag on the Night” mix from labelmates Deathdance fresh off their own EP and remix of En Esch (KMFDM, PIG).

The group’s debut album was recorded at Studio 22 in Los Angeles by Thomas Dolas (Thee Oh Sees, Mister Elevator) and Joo Joo (Air Bol Bol). Read the review of ‘Scorpion Tea’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Berry Behrendt) Frankfurt-born but Berlin-based artist En Esch (PIG, former KMFDM) has signed with the LA/Minneapolis-based label GIVE/TAKE (home to Justin K Broadrick’s Pale Sketcher, David J of Bauhaus and more). His new single “Push” drops March 3rd, with a full EP forthcoming later in 2023.

“Push” will also hold a remix from dark electronic artist KPT. Maintaining a steady output of solo work, beginning with 1993’s “Cheesy” on TVT Records, En Esch’s new LP, his first in over seven years, is slated for release in 2023 on GIVE/TAKE.

En Esch is Nicklaus Schandelmaier, a German drummer, programmer, producer, guitarist and singer who has been a member of the bands KMFDM, Pigface, Slick Idiot, and . And more recently with NUKES, a 16 member band that includes Chris Connelly, John Bechdel, Mario Alberto Cabada, David J and more. It was KMFDM’s Sascha Konietzko who claims to have given Esch his nickname because the latter felt that his real name was inappropriate for the stage.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Genre/Influences: Industrial, Experimental.

Format: Digital, CD.

Background/Info: Sabine Bredy known as ‘Mona Mur’ is what we might call a veteran from the Industrial scene. She worked with some of the greatest and legendary names of the Industrial scene and is still doing her own thing. She remains actively involved in composing music and strikes back with “Snake Island”. For this work she collaborated with Goldkind while a few guests have been invited to join in.

Content: Mona Mur first of all remains a charismatic female artist with an alluring timbre of voice. Sound-wise the album sounds like it was written without true compromises. A free-Industrial style now empowered by heavy, menacing, guitar play and next moving into Ballad-style. In between you’ll discover a cover version of Motörhead. Gary Schmalzl and the unavoidable En Ensch collaborated on one song each.

+ + + : I remain a true adept to the vocals of Mona Mur. She injects passion, sensuality and rage. The way she’s singing on the cover version of Motörhead’s legendary “Ace Of Spades” says it all. Sound-wise I like the way this Industrial sound format has been adapted into a very intimate sound; menacing guitar riffs and terrific bass lines but always with a refined touch on top. Sometimes moving at the edge of chaos but never losing control!

– – – : The ‘free-style’ needs time to really get into it. I’m less convinced by the ‘softer’, ballad-styled, tracks.

Conclusion: Industrial music with a visionary appeal.

Best songs: “Dream Rider”, “Ace Of Spades”, “Venus And Mars”, “Shades”.

Rate: 7.

Artist: www.facebook.com/monamur.official

Label: www.givetake.life /  www.facebook.com/givetakelife

About Mona Mur

Mona Mur, the stage name of German singer Sabine Bredy, is a musician, composer and producer known for collaborations and live shows with FM Einheit (Einstürzende Neubauten), En Esch (KMFDM), Grzegorz Ciechowski (Republika), and JJ Burnel (The Stranglers). She has also composed film music, including “Last Exit: Space”, and video game soundtracks such as “Kane & Lynch 2: Dog Days”. In 2024 she released “Clouds Of War” with Yishai Sweartz of Tomorrow’s Rain on Soleilmoon Recordings. Her album “Snake Island”, made with Goldkind and featuring guest contributions from Gary Schmalzl and En Esch, was released on Give/Take.

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

(By Stéphane Froidcoeur for Inferno Sound Diaries/Side-Line Reviews) 2022 has been once again a sad, bloody and terrible year. Living in a mad world music once more remains a true therapy to appease pain and frustration. Concerts and festivals came back; the perfect place to meet friends again. Artists remain prolific releasing great studio work. So I’m once more closing the year by a personal selection of my very own ‘best of’-albums of the year.

Over 700 productions have been selected while 540  reviews have been made all over the year. Some productions have been refused because the style of music didn’t fit, while other reviews will be postponed to 2023. I’m really grateful to all labels, bands and promoters considering my work and efforts and I hope you’ll go on providing me new promos next year.

I one again have to express my deepest gratitude to Rich Bova (NEIKKA RPM) who for years and years now is reading, correcting and improving my reviews. Without Rich there would be no reviews. I also want to thank Bernard Van Isacker – chief redactor Side-Line Music Magazine – for the successful collaboration. 

Up now to 2023. I already reduced my activities this year and will move on reducing it in 2023. I made my first reviews and interviews back in 1991 (!). Some of the readers and artists weren’t even born when I wrote my first review for Side-Line. So after more than 30 years non-stop activities I think it’s not that strange to move on slowly.

I also want to express a big ‘F*** you’ to so-called ‘artists’ and label owners who don’t realise and appreciate the work I’m doing by making reviews and preparing interviews to get them in the spotlights. The attitude and less of respect shown by those people – luckily a very few number – is just unacceptable… but I’m afraid it reflects the world we’re living in… Behind a genius artist is not always hiding a great person… It’s quite strange to realise the ’biggest’- and long-time established artists from this scene often are the most accessible ones.

Writing reviews remains very ‘subjective’ and always a source of discussion, but keep in mind it will be always the perception of the reviewer. I can assure you I’m always trying to argue my reviews the best as possible. A review will be never objective, but has to be honest!

Like every year I’ve made a selection from the best albums of the year. This ‘TOP 25’ covers different styles like EBM, Dark-Electro, IDM, Synth-Pop, Ethereal, Dark-Ambient, Industrial, Cinematographic, Gothic, Post-Punk, Cold/Dark-Wave, Dark-Techno and a few related genres. It remains an exciting but tough exercise.

This ‘TOP 25’ is taken from the promotional material I got while compilations, ‘best of’-productions, EP’s and singles were not considered.

So, here’s my ‘TOP 25’ from 2022 and don’t forget to share it with your friends….

Top 25 albums 2022

1. IVARDENSPHERE: “Ragemaker” – Metropolis Records
2. DIE ROBO SAPIENS : “Robo Sapien Race” – Alfa Matrix
3. EBE04 : “Inrush – Give/Take
4. CALDON GLOVER: “Labyrintia” – Cyclic Law
5. ROME: “Hegemonikon” – Trisol
6. NEIKKA RPM: “Scorpio In The Hourglass – Alfa Matrix
7. VANGUARD: “Spectrum” – Infacted Recordings
8. SUICIDE COMMANDO: “Goddestructor” – Out Of Line
9. ELM: “Penetrator” – Alfa Matrix
10. OBERER TOTPUNKT: “Totentanz” – Danse Macabre Records
11. THE BIRTHDAY MASSACRE: “Fascination” – Metropolis Records
12. BLACKBOOK: “Confessions Of The Innocent” – DarkTunes Music Group
13. BEYOND THE GHOST: “Sundown” – Cryo Chamber
14. THEN COMES SILENCE: “Hunger” – Metropolis Records
15. PRINCIPE VALLIENTE: “Barricades” – Metropolis Records
16. DAWN OF ASHES: “Scars Of The Broken” – Artoffact Records
17. MONSTERGOD: “Ozymandias” – Space Race Records
18. STATIQBLOOM: “Threat” – Sonic Groove Records
19. AXIOME: “Field Guide To Alien Planets And Other Disco Balls – Audiophob
20. REICHSFEIND: “Darken” – Alfa Matrix
21. FIRST AID 4 SOULS: “I Am The Night” – Alfa Matrix
22. ORDO ROSARIUS EQUILIBRIO: “Nihilist Notes And The Perputual Quest 4 Meaning In Nothing” – Out Of Line
23. KILL SHELTER: “Asylum” – Manic Depression Records / Metropolis Records
24. JAGATH: “Svapna” – Cold Spring Records
25. KILL YOUR BOYFRIEND: “Voodoo” – Shyrec

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: IDM, Experimental, Industrial, Ambient.

Format: Digital.

Background/Info: After the sensational second album (cf. “Inrush”) of the American EbE404 project we get this EP featuring four remixed songs from the original tracklist plus a live cut as a little extra.

Content: The four debut songs of “Inrush” have been remixed by ManifestiV, Tiree & Hutch (as a collaboration with EbE404), Dissociate and KPT. Each remix brings a different approach to the original edits although it still sounds as an offspring between Ambient, IDM, Experimental and Industrial for the sound treatments. The last cut sounds like an improvised, extended track from 21 minutes.

+ + + : “Inrush” sounded as a true revelation to me and this EP brings a great bonus to the album. I like the slow cadence running through the work mixed with raw, Industrial, sound treatments and an ominous sphere recovering the production. The deep, dubby, bass line at the “Dissociate Mix” of “Zoom Team” is another great moment of the listening.

– – – : The last cut is a little extra, but not exactly my favorite part. It sounds like a total improvisation revealing the less exciting, Experimental, side of the project.

Conclusion: I’m not that fond of remix-EPs but this one is the exception to the rule; great, intelligent, Electronic stuff.

Best songs: “Zoom Team – Dissociate Mix”, “Slipping By One -ManifestiV Traction Mix”, “After Zoom Team – KPT Purify Mix”.

Rate: 8.

Artist: https://ebe404.com / www.facebook.com/EbE404

Label: www.givetake.life / www.facebook.com/givetakelife

About EbE404

EbE404 is an American electronic project that keeps its members anonymous, describing the listener’s experience, not the identity of the people behind the music, as the actual focus of the project. The project debuted with the album “Tedium and Loss” before releasing its second album, “Inrush”, via Give/Take in 2022, mixing IDM, Industrial and Ambient influences. The “Ripple” EP follows with four remixes of “Inrush” tracks by ManifestiV, Tiree & Hutch, Dissociate and KPT, plus one live recording.

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

I this year discovered this American project -which wants to remain anonymous, by their second full length album. “Inrush” is a brilliant piece of visionary Electronic music. Released on Give/Take the work brings elements of IDM, Industrial and Ambient together. The overwhelming sound production left me breathless. This is an intelligent and elaborated production, which I can only but highly recommend. This interview gives you a bit more information about EbE404.

(Courtesy by Inferno Sound Diaries)

Q: First things first, how did the sonic project EbE404 see the daylight? Who’s hiding behind the project and what were the initial goals when it came to sound and creation?

EbE404: It was really a convergence of several different things, but it’s honestly a little difficult to pinpoint. The project has bubbled for many years but, as these things often go, there was a moment where it was decided ‘it’s time’ and all of those odd bits of work finally started to coalesce into something to be inflicted on the broader world.

The personnel are not particularly relevant or interesting in isolation. They are just elements of what ultimately winds up being the experience of taking in the work. That- the experience of the listener, wherever they are physically, mentally, or emotionally- is really the focus of the project. It’s all about finding that unique combination of circumstances, environment, context, and people that results in something significant and meaningful. To that end with this project, the people twiddling knobs are no more important than the room the listener is sitting it- we’re all just components in the circuit.

Q: The name of the project sounds rather intriguing, but what does it stand for and is there a link with Extraterrestrial Biological Entity?

EbE404: The name came about quite some time ago and was one of those things that has a quality that caused it to keep resurfacing over the years. There’s an ambiguity to it that relates well to the work and it’s fascinating and wonderful to hear how people interpret it or what comes to mind for them. Ultimately, what matters is what it means to the listener. So, while the name hints at several different things, can be written or spoken differently, etc., the correct answer is the one that somebody believes it to be.

Q: You this year released your second album “Inrush”, which compared to the debut work “Tedium and Loss” reveals an interesting evolution in sound and production. How do you analyze this evolution, and do you handle specific guidelines and/or references when it comes to the global production process?

EbE404: The process for “Inrush” was a bit of a meandering one, honestly. “Tedium And Loss” has a certain sound and is of a time and place. It came together to reflect a specific period and environment.

“Inrush” however, came about in a much different way. During the time following the release of “Tedium And Loss”, a lot of focus was spent exploring different techniques, technologies, composition approaches, and sounds. There were around 70 tracks that were created over that timeframe covering many different sounds. For example, the track “IDT” that came out on a No Devotion Records compilation is radically different in style.

But the important thing for this release was not the individual tracks, but rather the story and narrative that they came together to build. After going through everything that was created, that image gradually emerged- the exploration of cycles and patterns and how we rely on these things, often without being aware of them until they are disrupted. “Inrush” is a condensed 24-hour cycle, starting with stepping into the conscious world, annoying drudgery, a neurotic panic attack in the middle of the night, and so on. Patterns and circuits for everything from our mental processes to our daily routines to the machines that are telling the story.

Q: The use of modular/analogue equipment definitely appears to be an essential element in the sound and production of EbE404. How did you come to work with this specific equipment and what’s your perception of software synths?

EbE404: Modular is indeed an enormous part of the toolset, and honestly, it’s more than just a piece of hardware. This project has used a lot of things over the years, being in and out of the box, traditional and found objects, but there was something about the way a modular system works that just clicked. It’s constrained, limited, fussy, you can’t save anything, so you have to make commitments and decisions and go with what is coming out instead of endless tweaking and adjusting. It’s amazingly ‘in the moment’ and that is hugely inspiring. But one of the best things about modular is its unpredictability. You set up the environment and the rules, but then the synth does its thing as it sees fit. The best moments are when you are only about 80% sure of what is actually going on- that’s when the synth ceases to be an instrument and becomes a collaborator, pushing and pulling things into being that would not otherwise be there.

Software synths are what the user makes them to be, and they can be incredibly useful tools. VCV Rack, a software-based modular synth, gets a lot of use in the composition process, its utilities compliment the hardware really well. Ableton Live is also a key part of the system- not for loops or as a sequencer, but as a modular environment for sound design.  Using CV Tools, Max for Live devices, and some of the modulation options, it’s possible to do some really interesting things with effects and sound design. Hopefully, that comes out in the music and things don’t sound like just an average reverb dumped on a stock synth. Nothing wrong with that, but that is not the aim of this project.

Q: You claim to be inspired by Industrial pioneers like Coil, Nurse With Wound and Lustmord. What do you like in their sound composition and how do you transpose their ideas into a proper creation? Do you handle specific references and/or criteria in writing and production?

EbE404: The inspiring thing about those artists, as different as they are from each other, is that so much of the focus is on texture, atmosphere, and sonic emotion created with and for an unconventional space. It’s challenging music that rewards the effort and attention given to it. Perhaps the most aspirational thing an artist can do is create a sound that nobody has ever heard before and create a truly unique world. But another important characteristic of these artists is how they were able to span so many genres and sounds while fundamentally being and sounding like themselves- that is a truly hard thing to do.

People sometimes get a bit confused listing to an album like “Tedium and Loss”, then catching a video on social media that is more beat driven and perhaps even relatively poppy. But it’s all coming from the same place, and hopefully there’s enough of a throughline there that is makes sense.

Another important element is that there is a sense of humor present. Darkness and gloom are where most of us live, but artists that can also embrace that throughline of humor that has honestly always been part of industrial music are usually more interesting.

When creating a track, it’s usually designed and performed in one session. The inspiration is usually some kind of random thought, for example “Fuzzy Thought From 20 Years Ago” was trying to capture that hazy moment as you are almost asleep, but your mind jumps back to sounds and moments from what was almost a previous life, relayed through the filter of semiconsciousness and an unreliable narrator.

After something is captured, it sits for a while and if it seems to still mean something when it’s revisited later, then it might come out, maybe with some slight adjustments or augmentation, but the less of that the better. And if it doesn’t work or fit with a narrative, away it goes, probably never to be heard from again.

Q: I think there’s a remix album in the pipeline, right? Tell us a bit more about its content and what are the further plans about live performances, new compositions, etc.?

EbE404: Yes. “Inrush” was conceived as a single cycle of a series of patterns. But the thing about the patterns in our lives is that they are always under the influence of the external world, so they vary from cycle to cycle. What we wanted to do was invite other artists to be that influence to mutate and modulate the cycle. So, the request was to imagine the part of the day that a given track represents- but imagine how that would have been altered by something else influencing it. Maybe you spilled coffee on your sock, maybe you got no sleep the night before due to a particularly rough dream, etc. What would this routine moment sound like with that bit of contextual mutation? The results are truly wonderful, and the artists that contributed to the album did amazing work to reflect that theme. It will be coming out on Give/Take soon.

There are some upcoming live performances, but it’s honestly difficult to say what those will be like. Each live performance is a custom piece and composition, so it’s hard to nail down exactly what it will be before it actually happens. Besides, what fun would that be?

For future work, there are several things in process- some exploring much different territory than either “Tedium And Loss” or “Inrush”. We’ll see where that goes- it might all blow up and mutate into something completely different tomorrow.

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

Justin K Broadrick, guitarist for Napalm Death but more importantly the founder of the industrial group Godflesh, returns under the Pale Sketcher moniker, or let’s say resurfaces because this electronic album has been collecting dust for several years.

Fifteen years ago, Justin K Broadrick began experimenting. Originally intending to create sketches for his project Jesu, Broadrick soon realized the new material didn’t fit Jesu’s signature guitar-noise. Pale Sketcher was born. Out on September 23rd is the album “Golden Skin” which was written and recorded between 2009-2013. Originally slated for release on Richard D. James’ (Aphex Twin) Rephlex Records prior to it shuttering, the material was unearthed and completed by Broadrick specifically for its release on the GIVE/TAKE label. GIVE/TAKE is boutique record label based in Los Angeles and Minneapolis, specializing in auteur-driven, experimental projects with an electronic approach.

When you pre-order the album now you will receive the lead single “I’m Your Possession” immediately.

To be released on vinyl, CD, and digital (available here in pre-order on Bandcamp) you can expect a mix of IDM, electronics, and experimental music. Note that the vinyl (transparent) shipping will happen as soon as manufacturing allows. The European fulfillment on this specific release will be provided by WeShipVinyl.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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We got a few questions regarding this, so yes, the Chicago-based industrial band, Project .44, have unleashed their first album in sixteen years, “(The Storm Before) Reform”. It’s the band’s first full album output although there has been a sporadic single, some compilation contributions, and an EP and lead-man Chri5 Harri5 has been busy for a few years with Sean Payne (Cyanotic) on the Glitch Mode Recordings offshoot CONFORMCO.

Harri5 explains the 16 years of album silence: “Well after we released our debut, ‘The System Doesn’t Work’ on Invisible Records, we put out a follow up remix CD in ‘07 and then still had five years left on our deal. We were in limbo. Recording had started and demos have lived, some, up to ten years. After we were free we got the braintrust together, Louis Svitek, Charles Levi, MTL, and long time producing friends The Thump and Seibold and went full bore into finishing the jams.”

After seven more years, two reissued releases from the Give/Take label, appearances at SxSW, Mechanismus Fesival and Sanctuary Festival, Project .44 was able to take the final sprint and complete work on their new album.

You get 11 tracks of brutal Chicago industrial with Chri5 Harri5 and fellow industrialists Louis Svitek (Ministry/ReVco), Charles Levi (Thrill Kill Kult/Pigface), Seibold (Hate Dept.) and guest appearances from En Esch (KMFDM/Pigface) and Lady E (Slick Idiot).

The CD features 3 bonus tracks with remixes from Jim Marcus (Die Warzau), Phildo Owen (Skatenigs) and Sean Payne (Cyanotic) The cassette and vinyl features 2 bonus tracks with remixes from Walter Flakus (Stabbing Westward) & Mark Trueman (Choke Chain).

Check out the video for “Murder Weapon” featuring En Esch.

And here is the full release.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Genre/Influences: Electro-Ambient, Cinematographic, IDM, Experimental.

Format: Digital.

Background/Info: American KPT (pronounced ‘KEPT’) is back on track unleashing eleven new songs.

Content: KPT already composed Soundtrack music and that’s for sure an influence you’ll find back at “Big Witch”. The influences are multiple and touching ground with different kinds of music. The album gives me the feeling to have been conceived as a single long-during piece that has been divided in 11 chapters. We’re entering a strange music universe, haunted by Ambient atmospheres, which are sometimes interrupted by nervous Jungle-like rhythms. The spooky atmosphere is reinforced by spoken samplings from beyond the grave. Some IDM passages can be noticed as well.

+ + + : KPT remains a true sonic enigma, but the main strength of this project definitely appears to compose Cinematographic related music. It sounds a bit experimental, sometimes hard to catch, but definitely original and that is different from established music standards. “Big Witch” is an album you’ve to discover as a compact entity; the tracks are like little pieces of a puzzle so you better can’t lose one.

– – – : Some passages are definitely pretty Experimental, which is not always the best sound to catch a wider audience. I guess KPT is not driven to reach wider audiences, but just doing its very own thing.

Conclusion: If you like sonic enigma’s, you better try the “Big Witch” from KPT.

Best songs: “Initiation”, “Invite”.

Rate: (7).

Artist: http://kptfrsh.com / www.facebook.com/kptfrsh

Label: https://www.givetake.life /

www.facebook.com/givetakelife

About KPT

KPT (pronounced “Kept”) is a one-man electronic project from Minneapolis, mixing breakbeats, dark synth layers and tribal-style rhythms. Side-Line featured the project’s track “Innermost”, from the album “BLK Eye”, on the 2017 “Face The Beat: Session 4” compilation. “Big Witch” gathers eleven new songs on the Give/Take label, structured as a single continuous piece.

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: Electro-pop, indie-pop.

Background/Info: Sweat Boys is a new name hailing from Wisconsin (USA), which joined hands together with Gave/Take to unleash this debut vinyl featuring five songs. The songs are a ‘about love, redemption, and partying.’

Content: Sweat Boys are clearly inspired by different electro-pop standards. Some passages are taking us back to the 80s while other ones are more into an indie style. From melodic parts towards refined parts, this work is quite diversified, but never into ‘classical’ electro-pop music. They invited Niklas Stenemo from the Swedish electro-pop band Kite to sing on one of the tracks.

+ + + : I can’t really say there’s a main song featured at this maxi as we get 5 different cuts. That’s a very good way to get a better idea about the bands potential. I prefer the more melodic and electro-pop driven “You’re Gone”. “Endlessly” featuring Niklas Stenemo is also worthy of examination.

– – – : This EP is missing a real title song.

Conclusion: I can’t say that I was totally convinced by this debut, but I’ll wait for more to get a better idea about their potential.

Best songs: “You’re Gone”, “Endlessly feat. Niklas Stenemo”.

Rate: (6).

Artist: www.facebook.com/SweatBoysBand

Label: https://www.givetake.life / www.facebook.com/givetakelife

About Sweat Boys

Sweat Boys is an electro-industrial act from La Crosse, Wisconsin, per Discogs. The group self-released the “See You Dance” (2013), “I Like To Party” (2016) and “The Remixes” (2017) EPs before “Nervous Prayers” (2019) became its first release through a label, Give/Take. Sweat Boys has since self-released the “You Are My Heart” (2020) and “Adrenaline” (2021) singles.

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: IDM, experimental, deep-techno.

Background/Info: KPT (pronounced as ‘kept’) is an American project I never heard of before. It seems like an album entitled “Blk Eye” was released in 2016, this EP December 2017 (!) and the single “Fluid Bonded/Disarm” in 2018. It’s a bit strange to have gotten this production a long time after its release, but it’s an opportunity to discover a promising artist.

Content: “Sequel” was composed for a short film. It features the title track plus 4 remixes. I discovered a somewhat IDM-inspired track, driven by a slow rhythms and featuring industrial sounds.

The remixes bring a real diversity to the title song. From the bombastic “Deathdance Mix” to the experimental “Makr Mix” to the more elaborated “Sweet Boys Mix” to the deep-techno like “DJ Esp Woody McBride Mix” this EP has a lot to offer.

+ + + : “Sequel” is an interesting title song, which is experimental, but accessible. I like the industrial sound treatments and the global minimalism of the song. The remixes bring a real great diversity and I especially recommend the “Deathdance Mix” and “DJ Esp Woody McBride Mix”.

– – – : I wanted to hear more songs so I had to visit the Bandcamp page of KPT and I was not deceived. There’s a noticeable minimal touch inspiring this artist.

Conclusion: KPT is an easy name to keep in mind and I definitely want to hear more new stuff from this project. This EP stands for a nice twist between different influences.

Best songs: “Sequel – Deathdance Mix”, “Sequel”, “Sequel – DJ Esp Woody McBride Mix”.

Rate: (7).

Artist: http://kptfrsh.com / www.facebook.com/kptfrsh

Label: www.givetake.life / www.facebook.com/givetakelife

About KPT

KPT is an American dark electronic/industrial project, the name pronounced “kept”. The project’s debut album “Blk Eye” was released in 2016, followed by the “Sequel” EP in December 2017 and the single “Fluid Bonded/Disarm” in 2018.

KPT released the album “Obliterate” in 2021 and remixed En Esch’s single “Push” in 2023 on GIVE/TAKE, the Los Angeles/Minneapolis label also home to Justin K Broadrick’s Pale Sketcher and David J of Bauhaus. KPT is also one half of the duo Deathdance. The single “Collared”, the first offering from the diptych “Never, Forever; Nothing Completely”, followed on September 1, 2023.

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