The Berlin-based dark electro act To Avoid have released their brand new album “All Gods Are Gone”. This new double album is out now via Belgium’s Alfa Matrix label.

“All Gods Are Gone” is available now in a double-CD digipak and as a download via Bandcamp.

The band mixes late ’80s EBM and ’90s melodic dark electro including elements from modern cross-genre influences. Thematically this release builds on their past explorations of dark themes—crime, corruption, and environmental destruction—delivered through hard-hitting EBM that will please fans of early Front 242, Skinny Puppy, Vomito Negro, and Grendel​.

The first disc offers 13 original tracks like “Trust”, “Fireball”, and “1989” (which got released as an EP earlier this year). Complementing these, the second disc features 14 remixes by a rather impressive lineup of electronic artists, including Haujobb, Portion Control, and Circumpolar.

Formed in 1998, To Avoid launched their debut album “Resurrection” in 2002, followed by “Passion and Pain” (2009). Following a period of hiatus, they returned in 2022.

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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There is a new format show for De/Vision called Devision Redux which will be touring next spring. The project consists of Steffen Keith (singer of De/Vision) and Daniel Myer (Haujobb, DSTR, Covenant, Architect etc.).

Together they will present the most important tracks of De/Vision in a clubbier, more modern, partly also more minimalistic, but purely electronic version.

The first show will take place in Tallinn, Estonia on April 12 at Kinomaja. The project will then continue touring in Germany over Easter 2025 and will probably also expand their live presence beyond that.

According to singer Steffen, Devision Redux is in no way the end of the actual band.

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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VampireFreaks have announce the line-up for the 3-day music festival Dark Force Fest which takes place in Parsippany, NJ (one hour from NYC) on May 2nd to 4th, 2025.

The festival features 35 bands performing across two stages: including ORGY, The Birthday Massacre, Covenant, Suicide Commando, Aesthetic Perfection, Genitorturers, Funker Vogt, Razed In Black, Calabrese, SITD, Haujobb, Klutæ, TRAITRS, Beborn Beton, God Module, Flesh Field, Dead On A Sunday, Rosegarden Funeral Party, Amelia Arsenic, NYXX, Panic Priest, 2 Shadows, Seraphim Shock, Dancing Plague, genCAB, Occults, SINE, Circuit Preacher, Corbeau Hangs, Die Sexual, Frenchy and the Punk, Everything Goes Cold, Contracult, Project .44, and Whorticulture.

You can order your tickets here.

Dark Force Fest takes place at the Sheraton Parsippany, a castle-style hotel that features 44,000 square feet of event space and 370 hotel rooms. While the hotel rooms in the main venue sold out within days of announcing the festival, there are still overflow hotels in the surrounding area.

In addition to 35 bands, Dark Force Fest activities include:

• Over 100 Vendors
• Sideshow Performances
• Drag Queens
• DJ Club Events (Playing Goth-Industrial Music)
• Classes & Activities
• Panels and Presentations
• Food Trucks

Below is a preview of what to expect.

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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After releasing his debut album on Nadanna, MARTINÉ returns with this second opus, which even includes an additional disc of remixes in the CD format. This project is particularly difficult to categorize, as the album blends a variety of genres. It begins with typical German EBM in the style of DAF, before transitioning into more Electro/Body-Pop tracks. Later on, Dark-Electro influences emerge, evoking the early years of Skinny Puppy. Towards the album’s end, the sound becomes more sophisticated, incorporating elements reminiscent of Haujobb. Although the album may feel somewhat incoherent at times, it remains a strong release because Martiné excels across all genres. The work is filled with excellent songs, supported by solid production.

The second disc also features many compelling remixes, with highlights including tracks remixed by Mach Fox and Insect Plasma, which I highly recommend. (Rating:8½).

Listen to “Stuka”:

About MARTINÉ

MARTINÉ is a German electronic project from North Rhine-Westphalia. The music moves between old-school EBM, electro/body-pop and dark-electro.

The debut album “My Mind : The Hand Grenade” was released on December 9, 2022 on Nadanna. The second album “Nichts Währt Ewig” followed on May 13, 2024, with a CD edition on Echozone that adds a bonus disc of remixes.

The albums “Survive or Perish” and “Erase My Self” (July 2025) later followed “Nichts Währt Ewig”, the second full-length reviewed here.

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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“The Machine In The Ghost” marks Haujobb’s first new album in six years and their tenth studio full length. Daniel Myer and Dejan Samardzic have clearly made an effort to reinvigorate their signature sound with fresh ideas, drawing inspiration from past eras of immense creativity. The result leans more heavily into Industrial territory, characterized by metal-like sounds that lend the album an Experimental and at times Cinematic feel. Despite these new elements, the familiar icy, minimalist Haujobb atmosphere remains intact, driven by slow rhythms and Daniel Myer’s distinct vocal style. At times, the album feels like a carefully constructed experiment, blending analog and digital sounds with Electro-Acoustic textures. While “The Machine In The Ghost” may not be Haujobb’s most accessible or strongest work, it stands as a visionary effort that pushes boundaries in their  unmistakable style. (Rating:8).

Listen to “Uselessness”:

Read the news on ‘The Machine In The Ghost’.

About Haujobb

When Haujobb was founded as a trio in the West German city of Bielefeld, the band was still influenced by the Vancouver school of industrial, which is quite audible on the early full-length “Homes & Gardens” (1993). On the following albums, “Freeze Frame Reality” (1995) and “Solutions for a Small Planet” (1996), the Germans moved away from their Canadian roots and began to amalgamate IDM (intelligent dance music) with industrial and EBM.

After Björn Jünemann, one of the three founders, had left, the remaining original members Daniel Myer and Dejan Samardzic decided to continue as a duo.

“The Machine In The Ghost”, released in 2024 on Dependent Records, is the duo’s tenth studio album and their first in six years.

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

Berlin-based industrial band To Avoid recently released the single “Diatribe” and the “1989” EP ahead of their album “All Gods Are Gone”, out December 6, via Alfa Matrix. We now have more details on that new album.

“All Gods Are Gone” will be out as a double-CD digipak. While the first CD holds 13 tracks, the bonus CD features remixes by a rather impressive lineup, including Haujobb, Portion Control, Mildreda, Circumpolar, Kifoth, Sleepwalk, Severe Illusion, Ice Ages, Forgotten Sunrise, Object, Kalt, Gettner, Tension Control and Chrome Corps.

Thematically the album tackles dark themes such as crime, corruption, and environmental destruction.

You can pre-order the album via Bandcamp or order it on CD via the Alfa Matrix webstore.

Formed in 1998, To Avoid gained early recognition with their debut “Resurrection” (2002), followed by the albums “Passion and Pain” (2009) and recent singles such as “1989”. The new album continues their legacy of hard-hitting sound and thematic intensity, further solidifying their place in the global industrial music scene. Known for pushing the boundaries of dark electro since 2000, the band fuses late ’80s EBM with ’90s melodic dark electro, creating intense soundscapes. Read the review of ‘All Gods Are Gone’.

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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Haujobb has released its newest album “The Machine in the Ghost”, the tenth full-length album by this German electro-industrial duo. The title seems a reference to the The Police album “Ghost in the Machine”. The Leipzig, Germany-based duo decided to use fieldwork recordings this time to create the overall sounds for this album.

Additionally, “The Machine in the Ghost”, features a guest appearance by Emese Árvai-Illés from the Hungarian duo Black Nail Cabaret. “The Machine in the Ghost,” is available from Metropolis Records in North America and Dependent Records in Europe on all digital and streaming platforms along with a CD version.

About Haujobb

Haujobb is a German electronic music project formed in 1993 by Daniel Myer and Dejan Samardzic. Initially influenced by the industrial sounds of the early ’90s, Haujobb became known for their fusion of electro-industrial and EBM (Electronic Body Music) with more experimental electronic genres like IDM, ambient, and techno.

The band’s debut album, “Homes & Gardens”, was released in 1993, showcasing their industrial roots. However, their sound began to evolve rapidly, and by their second album, “Freeze Frame Reality” (1995), Haujobb embraced a more complex and layered approach to electronic music, moving away from traditional industrial structures.

Their breakthrough album, “Solutions for a Small Planet” (1996), marked a significant departure from the harshness of industrial music, incorporating elements of drum and bass, techno, and glitch. This release established Haujobb as one of the most innovative acts in the electro-industrial scene.

Over the years, Haujobb has continued to explore different sonic territories, with albums like “Polarity” (2001), “Vertical Theory” (2003), and “New World March” (2011). Their work has been characterized by its willingness to push boundaries, blending different subgenres of electronic music, while maintaining a dark, futuristic aesthetic.

Daniel Myer, in particular, has been active in various other projects, including Architect, Destroid, and Covenant, further solidifying his role in the electronic music community.

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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I wasn’t initially drawn to the work of this American artist. This album, with its 6 tracks, is challenging to categorize by style. It leans heavily into the Experimental, infused with Minimal-Electro sounds and intricate arrangements. Slow rhythms and dark atmospheres envelop the compositions, where Brian Tibbs also ventures into vocal experimentation. There’s a faint echo of Haujobb in the distance. This is an intelligent and complex body of work that may resonate with only a select few, but it ultimately won me over. (Rating: 7½)

Listen to “Feel It”:

About Brian Tibbs

Brian Tibbs is an American self-released artist working in Experimental and Minimal-Electro. He released the album “Weimar” on April 25, 2023, followed by a remastered edition of “At The Edge”, featuring the track “Feel It”, on July 18, 2024.

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

Haujobb has revealed its new video single “Opposition”, which is featuring guest vocals by Emese Árvai-Illés from the Hungarian pop noire duo Black Nail Cabaret. The track is taken from the bandµ’s forthcoming new album “The Machine in the Ghost”. The German duo’s tenth full-length is slated for release on September 20, 2024.

Haujobb says this about the track: “Adding guest vocals towards the end of the song was basically the idea of a Saturday afternoon”, programmer Dejan Samardzic explains on behalf of the duo. “Emese is such a reliable artist, she delivered her impressive vocals within 24 hours. Maybe she sensed the urgency this had for me. I could hardly wait to add that new element to the arrangement as it brought a strong organic feel to it.”

Emese Árvai-Illés adds: “Dejan had some wordless singing in mind, like the side vocals of the Eurythmics’ classic ‘Sweet Dreams’, and he asked me to just improvise”, the Hungarian singer reveals. “I recorded a couple of takes and did some random Adlibs at the end. That gave me somewhat of a Massive Attack ‘Unfinished Sympathy’ feel, but in a more industrial way.”

The video, which you can see below, was created by Boris May (Klangstabil).

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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After two stylistic, elaborate, and promising albums, Belgian artist Pieter Coussement returns to his beloved Llumen project. The influences remain versatile, sounding like a sonic fusion of EBM, IDM, Electro/Future-Pop, and Ambient. Over the years, Llumen has become more danceable, and this is evident in the new work, which sounds like his most danceable production ever. It is an intelligent production that also dares to experiment with somewhat cheaper Dance leads. “You Can Have It All” is an absolute masterpiece. The album also gets a solid bonus with numerous remixes featuring big names like Grendel, as well as label mates like Implant, Aiboforcen, Aesthetischye, and others. It may not be Llumen’s best work, but it is still a creative and polished production which might appeal for Haujobb-fans. (Rate:8½).

Listen to “You Can Have It All”:

Read the news on ‘The Breaking Waves’.

About Llumen

Llumen is the solo project of Belgian musician Pieter Coussement, active in the dark electro and future-pop scene. Side-Line covered the project’s EP “The Dark In Her Eyes” in April 2021, featuring remixes by Auger, Implant, Antibody, and Entrzelle, followed by the album “Polygon Heart” in June 2021. The 9-track EP “Die Stille Totgeschwiegen” followed in December 2023. Llumen released “The Breaking Waves” as a limited 2CD set on Alfa Matrix in May 2024, discussed by Coussement in a Side-Line interview the following month about the album acting as a reflection of inner turmoil. “You Can Have It All” is featured on that album, alongside remixes from Grendel, Implant, and Aiboforcen.

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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Out via Dependent Records on 6 September is a collection of the two first self released albums from the German dark electro act FÏX8:SËD8, “humanophobia:dormicum”.

FÏX8:SËD8 was founded by Martin Sane and started with two self-released albums. The debut “humanophobia” arrived in 2006 and was produced by Haujobb’s Daniel Myer, while the sophomore full-length “dormicum” that came out in 2009 was self-produced. “humanophobia” was inspired by the Cambodian killing fields and former internment camps of the Khmer Rouge regime (1975-79) under Pol Pot.

The release comes as an artbook collecting both titles in a remastering by Pyrroline’s Arnte who had already produced and mixed the band’s “The Inevitable Relapse”. “humanophobia:dormicum” will be available as a 36-page artbook with 2 CDs including 3 bonus tracks.

Below is the official single “Killing Field”.

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 Chris Ruiz) Out via Dependent Records on 20 September 2024 is the all new Haujobb album “The Machine in the Ghost”. “The Machine in the Ghost” marks the tenth studio album of the at the present Leipzig based duo consiting of Daniel Myer and Dejan Samardzic.

For this new album the duo used a mix of software and hardware. The band adds: “This deliberate nod to a time with less software and more analogue shifting of the dials complements the theme of “The Machine in the Ghost” with a retro touch, yet without indulging in mere nostalgia for its own sake. The album revolves around the highly charged relationship between mind and matter, analogue and digital.” Guest musicians on this album include Emese Árvai-Illés (Black Nail Cabaret) on vocals, Hannes Rief (Die Selektion) on trumpet, Aleta Welling on lyrics and Felix Gerlach on cello.

“The Machine in the Ghost” will be available as a 36-page artbook with 2 CDs including a bonus CD with 12 previously unreleased remixes, on a black vinyl LP, and on ltd. clear vinyl.

About Haujobb

When the band was founded as a trio in the West German city of Bielefeld, they were still influenced by the Vancouver school of industrial which is quite audible on their early full-length “Homes & Gardens” (1993). On their following albums, “Freeze Frame Reality” (1995) and “Solutions for a Small Planet” (1996), the Germans moved away from their Canadian roots and began to amalgamate IDM (intelligent dance music) with industrial and EBM.

After Björn Jünemann, one of the three founders, had left, the remaining original members Daniel Myer and Dejan Samardzic decided to continue as a duo. Read the review of ‘The Machine In The Ghost’.

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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Belgian multi-talented artist Pieter Coussement recently released the 3^rd Llumen album. A very diversified piece of work where emotional intensity merges with poignant melancholic vocals and addictive dark synth melodies. Pieter opened us his door for an open-heart conversation revealing the abyssal depth of “The Breaking Waves”…

You can get the album on Bandcamp, from the Alfa Matrix webstore as a 2CD set and all other platforms.

SL: “The Breaking Waves” explores themes of internal turbulence, health crisis, and introspection. Can you share some personal experiences or inspirations that influenced the creation of this album?

P. For as far as I remember there’s always been an uneasiness within me when dealing with this world. For a long time I thought I handled it well and kept on living my life, but this somehow caught up with me (like these things tend to do) about a decade ago. Since then it’s been a rollercoaster of events and emotions that on many occasions brought me to my knees and that have felt quite a few blows to me. It started with my mother’s passing which shook my whole existence and I never really felt with it in a healthy way. A few years later I had 2 (minor) heart attacks (and heart surgery). As you can imagine this was a huge disruption and completely numbed me. Prior to these heart attacks I was writing music for my second album Polygon Heart but that process suddenly stopped for the better part of two years because I was completely broken.

The song “Lifeline” got me through it in the end and life went on its merry way again. The biggest thing I learned through all of this is that I needed to be true to myself, something that very much inspired my writing process. Where lyrics used to be more fictional almost everything these days comes from within and has a close connection to moments where I deeply felt what I’m singing. Personally I think it has been beneficial both in life as in music to get in touch with your true self. In that respect, The Breaking Waves is a sincere collection of deeply felt emotions that I’ve put to music the best way I could.

SL: Your music draws from old-school EBM, gothic, techno, and future pop. How do you balance these diverse influences to create a cohesive sound in “The Breaking Waves”?

P. I’ve searched long and hard for that particular LLUMEN sound. I often fall back on old-school EBM for its ice cold sequences and driving beats, but also find myself drawn to melody and chord progressions. Because of this, there are a lot of future pop or even trance influences in my music. Above all things, however, I like good songs and meaningful lyrics, most of which have a very deep melancholic layer, which comes from my (early) goth days. I try to tie all of this together using many layers and meticulous mixing. A tedious process I must add.

SL: You’ve mentioned influences from iconic acts like FRONT 242, HAUJOBB, and DIORAMA. How have these artists shaped your musical direction, and how do you incorporate their influence while maintaining your unique sound?

P. I take inspiration from many different things. The bands you mention are just a few out there, but all bands that I have a deep respect for. They say that plagiarism is the sincerest form of flattery and I’m very interested in how other bands bring their music to life. But I’m easily distracted and every stylistic exercise that I try eventually fails and becomes a LLUMEN song.

SL: Tracks like “Desire” and “Bring Me Flowers” showcase a range of emotions and musical styles. Can you talk about the creative process behind crafting such varied yet emotionally rich songs?

P. Thank you for mentioning these songs and especially appreciating the variance and emotionality within the songs. In many of my songs, I seek some kind of contradiction between melody or musical theme and the lyrics to accentuate the emotions I want to convey. Often this leads to a complex writing process where I want to set the mood first before bringing in all the different elements. I’ve struggled a lot with Desire because the leading piano melody really pulled at me for a long time into a direction that I didn’t want to go to. It’s only when I started playing with the instrumentation that it fell into place. Bring Me Flowers on the other hand, was a song that almost instantly fell into place. The musical idea was very much to have a typical EBM feel to it and the sentence “she brings me flowers to ease the pain” had been running around my brain for months before (I think I picked it up from a Brendan Perry song). I wrote the chorus and tied it to the music.

SL: The album features collaborations and remixes with various artists such as GRENDEL, AESTHETISCHE, and IMPLANT. How did these collaborations come about, and what do you feel each artist brought to their respective reinterpretations?

P. The collaborations come from some kind of connection with my fellow artists. For starters I need to like what they do musically, if not there is no sense in handing your babies into their skillful hands. Next it helps when there is a good connection on a human level, Len (Implant) has been a good friend throughout the years and I know he’s going to do a stellar job from the get go. When playing Mechanismus in Seattle last year, I had a few long talks with JD from Grendel and I thought we hid it off quite good, so I asked him to remix Die Stille which he did brilliantly. Many of the remixers are friends or become friends throughout the process. It’s one of the things in this scene that always warms me, every fellow musician is very eager to share their insights and knowledge, even if it’s a constructive critique.

SL: “The Breaking Waves” concludes with the track “Harbour,” symbolizing life’s ebb and flow. What message or feeling do you hope listeners take away from this final track?

P. There’s always a push and pull in life, an ebb and flow. The metaphor of the ocean, a harbor and a ship has been used to illuminate how people and feelings change over time. What once was a safe place can become very threatening and violent. At heart, I believe that we as people try to do what is best for each other, fighting the same struggles and living with the same amount of insecurities. At times you can be someone’s harbor, a safe haven for them to rest, but there is always going to be turmoil just beyond the bend. The main feeling people should get from this track is one of hope, everything is possible if you manage to stay afloat. 

SL: Following your previous releases, “The Memory Institute” and “Polygon Heart,” how do you feel your sound and artistic vision have evolved with “The Breaking Waves”?

P. It’s hard to pinpoint any definite aspects that evolved throughout this endeavor, but overall I think what changed is that there the songs now are closer to my heart and less fictional than they were when I started LLUMEN. The songwriting has evolved too, making better use of tonality, chords and melody to convey my thoughts. Polygon Heart was an album where the songs fitted well together and there’s a sense of unity. With The Breaking Waves I thought for a long time that the tracks were a bit harder to fit on one album. In the end I think it has become a diverse album with a broad variety of songs that earn a few listening stints.

SL: Your music is described as a profound exploration of human emotion and desire. What do you hope listeners experience when they immerse themselves in “The Breaking Waves,” and how do you want your music to impact them?

P. I first would be grateful if they truly immersed themselves into this music, on a quest for new elements in the songs with each time they listen. I also hope that the lyrics resonate with people and maybe help them to overcome some of the blows that are dealt throughout life. I certainly experience writing – or better finish writing- songs and lyrics as something cathartic. At the other hand, when listening or singing each of my songs, I’m also torn back into that mindset I had when writing it, which is often a very confronting emotion. For me, it’s a way to keep these memories and visit them from time to time, but also knowing that I can step away from these emotions when realizing I’m in a different mindset today. In this respect, I hope listeners can do the same and visit their memories good and bad from time to time, to become better versions of themselves. Read the review of ‘The Breaking Waves’.

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.

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Michael Renfield has been active with various music projects for several years. Some will no doubt remember Noise Process, but he is now back with a new album from R010R. “Total Disinformation Awareness” was released by Electro Aggression Records and delivers us 16 songs driven by intelligent, old-school EBM with a touch of Dark-Electro on top. This interview gives us a broader view of this in my opinion underrated musician.

(Courtesy by Inferno Sound Diaries)

Q: It’s been a while ago now you set up R010R. What were the triggers and influences to start this solo-project and how did you see R010R evolving throughout the years?

Michael: Hello, and thank you for this interview opportunity. R010R happened gradually after my previous music project Noise Process ran its course. I moved to New York, and started working with I, Parasite, an Industrial-Metal project. I wanted to create a solo endeavour that had no alignment to a genre or expectation. My initial album “Gradual Destabilization” (2008) was an experiment in deconstructing how I created music while I was also learning a DAW approach for the first time.

Previous to R010R, everything was hardware sequencers, synths, and drum machines. The software world was an interesting challenge. Since I was working with Christopher Jon and “I, Parasite, performing live noise/synths, the album was released on the Dark Vision Media imprint.

As far as an evolution, that is the very nature of R010R. I am not trying to make a product or sell a gimmick. I am just forging ahead and doing various audio experiments. Not everything works as an album or EP format. However, I do make new music consistently. I am just very selective about what I release.

Q: What means music to you? And tell us a bit more about the achievement of your new album “Total Disinformation Awareness”?

Michael: I do music for the love of it and mainly enjoy experimenting in the studio environment. My SoundCloud account has tracks that are only temporarily available, and it is not always feasible to make these into a cohesive release. I enjoy the temporary format and mainly use these as a springboard for new concepts.

After “Gradual Destabilization”, I created another album called “End Of All Reason” (2010). However, I decided to shelve the entire thing and go in another direction. The “Urban Renewal Program”-EP (2012) led to “Daybreak”, and “Unyielding” (2016). I made these while I was collaborating with Dejan Samardzic (Haujobb/DSX), and Martin Sax (Valhall/Ekobrottsmyndigheten) on their projects. “Unyielding” was polished up with Dejan’s feedback and released on their Basic Unit Productions imprint.

“Total Disinformation Awareness”, originated as a series of EP’s that I wanted to release through Bandcamp exclusively. In 2021 I sent a handful of tracks to Dejan again as well as Nader Moumneh (Electro Aggression Records) just to get some feedback as the music was a sort of ‘old school’, return to that 90’s Electro-Industrial sound. Basic Unit at that time was inactive as a label, but EAR had some plans for R010R because Nader stated that he loved the tracks, wanted more, and was considering releasing a CD of the material. I have worked with Nader and EAR for many years, doing artwork and remixes for bands on the label. So it seemed a perfect opportunity to create another album.

Q: What have been the different stages, challenges and difficulties you’d to go through to achieve this new work?

Michael: So now we get to the heart of it all. The challenge in creating “Total Disinformation Awareness” was not the music at all. It was the theme. With “Unyielding”, I was rattled by the Edward Snowden revelations. This led to reading about Thomas Drake and Bill Binney who were also NSA whistleblowers. This led to Wikileaks and Julian Assange, the Hillary Clinton emails, and Vault 7. Without getting into those details for the sake of your readers, my worldview journey eventually got to “Total Information Awareness”. A DARPA program of mass surveillance that utilized several defence and intelligence contractors that were also in Wikileaks documentation of interest. “Total Disinformation Awareness” is a nod to that program and the idea that social media took up where that program ended.

Q: Anything more we’ve to know about the lyrical content?

Michael: I think I made it clear with the press release. ‘There is a ton of disinformation being pushed through official channels and it is designed to keep us in a state of confusion and belligerence towards each other. It is imperative that we recognize and call out this attempt at deceit or we are going to become victims of oppression within our own ‘democratic’ systems.’

This has only become even more apparent with current news cycles where anti-war protesters are identified as anti-Semitic, COVID conspiracy theories are revealed to be factual, and politically aligned individuals are termed ‘a dangerous cult’. Meanwhile, all sides are pushing lies and misinformation frequently and without remorse. This is the art of destabilization that we must defend against. How can we be informed citizens and make informed decisions in our countries when our worldview is illusory?

Q: Sound-wise there clearly is a sophisticated, ‘old-school’, EBM sound running through the songs which might remind to legendary bands from the Canadian EBM school but also to bands like Mortal Constraint, The Klinik ao. What does it say about your perception of sound, sound creation and global production?

Michael: This is always interesting to me, the alignments that the audience hears in my music. Of course, I am aware of and listened to this style of music decades ago. However, if you ask me what inspired me to write “Total Disinformation Awareness” I would say Modeselektor, Ben Frost, and Bosse De Nage. I listen to a great deal of music 24/7 and only a small percentage of it is still Electro-Industrial. I honestly love this modern landscape of music. Independent music has never thrived like this. I have several webzines and platforms I visit every week just to keep up.

Q: What comes after “Total Disinformation Awareness” and do you’ve plans to bring the music on stage?

Michael: Next up on the worklist, I continue the R010R EP’s I was writing before Total Disinformation Awareness”. I already have several new tracks that will drop on Bandcamp later this year. These will be more Techno and Noise-related than EBM or Electro-Industrial. However, I have been tasked with a handful of new remixes for EAR artists as well as some additional Electro tracks for the upcoming EAR compilation. Those will be along the lines of “Total Disinformation Awareness”. I also have plans to start doing live Noise webcasts through my Youtube channel, as well as a new free-form Noise project I call Diminished Bastard Sword. The best way to keep track of what I am doing is through SoundCloud and Youtube. I will drop a link below.

Lastly, negative. I have no plans to play out live. I have done that thoroughly in my youth and I rather stay in a controlled studio environment. I also have a family and a ‘day job’. Arranging shows or a tour schedule is not possible.

Thank you again for reaching out and arranging this interview. I very much appreciate it. https://linktr.ee/soillodge

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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“The Breaking Waves” is the title of the new Llumen album which comes as a 2CD set / Bandcamp download and which is available now. The album was already teased in November with the EP “Die Stille Totgeschwiegen”.

Llumen is the project by Belgian artist Pieter Coussement who brings a very updated EBM blending it with influences from old-school EBM, techno, and future pop. Influenced by acts like Front 242, Haujobb, Diorama, Assemblage 23, Suicide Commando or yet Covenant, Pieter has been able to develop an own mature sound.

Following the 2017 debut album “The Memory Institute” and the 2021 release “Polygon Heart”, “The Breaking Waves” is his 3rd album to date.

The accompanying CD holds remixes, edits, reinterpretations plus collaborations with Grendel, Aesthetische, Aiboforcen, Neuroactive, Implant, Mind.Divided, Dimethoxy, J Wølf, Nacht Nackt and The Saint Paul.

You can check out the full album below. Recommended!

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.

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Genre/Influences: IDM, Dark-Techno, Industrial-Techno.

Format: Digital, Vinyl.

Background/Info: Daniel Myer (Haujobb, Architect, Liebknecht, Rendered, Cleen ao) strikes back with a new work under his own name. This is the first work he released by Sonic Groove.

Content: If you’re a bit familiar with the Sonic Groove roster you know what to expect. Daniel Myer transformed himself into a Techno artist although holding on to more familiar influences like IDM and Industrial. The album sounds hard and pumping but still features the familiar sound intelligence and knowledge. A few ghost-like vocal effects have been added now and then.

+ + + : Daniel Myer is an artist who feels comfortable with multiple music styles. I’m not saying “Hingabe” sounds like a total surprise but it has been clearly infused by Dark-Techno elements. The main strength of the work is the sophisticated sound production; featuring great and intelligent sound treatments and Industrial elements while you’ll also notice more atmospheric layers in the background reminding Haujobb. “Hingabe” is a great opus featuring an impressive list of cool tracks. Notice by the way Static Sky, Skelesys, DSX and Hypnoskull have been featured each on one song.

– – – : I don’t see real minus points.

Conclusion: This work might be one of the most sophisticated releases from Sonic Groove; visionary Techno music!

Best songs: “Angst”, “Reale Angst”, “Tactics Dub featuring Hypnoskull”, “Atomic Overkill”, “Ohnmacht featuring DSX”.

Rate: 9.

Artist: www.facebook.com/danielmyermusic

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

About Daniel Myer

Daniel Myer is a German producer best known as one half of Haujobb, the Bielefeld-founded project he continues as a duo with Dejan Samardzic after original member Bjorn Junemann left. Haujobb’s early work, including “Homes & Gardens” (1993), carried the influence of the Vancouver school of industrial before the band moved toward a mix of IDM, industrial and EBM on “Freeze Frame Reality” (1995) and “Solutions for a Small Planet” (1996). The duo continued into 2024 with the tenth Haujobb studio album, “The Machine in the Ghost”, on Dependent Records.

Beyond Haujobb, Myer records under several other names, including Architect, Liebknecht, Rendered and Cleen, each exploring different corners of electronic and industrial music.

“Hingabe” marks Myer’s first release under his own name for Sonic Groove, moving into Dark-Techno territory while retaining the IDM and industrial vocabulary of his other projects.

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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Out via the Slovakian label Aliens Production is the all new album by the one-man project Fractal. The new album called “Antidote” is out on CD and available also in digital formats.

Behind Fractal we find the Polish EBM musician Tomasz Lukowicz. Tomasz: “The brand new album is a work whose production took place in the previous months, so this is a new direction and view of my musical world. Musically, the project is on a synthetic wave full of pulsating electronics and melodic structures. Of course, the melancholic instrumentals are also included in the new concept, where they are a strong part of the album.”

The 10-track album, mastered by Anatoly TOKEE Grinberg, is heavily influenced by bands such as Front Line Assembly, Haujobb, Forma Tadre, Noise Unit and related acts.

Here’s the video for “Leaving a dead planet” (Predator mix). Read the review of ‘Antidote’.

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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The Prague concert of Depeche Mode, scheduled for 30 July at the Letňany exhibition grounds, will feature support from our esteemed friends, the Czech electropop band Lakeside X.

The band is one of two support acts, alongside the previously announced Berlin band Hope, who are touring Europe with Depeche Mode as part of the European leg for their current album, “Memento Mori.” Lakeside X recently made their return after a ten-year hiatus with their new album, “Love Disappears.”

“It is indeed a great honor for us and an opportunity to introduce our music to a like-minded audience. Simultaneously, it carries a great responsibility, considering the band selected us,” says Janne Marvannen, the frontman and composer. “We have never concealed our admiration for Depeche Mode, having attended numerous concerts ourselves. In fact, it was on our way back from one of their shows that we decided to form a band,” the singer adds.

“Anyone who watched Anton Corbijn’s documentary ‘Spirits In The Forest’ would relate to our story. Each one of us has a personal, unique, yet somehow interconnected experience with Depeche Mode,” says Robert Broj, the other founding member of Lakeside X. “As someone once said, DM is the soundtrack of our lives, and we consider ourselves fortunate to share that with each other while the band is still active. It’s also true that many of us original fans have started bands, projects, and created our own music, influenced to varying degrees by Depeche Mode’s music. Hence, sharing the same stage with them is a dream come true. Nonetheless, it is also a significant challenge, affirming that we are on the right path and inspiring us to continue our work,” adds the keyboardist.

Lakeside X has already released four albums. Following “Sunrise” (2004), “EXIT: NOWhere” (2007), and “City Of Red Lights” (2010) under the X Production label, the band took a lengthy hiatus before reuniting in 2021. Teaming up with German producer Daniel Myer (Haujobb, Covenant, Architect, Liebknecht), they embarked on a new album, which was released in October 2022.

For more on Depeche Mode, see German electropop label conzoom Records celebrates 15th anniversary… on Side-Line.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. 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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The synthpop/industrial band Distorted Reality is back with an all new single, “I Can’t Imagine”. “I Can’t Imagine” addresses the idea of being in a relationship with someone for a long time while realizing the relationship is essentially over. No one wants to make the scary move of ending it. It’s a difficult and heartbreaking split because you both still love each other. In this case, however, love is not enough.

“I Can’t Imagine” is available on all major digital platforms including Bandcamp.

Below you can see a video for the new single.

Distorted Reality was formed by Martha A. Hoffmann from Miami, USA and Christian Kobusch from Berlin, Germany, the creator of musical project Berlin Banter. Martha is the lead singer of Deep Red, the American Electro-Goth formation. Deep Red was touring in support of Project Pitchfork when a chance meeting between Marttha and Christian happened at a tour stop in Germany, Martha and Christian began to discuss their ideas.

Subsequently, Distorted Reality was formed after the two kept in touch over the course of a year during which, a collection of songs were created. Distorted Reality’s debut album “The Fine Line Between Love and Hate” was produced together with Bruno Kramm (Das Ich) and released on May 17, 2002 on Accession Records and re-released on the American record label Nilaihah Records. The North American version contained additional remixes by Assemblage 23, Forma Tadre, cut.rate.box and Null Device.

In 2004/2005 Martha and Christian worked on their second album “Daydreams and Nightmares” together with Andreas Meyer (Forma Tadre, Newt). Artists like Bruno Kramm, Daniel Myer (Haujobb), In Strict Confidence, Dust of Basement and Chris L. (Agonoize) contributed remixes to this album.

During the COVID-19 lockdown, the band decided to put out a new single (performed live), “I Knew it Was Wrong”, in January 2021. 2022 then saw another collaboration with Solitary Experiments where Martha was part of a special bonus CD, “La Voix de La Femme”, with her interpretation of their song “I am”. Most recently, Christian and Berlin Banter collaborated on a single with Tricky.

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 Karolína Faltysová) The synthpop project Lakeside X have finished a new album which is due out October 21st. And today they are releasing a final 4th single “Time Has Come” – together with a brand new video. Lakeside X consists of the trio Janne Marvannen, Robert Broj and Igor Dvorsky.

The single is yet another teaser for the band’s forthcoming album “Love Disappears” which has been produced by Daniel Myer (Haujobb , Liebknecht , Covenant , Architect). The Prague based synthpop act made a comeback last December with the release of “Fire in the Sky”, the first single after 11 years since their last studio album.

The video was filmed in the beautiful city of Prague (Czech Republic) and directed by Janne Marvannen and edited by Lakeside X’ Igor Dvorsky.

Below are some photos from the making of.

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!

side-line.com

Genre/Influences: Electro-Pop, Experimental.

Format: Digital, CD.

Background/Info: American project Entrzelle strikes back with a new work which is also the first new album since 2016. The opus features twelve songs plus four remixes.

The gap was bridged by the EP “Feeling Heavy These Days”, released on Alfa Matrix in 2021 and announcing this album.

Content: The global approach in sound and production remains in the line of the previous album “Total Progressive Collapse”. There’s a sophisticated side with an IDM touch on top. These songs are danceable. And there’s a ‘softer’ side which even sounds like ‘electro-slow dance’. Remixes have been done by Psy’Aviah, Reichsfeind, Elektrostaub, and Simon Carter.

+ + + : I especially like the hardest side of the album which reveals all the intelligence of the project. It stands for Electro-Pop but injected by influences of Clock DVA, Haujobb ao. The title track is an absolute masterpiece and even the best cut I’ve heard from this project. I also like the icy, transcendental, approach running through “Everyday Criminal”. Among the remixes I especially recommend the ones by Reichsfeind and Simon Carter. 

– – – : The ‘softest’ cuts are ruining all the good aspects of the work and especially the production of the vocals is too bad here.

Conclusion: I have mixed feelings listening to this album which is mixing great parts and forgettable passages.

Best songs: “Dust On A Razorblade”, “Everyday Criminal”, “Tax On Modern Life”, “Everyday Criminal – Reichsfeind Remix”, “Everyday Criminal – Simon Carter Remix”.

Rate: 6½.

Artist: www.entrzelle.com / www.facebook.com/entrzelle

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Dust On A Razorblade’.

About Entrzelle

Entrzelle is the electropop and noire futurepop project of American musician David Chamberlin, based in Los Angeles, California. Discogs also lists Malice Vext as a member. The project mixes upbeat electro sequences with noisy synth pop melodies and an IDM edge.

Chamberlin self-released the album “Part Of The Movement” on his Entrzelle Music imprint in 2012, followed by the singles “Biotic Shift” and “Outlive” in 2013. He signed to the Belgian label Alfa Matrix, debuting on the free compilation “Face The Beat: Session 2” in June 2015 and issuing the download EP “Set These Walls On Fire” the same month, alongside a re-release of the 2012 album with extras.

The Alfa Matrix debut album “Total Progressive Collapse” arrived in 2016. Chamberlin also worked outside his own project, remixing for llumen on the 2021 EP “The Dark In Her Eyes” and appearing on several Alfa Matrix label compilations. The EP “Feeling Heavy These Days” followed in 2021 and “Dust On A Razorblade” in 2022, released on Bandcamp and on CD through the Alfa Matrix webstore. Chamberlin described the record as an album “about hope and perseverance, letting go and moving on”.

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, Electro-Ambient, EBM.

Format: Digital, Vinyl.

Background/Info: American project Defrag (formerly active as Defragmentation) is driven by eff Dodson. Throughout the years Defrag became a solo-project.

Content: “Float” features 13 songs which from start on reveal an IDM approach carried by EBM elements. Nearly all songs are instrumentals but you’ll notice a few vocal parts which rather sound as an effect on top of the sound. Some parts of the work are more Experimental, reminding me of Haujobb.

+ + + : What I mainly like in his work is the global sound intelligence. “Float” sounds a bit like conceived in a sound lab resulting in fascinating Electro music. The opening piece “Descent” is a brilliant cut mixing this sound intelligence with harder EBM influences and a few vocal lines on top. The last track “Atlas” sounds a bit similar with some extra Ambient touch on top. Among the most experimental cuts I especially recommend “We Are Shadows” which might appeal to Haujobb fans.

– – – : My only regret is that the songs are pretty short and that’s a pity especially when listening to great cuts.

Conclusion: Defrag strikes back with an intelligent and captivating work which stands for visionary Electronics.

Best songs: “Descent”,“Atlas”, “We Are Shadows”, “Concrete Face”, “Square”.

Rate: 8.

Listen to “Float”:

Artist: www.facebook.com/DEFRAG0

Label: www.hymen-records.com / www.facebook.com/hymenrecords

About Defrag

Defrag is the solo project of American musician Jeff Dodson, who worked under the name Defragmentation before shortening it. The first album, “Self Construct”, came out on Underground, Inc. in 2002, followed in 2004 by “8Bithead”, a collaboration with Pigface on the same label.

Dodson moved to Hymen Records with “Lament Element” in 2009 and “Drown” in 2014. The “Lost Lands” EP appeared through The Irrational Media Society in 2015 and “Idle Lines” through Kaer’Uiks in 2021.

“Float” was released by Hymen Records on 22 February 2022 with artwork by Stefan Alt. The label also issued the “Glass Ship” EP that year, and followed with the album “Lost Worlds” in 2023 and the “Lost Seas” EP in 2024.

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

Out now is the brand new single by Lakeside X, “Rising”. The single release goes hand in hand with a brand new video shot in Berlin. Included in the single release is also a remix of the title track by Mesh’ Mark Hockings as Blackcarburning.

The single is a new teaser for the band’s forthcoming album “Love Disappears”. The new album will be produced by Daniel Myer (Haujobb , Liebknecht , Covenant , Architect). The Prague based synthpop act made a comeback last December with the release of “Fire in the Sky”, the first single after 11 years since their last studio album.

The single is available via all digital platforms.

Video out as well

The trio Janne Marvannen, Robert Broj and Igor Dvorsky have taken to the streets of Berlin to shoot a completely self-produced music video with a few very special cameo appearances.

“This was the first track that Janne demoed to us and also the first track we started our collaboration with Daniel on. I knew right from the start, that this was going to be a single”, says Robert Broj, the keyboard player.

Jane adds: “I wandered through the streets of Berlin, headphones on my ears and listening to Nick Cave, David Bowie, U2, Depeche Mode – all those giants, who recorded their fundamental albums in Berlin – and I wrote glimpses of thoughts that would later become song lyrics. Somewhere there, in the middle of cold nights of November 2019, shortly before the circumstances were about to lock us at home for a long time, I have decided to work on new things for Lakeside X, on new songs about a journey, about disappearing from this world, about falling down and rising up from the ashes and about new hopes. I wanted to shoot the video just in Berlin, and by doing that we could, in a symbolic way, pay a tribute to all those, who went this path before us and to whom we owe a lot.”

Crowdfunding campaign

To help with funding the whole project a crowdfunding campaign was launched with tons of exclusives, unreleased material, artwork or even a lifetime access to any and all of their upcoming live appearances.

“This time we are going full electronic-synth way. “Rising” is a “flagship” track for us. This is Lakeside X in 2022. It’s a story that can be purely personal but also it’s a story of a band, that has risen from the ashes and it’s stronger than ever before. The video to the single contains apart from many pop-cultural references on our famous colleagues, also remarkable amount of mixing present and past. We are a band coming from the country that once was part of the Eastern block, we all do remember the Wall, cold war, state police agents and the atmosphere of fear that ruled our homelands. The divided Berlin was a symbol of this time and of it all. At the same time it was a place where at that time, Bowie, Cave or DM created something that inspired not just us, but a whole generation of artists. We tried to concentrate this all into the video, and for us, Berlin is and always will be a city, that has risen from the ashes and is a never-ending inspiration for everyone”, says Janne Marvannen.

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!

side-line.com

When I heard both debut EP’s “Until The End Of Time” and “We Will Remain” from the Swedish duo Circumpolar I instantly realized it was more than simply a promising new formation. Jonas Mattson and Patrik Wallin have that little extra, which most of the bands never found: genius! They deal with an intelligent and sophisticated Electronic format, which might remind bands like Haujobb, Clock Dva, Skinny Puppy ao. The band’s debut album “Awaiting The Dawn” released on Alfa Matrix only confirmed the skills of the duo. The songs are mixing elements of EBM together with Cinematic influences. EBM bass lines mixed with subtle bleeps and carried by bombastic drum patterns made from this debut full length one of the best Electronic productions I’ve heard the past year. I really wonder how this band will evolve…

(Courtesy by Inferno Sound Diaries)

Q: Your debut album “Awaiting The Dawn” comes two years after your last EP “We Will Remain” and reveals an impressive evolution in different aspects of the production. How do you analyze and perceive this evolution by your own?

C: Thanks, we share the same feeling about the new album. We have spent so much more time mixing and mastering this time, really going through the sound image and all the details in the mix, making sure that everything sounded like we wanted it to sound. Further, we have experimented more with sampling, sounds, effects and song structures.

There is perhaps a more Ambient, Cinematic and Atmospheric mood on some of the tracks on the album compared two the last EP’s. But the thing is, some of those tracks were ‘leftovers’ from the “We Will Remain”-EP. So, we were already going in this direction on some of our tracks some two years ago. Moreover, we have bought a lot of new gear the last two years, which also has affected the soundscapes and harmonies.

Q: Was there any specific plan or concept when you started writing the songs for the album? What have been the different stages you’d to go through and what have been the main difficulties/challenges in the production of the album?

C:The first song we recorded was “Awaiting The Dawn”, and that song set the general mood and concept for the whole album.

Since almost every track on the album has a lot of sounds on very many different channels, the mixing and mastering process was very time consuming. It took much longer than we had planned for.

Q: I think there were nine songs planned for the album, but ten songs have been finally achieved. When do you consider a song as finished and were there songs/demos which finally didn’t make it to the tracklist?

C: A song is finished when it is completely mixed and mastered, and when we both are happy with the result. “Illusions Of Reality” was the last track that we finished on this album, so perhaps that is that tenth song… We usually don’t have a plan for a minimum or maximum number of songs for an album or EP. We generally finish as many songs as we can before it is time to release them.

We have a lot of ‘demos’ in forms of loops and uncompleted songs, which we maybe can use in the future. And as we said before, a few ‘demos’ made it onto this album. We felt that they were really great ideas, so we developed them further to make them fit the concept on the album. We still have lots of loops and unfinished stuff in the closet, and hopefully they will see the light of day when the time is right.

Q: What did you try to express and/or visualize by the title of the album “Awaiting The Dawn”? And what did you try to express by the lyrical themes?

C: It´s a journey through space and time, evoking memories from the past and the future, in a wasteland of twisted dreams. Exploring ancient rites, dreamlike landscapes of horrors and disasters. The album deals with conceptions of disintegration and regeneration, dreams and desires, hopes and fears, submission and suffering and everlasting dreams.

Sources of inspiration are for example: ancient religions, dreams, life, the universe, fiction, science fiction, poems, movies, the past and the future.

Q: I know you guys have been making music together since quite a long time. How did you see yourself evolving throughout the years and what do you especially like in each other’s approach and skills? 

C: It has always been very creative to make music together in different projects during all the years that we have known each other. However, in the Circumpolar project we have definitely found the concept and the sound that we have been looking for all these years. We have certainly evolved our studio skills and song writing abilities during the last couple of years.

Jonas is the master of synths, programming, sounds, mixing and mastering. Patrik is the master of lyrics, vocals and voices. Together we make the unique sound of Circumpolar.   

Q: All of your work has been released during the ongoing pandemic, which I guess must be very frustrating especially when it comes to plan live shows. How do you expect things evolving and do you have concrete live plans and experiences so far?  

C: Yes, and it has been really frustrating not to be able to meet up in the studio so often during these strange times. Due to the pandemic we have not yet been able to play live as Circumpolar. However, we are currently working on a live set up. Hopefully, we will be playing some live shows during 2022. That is something we are really looking forward to.

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: Dark-Electro, IDM, Ambient, EBM.  

Format: Digital, 2 CD.

Background/Info: Two years after the promising EP’s “Until The End Of Time” and “We Will Remain” Swedish duo Jonas Mattson and Patrik Wallin strike back with their long awaited debut album. The work features ten songs while the bonus CD brings previously released EP’s for the first time on CD.

Content: If you don’t know Circumpolar, I invite you to start with the second album featuring the integrality of both EP’s. You’ll notice sophisticated songwriting, which is clearly reminding me of bands like Mentallo & The Fixer and Skinny Puppy, but also with some Haujobb elements. The songs are elaborated, mixing danceable elements and pure atmospheric Electro.

“Awaiting The Dawn” sounds like a step forward although holding on to the influences of the band. The album takes off with a rather intro-like track moving on with the title song, which reminds us of the inspiration of Skinny Puppy. The work is diversified, sometimes driven by EBM elements while often accomplished with bombastic drum sections. Mentallo & The Fixer is a band that comes often in mind while the most Ambient-driven cuts remind me of Benestrophe (a side-project of Mentallo & The Fixer). I also noticed a more Cold-Wave inspired song reminding me of The Danse Society, but with an Industrial sound production on top. The vocals have something spooky, which is perfectly matching with the music.

+ + + : After their astonishing EP “We Will Remain” I was eagerly awaiting the debut album of Circumpolar. All I can say is the album simply confirms the genius of this duo. This is intelligent and well-crafted music; Electro from the highest level! Even if the comparisons with Mentallo & The Fixer, Benestrophe, Skinny Puppy and even Haujobb are easy to make, Circumpolar also reveals a very unique sound identity. They match bombastic drum parts together with subtle bleeping sequences. They don’t hesitate to push the boundaries of established Electro standards into another dimension by adding EBM elements and pure ambient passages. The progression from both EP’s towards this album is impressive. The title song is a masterpiece, but I also have to mention “Let The Light Come In” for its harder EBM bass line and great bleeps plus “A Celestial Ocean”, which is more into an instrumental Ambient approach full of delicacy. I think it was a great idea to add a bonus disc with the previous EP’s of the band.

– – – : I don’t have true minor points, but the last part of the main album is a little less interesting than the main part.

Conclusion: Circumpolar doesn’t compose the most accessible Electro format, but it’s without a shadow of a doubt one of the most talented formations from the Alfa Matrix roster. This band has the stuff of genius!

Best songs: “Awaiting The Dawn”, “Let The Light Come In”, “A Celestial Ocean”, “Illusions Of Reality”, “Immortal Souls” + “Into The Heart Of The Sun”, “In A Distant Sky”, “Lost In Time”, “The Rain Will Burn”.

Rate: 9½.

Artist: www.facebook.com/Circumpolar1

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Awaiting The Dawn’.

About Circumpolar

Circumpolar is a Swedish duo made up of Jonas Mattson and Patrik Wallin. Discogs describes the project as an EBM and darkwave act from Sweden and lists no earlier line-up.

The duo debuted on Alfa Matrix in 2019 with two digital EPs, “Until The End Of Time” and “We Will Remain”. “Awaiting The Dawn” followed on 19 November 2021 as the first full-length album, issued digitally and as a 2CD set whose bonus disc collects both EPs on CD for the first time. The album holds ten tracks.

Side-Line spoke with the duo in the Click Interview with Circumpolar published on 2 February 2022, shortly after this album.

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

Polish musician Kuba Włodarski set up Egoist around 2002/2003 as a solo Electro-Industrial music project. A self-released demo CD came to light in 2004, and was followed by live gigs. In 2008 Kuba had the pleasure to collaborate with ‘Jan Siuta Art Gallery’ in Krakow, which resulted in the “Phazes”-album; Industrial-Ambient music to accompany cycle of exhibitions: “Ritual, Rhythm, Harmony”. In 2020 the digital version of the album “Breaking Moment” got released by Slovak label Aliens Production and followed by a limited physical release in 2021. The album is clearly appealing for lovers of Canadian EBM reminding Front Line Assembly. The album is a well-crafted and sophisticated work. Recently the digital remix album “Phantoms” has been released on Aliens Production as well.  

(Courtesy by Inferno Sound Diaries)

Q: Egoist is an ‘older’ project, which has been reactivated, right? Can you tell us how you got involved with music and what kind of music/sound did you wanted to create with Egoist?

Kuba: Egoist is an old project indeed, but it was rather hibernated than abandoned… I was always involved in doing music, but even when I was working in some cooperative projects covering slightly different musical stylistics, I was always keeping Egoist in back of my mind, and was composing ‘Egoist’ songs –slowly but surely…

Q: Your sound is clearly driven by EBM influences reminding Front Line Assembly. What’s your perception of EBM and what’s the impact of Frontline Assembly and other sources of inspiration on your own music? How do you transpose these influences into an own sound?

Kuba: I always had a soft spot for Canadian Electro-Industrial music. Skinny Puppy, Numb, early Psyche and of course Front Line Assembly. What kept me interested, especially in Skinny Puppy and FLA, was the complexity of their sound, attention to almost every detail that emerges in the background, helping to create rich, evolving sonic atmospheres. As to the FLA –in my early stuff I might have been under too much influence regarding song structures, etc., it seems, however, that I managed to broke off that convention as you may hear in more recent songs.

I really appreciated, but was never too carried away by classic European EBM bands such as Front 242, DAF or Nitzer Ebb. I was always intrigued in more complex alternative ‘body’ music – like Haujobb, Gridlock as well as classic industrial acts.

Q: Tell us a bit more about the re-release of “Breaking Moment”, which was originally (self)-released in 2004 as an EP. And what can say about the extra songs?

Kuba: The self-released demo consisted of 5 original tracks and a remix of a Controlled Collapse song. It was received rather well by the audience and gave me opportunity for live shows. In 2005 I did a gig in Bratislava, during ‘Apocalyptic Visions’-festival, organized by Ryby (Peter Rybar) of Disharmony and Aliens Production label. During full European lockdown AD 2020 Peter contacted me and proposed releasing a full LP with tracks from my demo plus previously unpublished material. I collected songs that I thought were good enough to be released, Ryby took care of mastering and production side of things, and released it as both digital download and 13 track physical CD. I believe the extra songs are more mature, complex and showing an evolution in music I make.

Q: How do you see yourself as musician/producer? Do you’ve a specific way of working and are there specific references/criteria in the production work?

Kuba: I do not have a proper modus operandi when it comes to creating music. I try to combine the most convenient benefits of hardware synths, drum machines, samplers, whatnot and the overwhelming power of computer equipment used for musical purposes nowadays. I’m certainly not a big fan of mixing and music production in general, as I find it much less interesting than the creative process, such as sound sculpting, arranging, etc.

If you ask about the compositional process -it varies, sometimes I have a general outline of the main theme and structure of the piece or just fragments of the melody lines around which I arrange the whole song. Sometimes interesting ideas emerge during jam sessions to be developed later during work in D(igital)A(udio)W(orkstation).

Q: There’s a new album (or EP) out now featuring two new songs and an impressive list of remixes. Tell us a bit more about the writing of the title song “Phantoms”? What do you think about the remixes? Any favorite ones?

Kuba: Remixes are intentionally of different, bar electronic, stylistics, as it shows how much one can make with the same source track. It is a very interesting experience to find out what parts of the original song were most appealing to remixers, and how they transformed it, picking up different ‘start points’ and approaches.

If I had to choose my favorite remix –I think it would be Tomtylor’s one or a dancefloor killer by Procesor Plus.

Q: What are your further plans about new productions, live shows, remixes and eventually side-activities?    

Kuba: I did remixes for well known Polish alternative artists, i.e.: Agressiva 69 and Clicks. Right now I am finishing a thing for legendary polish Post-Punk formation 1984. I am also preparing EGOIST live shows, which will start at the end of 2021 at ‘Energia Dzwieku’-festival in Wroclaw, alongside Frett, Liebknecht and Haujobb, as well as trying to find time and energy to finish an EP of my side-project Brud.

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: Industrial, Electro, Cinematographic.

Format: Digital, CD, Vinyl.

Background/Info: “Simulacra” is the second album by the American duo Tim Skold (Marilyn Manson, KMFDM, Motionless In White) and Nero Bellum (Psyclon Nine). They last year released their self-titled debut-album on Cleopatra and now joined hands together with Metropolis to unleash ten new songs.

Content: It’s not an easy thing defining the sound of this formation. It has less in common with the sound of the protagonists’ respective projects. The tracks are however driven by Industrial sound treatments, the tracks remaining driven by slow tempo. The impact of the overwhelming atmospheres is definitely more important than the power of the production. We’re entering an icy universe, which sounds as a darker and icier version of Haujobb. The charismatic vocal parts are sometimes reminding me of David Bowie.

+ + + : It’s fascinating to see how both artists revealed a hidden side of their sonic brain. “Simulacra” is a great piece of music, which is characterized by overwhelming, icy atmospheres. It has something ghost-like and tormented while there’s a lot of emotion emerging from the vocals. Moving in between spooky- and enraged passages, the vocals have a prominent place in this production. Most of the songs have something Cinematographic, but there are a few exceptions. I especially recommend listening to “21 Grams”, which is the hardest piece of the album, but still a true masterpiece.

– – – : The Cinematographic approach of the work makes it maybe a bit less accessible to a wider audience.

Conclusion: Not My god took me by surprise, releasing a real masterpiece. This project has something different in its global approach revealing it’s still possible to compose original music.

Best songs: “21 Grams”, “Mirage Mirage”, “The Underneath”, “Ashes”, “Crisis”.

Rate: 9.

Artist: www.facebook.com/notmygodofficial

Label: www.metropolis-records.com / www.facebook.com/MetropolisRecords Read the news on ‘Simulacra’.

About Not My God

Not My God is an American industrial duo formed by Swedish musician Tim Skold and Nero Bellum of Psyclon Nine. Skold had earlier worked with Shotgun Messiah, KMFDM, Marilyn Manson and Motionless In White; Bellum founded Psyclon Nine in 2003.

The duo issued the self-titled album “Not My God” in 2020 through Cleopatra Records. “Simulacra”, the second album, followed in 2021 on Metropolis Records and was preceded by the single “Ashes”. Side-Line published a ‘Click Interview’ with Not My God in November 2021.

A third album, “Obverses”, was announced for 12 May 2023 in a collaboration between Tim Skold and Nero Bellum. In July 2023 Not My God announced a farewell tour.

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

The 2021 edition of the Sinner’s Day Festival will take place from 30th October until 1st November 2021 at The Max in Heusden-Zolder, Belgium. About 53 new wave, EBM, industrial, post-punk, synth-pop and eighties bands are featured on 2 stages.

This year the line-up includes: Deutsch-Amerikanische Freundschaft (Robert Goerl & DAF world premiere), Gary Numan, Clan Of Xymox, Praga Khan, Covenant, Fields Of The Nephilim, Suicide Commando, Funeral Dress, The Arch, The Bollock Brothers, Your Life On Hold, Ground Nero, Absolute Body Control, A Slice Of Life, Astrasonic, Blancmange, Diary Of Dreams, Agent Side Grinder, Red Zebra, Siglo XX, The KVB, And Also The Trees, La Muerte, UK Subs, Glen Matlock, IAMTHESHADOW, A Split Second, BFG, Then Jericho, She Past Away, The Foreign Resort, Minuit Machine, Leaether Strip, Haujobb, Gene Loves Jezebel, Twin Tribes, La Lune Noire, Empathy Test, Jah Wobble and more!

There is also The Batcave, the dance-area where you can party while DJ’s spin their finest tracks 13h/day. A camping area is available if you want to stay next to the festival area at night!

Tickets can be ordered here

Be aware that you need to show a valid Covid certificate/Covid Safe Ticket to get access to the festival!

Twenty years after Forma Tadre’s last physical release, the project has prepared another CD album: “Geiger’s Day”. The album is going to be self-released and is available via Bandcamp as you can see below.

Behind the German electronic music project we find Andreas Meyer.

He explains the concept behind the album: “‘Geiger’s Day’ is about a journey – set in the near future – from the West Coast of the US to the east after the breakdown of civilization. It features a lone protagonist and a sci-fi setting, where broken machinery has come to life and most of the laws of nature have been turned upside down.”

The tracks were written and recorded in the period 1999-2001, shortly after the release of “Automate”, Meyer’s second album. You can already check out a few below.

About Forma Tadre

Forma Tadre began as a three-piece band in 1986 including Andreas Meyer. Andreas was heavily influenced by the electronic band Tangerine Dream which provided the impetus for the name Forma Tadre as a sort of portmanteau from Tangerine Dream’s album “Force Majeure”. The band recorded the EP “Brightful Times” in 1987, which was produced by German producer Robert “Bobby” Giddens who worked with many German bands including DAF.

After this release, two of the members eventually split from the band without producing any more releases together, leaving Andreas as the sole member by 1994. Andreas was then convinced by Björn Junemann – a member of Haujobb at the time – to submit demo tapes to record labels, which eventually led to the attention of Off-Beat Records, who released his next two albums.

In 1996, Andreas released his first album as the sole member of Forma Tadre, “Navigator”, which was a marked style departure from the previous, more traditional three-piece incarnation of the band mixing together epic, symphonic instrumentals with numerous highly-technical EBM tracks. After “Navigator”, Andreas was approached by Daniel Myer of Haujobb to work together on a music project, which resulted in the formation of Newt. The duo would produce two albums and a single between 1997 and 1999.

Beginning around 1995, Andreas worked with a female vocalist on a project which offered traditional, classical music via electronic instrumentation. The project, named Eisriesenkönig, released only a single track – a remix of a Forma Tadre song – on the 1996 Off-Beat compilation “The O-Files”.

Forma Tadre’s second album, “Automate”, was released in 1998 and offered a more ambient style of music. The 13-track album “The Music of Erich Zann” would follow almost 10 years later. In 2019, a hybrid vinyl-digital reissue of “Brightful Times” was released, adding eight tracks recorded between 1987 and 1992 to the original four track EP.

In 2020, Forma Tadre released a pair of anthologies. “Navigator Travelogue” contained remixes, singles, demos and unreleased tracks from the project’s most active years 1994-1997 while “P-SongX” contained unreleased songs that Andreas recorded during the span of time between “Brightful Times” and “Navigator” along with one new track, “M15 – She a threat?”.

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!

side-line.com

Genre/Influences: Minimal-Electro, Future-Pop, IDM, Cinematographic-EBM.

Format: Digital, CD.

Background/Info: Four years after the successful debut album “The Memory Institute”, Pieter Coussement strikes back with a new opus. The Belgian solo-artist released this work after some serious health problems and introduced the new work by the EP “The Dark In Her Eyes”.

Content: “Polygon Heart” features 10 songs, which are mixing different influences. It’s hard to define the sound of the new Llumen-album as it rapidly appears to be a dense osmosis between different influences. I experienced the album as an offspring between Haujobb (for the great sphere hanging over the work), Apoptygma Berzerk (for the mix of Electro-Pop and EBM elements) and Diorama (for the mood and the structure of some choruses). In the end Llumen brings something you can’t really compare to.

+ + + : The songs have been meticulously built up, and reveal a more accessible approach. The songs are more danceable and in a way more ‘Pop’-driven. The work has been achieved with subtle arrangements and you clearly can hear Coussement has a nose for details and unique sound treatments. It might reveal some perfectionism, which comes through in nearly every single song. The second part of the work features several sonic climaxes, but the first part also reveals a few cool surprises. There’s the already familiar “The Dark In Her Eyes”, but also the opening song and the more EBM-like “Lifeline”. A last and essential element I want to mention is that Pieter Coussement sounds more comfortable with the vocals.

– – – : I can’t say that this work has any minus points although I’m not that fond of the somewhat cheaper Trance-Techno lead running through “The Path That Leads Me Home” (also known from the previous EP).

Conclusion: “Polygon Heart” confirms the strong potential of this Belgian artist, who definitely belongs to a restricted number of visionary and intelligent Electro composers.

Best songs: “The Dark In Her Eyes”, “Like My Pain”, “My Heart Inside Your Hands”, “The Scars I Made”, “Lifeline”, “All things Broken”, “That Path Leads Me Home”.

Rate: 9.

Artist: www.facebook.com/Llumen-official-192854384064057

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Polygon Heart’.

About Llumen

Llumen is the Belgian electronic solo project of Pieter Coussement. It started as a three-piece in the first decade of the 2000s and continued as a one-man project from 2009, mixing old-school EBM, future-pop, techno and IDM.

Llumen signed to Alfa Matrix and debuted on the label in 2016 with the EP “Cold In December”, followed by the debut album “The Memory Institute” in 2017. The EP “The Dark In Her Eyes” preceded “Polygon Heart”, which Alfa Matrix released on 18 June 2021 in digital and CD formats.

The EP “Die Stille Totgeschwiegen” followed in 2023 and the album “The Breaking Waves” in 2024, issued as a limited 2CD set.

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

(Photo by Assemblage 23) The leading industrial music distributor Audioglobe informs us that Accession Records is re-releasing its Assemblage 23 back catalog to coincide with the 20th Anniversary re-release of the band’s second album “Failure” as we reported yesterday. The 4 albums are “Addendum” (2001), “Defiance” (2002), “Meta” (2007) and “Bruise” (2012).

About Assemblage 23

Assemblage 23 is an American electro act based in Woonsocket, Rhode Island. It was founded in 1988 by Tom Shear who writes the music and lyrics and does the recording himself. Prior to starting Assemblage 23, Shear experimented with music under the name Man on a Stage, beginning in the early 1980s. Most of Shear’s music at this point was instrumental, as he lacked the confidence to sing. At the same time, Shear was also playing bass in a live band called the Advocates.

Assemblage 23 was officially born in 1988, after Shear experienced the industrial dance music played by an opening DJ for Depeche Mode. It took until 1998 for Assemblage 23 to attract the attention of record labels.

Shear signed a deal in 1999 with the Canadian label Gashed! for a full-length album (“Contempt”, released in November 1999). A second album, Failure, followed in March 2001 and was released by Gashed in North America and Accession Records in Europe.

The rest is history.

About Accession Records

Accession Records is a German independent record label created by Adrian Hates the frontman of the band Diary Of Dreams in 1995. Early in its existence, the label only released Diary Of Dreams albums, but in 1999 the label added other bands.

Here is a list of bands (that were) signed to the label: Angels of Venice, Assemblage 23, Claire Voyant, Cleaner, Diary of Dreams, Diorama, Distorted Reality, Lights of Euphoria, Nerve.Filter, Panzer AG, SITD, Faderhead, Build 23, Haujobb, Sinin, Human Decay, Painkillers, Clear Vision, Cyber axis, .com/kill, Coma Alliance, Spektralized, Painbastard, Audioscope, Belief, Cut.Rate.Box, Plastic, Silence, Psyche.

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!

side-line.com

Genre/Influences: Electro, Industrial, IDM.

Format: Digital, CD.

Background/Info: Russian duo The-Pulsar is back on track, releasing their first new album in nine years. “Pathetics” is the band’s third official full length, again released on Advoxya Records.

Content: I would describe this album as a Russian alternative to Haujobb. There’s a similar taste for intelligent Electronics, mixing sophisticated sound treatments, great atmospheres and rhythms. The songs are cold, complex, but accessible.

+ + + : “Pathetics” is a well-crafted and elaborated production. The songs have been meticulously built up, often being pretty extended and also evolving into a few true sound climaxes. Both debut songs reveal this intelligent approach, but I would especially recommend listening to “Someone”. This song sounds more danceable and features amazing strings right at the end. Another attention grabber is “Run”, which confirms the band’s sophisticated writing although it remains a pretty accessible song.

– – – : The single aspect that could be improved is the production of the vocals.

Conclusion: The-Pulsar strikes back with a genius and visionary piece of Electronics.

Best songs: “Someone”, “Run”, “Grim Desire”, “Never Disappear”.

Rate: 8½.

Artist: www.the-pulsar.com / www.facebook.com/ThePulsar

Label: www.advoxya-records.com / www.facebook.com/pages/Advoxya-Records/265765706059

About The-Pulsar

The-Pulsar is an EBM and electro-industrial project from Saint Petersburg, Russia, formed in 1996 under the name The Pulsar, according to its Discogs profile, which lists Sergey Naan, Vladimir Sokoushin and Alexey Boytsov as members. The Hungarian label Advoxya released the EP “Re-Wakening” (2006), the remastered album “Revolution (Reloaded)” (2007), “Never” (2008) and “Transformation Of The Flight” (2012), all on CD. The band also remixed acts such as Holocoder and Id Molotov and appeared on the Advoxya compilation series “Post Alcoholic Body Syndrome”.

“Pathetics” was issued on CD by Advoxya in a four-panel digiwallet and as a download. Discogs dates the CD to 7 June 2021; the Advoxya Bandcamp page dates the release to 11 July 2021. The eleven tracks are “Never Disappear”, “Grim Desire”, “Light On Face”, “Someone”, “Opened”, “Brave And Free”, “Show Your Light”, “Run”, “On The Taling Off”, “Hit The Road In Peace” and “Reflection”; Discogs prints the fourth track as “Something”. The-Pulsar wrote, composed, programmed, recorded, mixed and produced the album, Slava Arkhipov mastered it and Alexey Kozhevnikov made the artwork. The Bandcamp credits name only Boytsov for the 2021 lineup, and the CD is dedicated to the memory of Sergey Naan.

After “Pathetics” the project self-released a series of Russian-language singles from 2024, the EP “Триста Лет” (2025) and the single “Смейся” on ScentAir Records (2026). “Pathetics” is the band’s first Side-Line review.

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, Electro-Ambient, Experimental.

Format: Digital.

Background/Info: Four years after the debut album “The Memory Institute” Belgian solo-project Llumen –driven by Pieter Coussement, strikes back with this EP announcing the new full length “Polygon Heart”. The EP reveals two new songs plus remixed versions, which seem to exorcise personal demons.

Content: Llumen strikes back with a high-tech title track, which reminds me once again of the sound intelligence of Haujobb. A perfect mix between Ambient-like atmospheres with an astral dimension and slow, danceable rhythms with clear, powerful vocals on top. “The Path That Leads Me Home” sounds rather similar, but with an extra ‘dance’-led on top while hopping sequences inject some extra dynamic into the song.

The title song has been remixed by Implant, Entrzelle and Auger while the Antibody made a remix of the other track.

+ + + : I personally consider Llumen together with Circumpolar as two of the most ‘intelligent’ Electro acts from the Alfra Matrix roster. Llumen has its own sound and style, which is a sonic fusion between different influences. Definitely into electronic music, but also Ambient-like while refined with Electro-Pop and even Dance-elements it resulted into sophisticated and accessible music. It might appeal to Haujobb lovers, but I personally prefer Coussement’s vocals instead of Daniel Myer. “The Dark In Her Eyes” is a well-crafted and accomplished piece. It also inspired Implant, but especially Entrzelle to achieve great remixes. Entrzelle’s remix is even more sophisticated than the original version.

– – – : The B-side cut “The Path That Leads Me Home” reveals great ideas, but the lead is somewhat ordinary and too Dance-driven.

Conclusion: “Llumen is back on track and that’s great news for all Electro fine tasters.

Best songs: “The Dark In Her Eyes – Entrzelle Mix”, “The Dark In Her Eyes”, “The Dark In Her Eyes – Implant Mix”.

Rate: (7 ½).

Artist: www.facebook.com/Llumen-official-192854384064057

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘The Dark In Her Eyes’.

About Llumen

Llumen is the Belgian electronic solo project of Pieter Coussement. It started as a three-piece in the first decade of the 2000s and continued as a one-man project from 2009, mixing old-school EBM, future-pop, techno and IDM. Llumen signed to Alfa Matrix and debuted on the label in 2016 with the EP Cold In December, followed by the double-CD debut album The Memory Institute in 2017; Coussement discussed that record in the ‘Click Interview’ with Llumen of February 2017.

“The Dark In Her Eyes” was released by Alfa Matrix on 2 April 2021 as a six-track download. Alfa Matrix wrote on Bandcamp that Coussement “went through some serious health crisis moments the last few years” and that the new songs reflect “that very personal post-surgery rebirth”. The tracks are “The Dark In Her Eyes”, “The Path That Leads Me Home”, “The Dark In Her Eyes (Implant Mix)”, “The Path That Leads Me Home (Antibody Mix)”, “The Dark In Her Eyes (Entrzelle Mix)” and “The Dark In Her Eyes (Auger Mix)”.

The EP preceded Polygon Heart, which Alfa Matrix released on 18 June 2021 in digital and CD formats and Side-Line reviewed in September 2021. The EP “Die Stille Totgeschwiegen” followed in 2023 and the album The Breaking Waves in 2024, issued as a limited 2CD set; Side-Line reported on the album Winter Eden in August 2026. “The Dark In Her Eyes” is the project’s third Side-Line review.

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 our Norwegian correspondent Jan Ronald Stange) June 25^th saw the release of ‘Terminal Love’, the third EP this year from the Norwegian industrial synth rockers Zeromancer, a worthy follow up to their previous releases ‘Damned le Monde‘ and ‘Mourners‘. In addition to interviewing the band about the EP, we also got hold of the guys behind the L’âme Immortelle and Architect remixes to get their thoughts on the song and the remix process.

Side-Line: ‘Terminal Love’ – feels like it’s a continuation of ‘Mourners’, like the next chapter or a different view of a similar story – an ongoing theme there? Or coincidence?

Alex Møklebust: Some of the continuation feeling you also get is probably how the song opens. Like ‘Mourners’ it starts with only synths and vocals, before the chorus hits. The chorus melody line on ‘Terminal Love’ is taken from a unreleased ZMR song during the making of ‘Sinners International’. Kim gave it another chance on ‘Terminal Love’ and the chorus finally made sense. Felt so good singing that melody line 12 years later. Never throw away ideas!

Kim Ljung: Alex has a memory like no other. All the time he surprises me with stories I have forgotten a long time ago. Though in this particular case I believe he’s a couple of years off 😉
The chorus of ‘Terminal Love’ is taken from a demo originally named ‘Collider’, which then again was a spin-off of an old Red 7 track (Lorry and Dan played in this band). Quite sure it was written in the aftermath of the ‘Death of Romance’ album. The pre-chorus of ‘Terminal Love’ I found on my phone where I always tape simple ideas with acoustic stuff, me singing on top. The date was June 26, 2014. One day later than the official release date which was about a week ago. Not so strange maybe, that musicians lose their minds carrying all this stuff around for years and years.
Regarding the connection with ‘Mourners’, I’m blind to those aspects. Just another Zeromancer song written in a fashion that suits that particular track.  What we always do. People has a tendency to ask what song or album we prefer ourselves. That’s irrelevant. I never set them up against each other. Not my job 🙂

S-L: When hearing the main synth melody line my first thought was “this is something Vince Clarke would’ve wished he made himself for a Yazoo song!”

AM: Thanks! I’ll take that as a huge compliment. The synth needed lots of movement to carry the first verse by itself. The modular setup works well for that and blends in with all the other instruments in a good way. The analogue imperfection is key.

KL: Word, Alex!
We had a lot of sessions at Room 13, Alex’s studio, where Alex sat and tweaked those knobs on the modulars. The idea was to create a signature sound for the intro of the song. Something significant that opens a track, and when you hear it, you instantly know which song it is.

S-L: The external remixes were both quite down-tempo and atmospheric, which also suits this track very well. Surprising that both chose this direction?

AM: It was a very pleasant surprise. Love the way it turned out. Both Thomas and Daniel had a short deadline, but managed to make two beautiful remixes. Thomas made it so personal that you immediately hear it’s a L’âme Immortelle remix. Respect.
Daniel also made ‘Terminal Love’ his own. The deep sub version takes you on this beautiful ride into Daniels universe. Love it. So talented musicians. We are so grateful for having friends all over the world collaborating with us. Musically, but also on a personal level.

KL: Both versions blew me away. I didn’t expect it at all. Pure genius. You can hear in an instant how much love and passion they put into this track. Fold my hands for those guys.

S-L: Alex, your alter ego SnifferGod ends the EP with an up-tempo remix, a good contrast to the other remixes, with great beats and rhythms! Some elements here puts me back to the end of the 80’s/early 90’s, like Nitzer Ebb doing a 90’s rave with S’Express and a touch of acid house, but layered in a 2020’s updated soundscape. Tell us what you did here!

AM: I had to work on this one in-between mixing the Zeromancer album. Mixing daytime and remixing nighttime.
You are absolutely spot on. Because of the high tempo, I wanted to get that 90’s techno feel combined with some 80’s EBM. Nearly all synths are from my modular and semi-modular setup. No samples, except sampling ourselves. It’s an up-tempo remix, maybe close to stress-techno, but the «party boy» Alex kicked in. Blame the late night sessions.

KL: Stress-techno or stress-synth. Hahaha….it’s an internal wordplay on a comment by the Foo Fighters-drummer in a recording session with good,  old Rick Springfield. He calls Springfield’s style stress-rock. And he does so as a kind of a compliment. However, who wants that type of label 🙂

Yeah, SnifferGod is Alex going back in time. A real killer version. Lots of raving flashbacks, with the God himself on the dancefloor.

S-L: Kim, where’s your mother this time on the cover photo? Vacation in the fjords, or where she’s originally from?

KL: This time the photo is taken on the roadside near Odda in Hardanger. The roads were obviously a lot more curvy back in 1957. Though they still are…
The family took these endless road trips from Sauda all around Norway every summer holiday. My mom is on the left, my uncle at the right of the photo. They are facing the glacier, Buerbreen. Both of them are carsick as hell. My grandfather took the shot, as he did with the previous singles.

I think the distance and the vibe of the photo suits perfectly with title of the song.

Check out this playlist of Zeromancer and SnifferGod remixes!

As with all three EPs this year, this one also features brilliant remixes, which made an easy decision to repeat the remixers part from the ‘Mournes’ article. Both Thomas Rainer (L’âme Imortelle/Nachtmar) and Daniel Myer (Architect/Liebknecht/Haujobb/Covenant etc.) had some to say about their contributions.

First off is Thomas Rainer from Vienna, Austria:

S-L: What’s your relation to Zeromancer before this remix?

Thomas Rainer: They already made 2 remixes for my band L’âme Imortelle and are also label mates, so it was kind of obvious that we would also collaborate the other way around one day. It also didn’t hurt that I have also always really liked the music of the band.

S-L: How did you like the new song ‘Terminal Love’?

TR: I really liked the song from the very beginning. The vocals immediately caught my ear, but after further listening I really enjoyed listening to all the small details in the very sophisticated production.

S-L: The other ZMR releases in 2021 – what’s your opinion so far?

TR: I enjoyed all of the new material so far especially since it shows an even more mature form of the band. Something I greatly appreciate.

S-L: What was your main idea with your remix?

TR: I usually approach all remixes by listening to the vocals alone first, and Alex’ stellar performance made it clear that it needs to be given as much space as possible with the music just being a supporting element. 

Check Thomas’ playlist of his remixes!

Next remixer were Daniel Myer from Leipzig, Germany:

S-L: What’s your relation to Zeromancer before this remix?

Daniel Myer: I’ve known Zeromancer since they came to the scene. It’s a fairly small scene, so of course you know every new act that comes out, especially back in the day;)

We also share the same booking agency, so I went to see them live quite often when they were in town or at festivals. I always liked their style and I really like the songs and Alex’ voice.

S-L: How did you like the new song ‘Terminal Love’?

DM: Terminal Love had a real anthem feel to me. That’s why I approached a friend of mine to do this remix with me. I wanted to make it really big, like a “Pop Hymn” in the style of Imagine Dragons. But my friends was busy with her release, so I did the remix by myself.

S-L: The other ZMR releases in 2021 – what’s your opinion so far?

DM: I haven’t heard it all, only the last single, and I love Krischan Wesenbergs remix. He is one of my favourite producers at the moment.

S-L: What was your main idea with your remix?

DM: For the remix, like I mentioned above, I had something big in mind, but I only had a very limited amount of time.
I was on vacation with my girlfriend and we had very specific plans for this time. I started the remix with this Imagine Dragons idea in mind and then send it off to my friend in NYC. She came back to me after a few days, telling me that she couldn´t work on it, so I had to finish it by myself. By that time I was in a very strange headspace, a lot of things went wrong on our vacation trip, so I was stressed out and I had to go see my mother.

So I actually finished the remix on the train to Bielefeld one morning, on the day of the deadline. Overall I had only 12 days to do the mix, Alex came basically in the last minute to ask me for it 😉 And my mother lives in the woods, so there was no good internet connections. I actually used the hotspot from my phone to deliver the remix to Norway! 😀

Check Daniel’s playlist of his remixes!

Listen to and buy the ‘Teminal Love’ EP from Spotify, Apple music and other services – click here!

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

www.facebook.com/jrstange

Out now is Planetdamage “Relapse Protocol – The Remixes” on the Black Pill Red Pill label. “Relapse Protocol – The Remixes” holds 8 tracks and as source material the album “Relapse Protocol” was used, that one was released in November 2020.

The following remixers participated: Aether Pilot, Spankthenun, Mach Fox of Zwaremachine, Freeze Etch, The Gothsicles, Chrome Corpse and Vandalaze. Mastering (and additional production on track 5) was done by Reza Udhin (Killing Joke, Implant) of Cryonica Audio Mastering.

You can hear the EP below.

Damage has been working as a producer for 5 years, landing 5 EPs and a number of remixes, collaborating with bands like First Aid 4 Souls or Black Nail Cabaret, having been remixed by musicians such as Haujobb, Leaether Strip or Attrition.

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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The Prague (Czech Republic) based synthpop act Lakeside X have started work on a new album with Daniel Myer on production duties (Haujobb, Architect, Liebknecht). The release comes more than 10 years after their last studio record “City Of Red Lights”.

The band now consists of the trio Janne Marvannen, Robert Broj and Igor Dvorsky. On the previous records you could hear some guitars apart from just synthesizers, but after the departure of guitarist Vito Hayek the band now goes fully electronic.

Here’s what frontman Janne Marvannen says about the collaboration with Daniel Myer: “Daniel is really a very respected name on the european electronic scene and his work says it all. “We want to push ourselves forward and progress and work with such a top producer is just what we need for our new start. It is all a new additional experience for us, as we are working remotely. But we are having a very good feeling about it at the moment and I think that our fans and supporters may look forward to something special.”

The release date or a name of the album is not yet known. The band also plans to launch a crowdfunding campaign to support funding of the album production.

This is the teaser video for the new material.

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!

side-line.com

Metropolis Records was set up in 1994 by Dave Heckman. In no time the American label became a truly reference when it comes to Electronic and Industrial music. The label licensed –and still does, European productions, but also signed new artists. Among the Metropolis roster you’ll find bands as VNV Nation, Front 242, Front Line Assembly, Wumpsuct, Project Pitchfork, Juno Reactor, Assemblage 23, The Birthday Massacre, KMFDM, Numb, Haujobb, Leather Strip, Apoptygma Berzerk, Velvet Acid Christ, God Module, Covenant, Informatik and many, many more

(Stéphane Froidcoeur / Courtesy by Inferno Sound Diaries)

Q: Was there a kind of ‘philosophy’ when you set up your label and did it evolve over the years? How would you define your label activities today?

Dave: No philosophy per se. It was just something I wanted to do for a living, so I needed to go about things in a very professional manner and always stay focused on that goal.

I am going to presume you mean label activities as compared to my activities at the label, although I will go into both.

The first step is to find the talent and that has always been my job. I am the owner and the A&R guy. Then, of course, a deal needs to be worked out and again that has always been my job too.

After a deal is done, we have to assemble the assets for the release such as artwork, photos, masters, videos, and publishing information. This is all needed to setup the releases with our worldwide distributors and to manufacture the albums themselves.

Then comes promotion. Retail, club, radio, video, press, touring, social media, etc. A lot of this is done internally, but sometimes we hire outside companies, particularly for video, radio, press, and booking tours.

Finally, the royalty statements need to be processed and payments made. A tedious and important part of the business.

So, believe it or not, as much as the industry has changed, the setup and promotion is really quite similar to what it was years ago. The revenue just comes from different sources.

Q: I can imagine you must have specific and explicit criteria to sign an artist/band. Can you give us more details about this aspect and how important is it for you to know the person(s) hiding behind the ‘artist(s)’?

Dave: Not really. In general, I sign bands I like and there is no particular sound I am looking for. I cannot really tell you why I liked Numb or Project Pitchfork, I just did. When it comes to art, whether music, film, or paintings I cannot tell you why I like what I do. In some way it has to move me.

That said, I do have a tendency to like or lean towards things dark, edgy, and innovative. Some of the bands that I was interested in were never signed, because we could not come to an agreement. Sometimes the bands had higher expectations than I did and the advance they wanted was too large or we had different ideas on promotional aspects of a campaign.

Metropolis has released over 1200 albums with over 200 different artists, so I did not get to meet and know everyone. In the beginning I just licensed from a few European labels like Zoth Ommog, KK Records and Hyperium. So, my relationships were with my licensing partners. However, as things progressed and we brought the bands over to tour and I went overseas to festivals and conferences and finally met these artists, my relationships with them developed. Always liked to travel and visit the artists where they lived and liked hanging out with them during and after shows. As we got to know each other better it just made everything smoother.

Q: You are already active for numerous years now so you must have seen a lot of things changing and evolving; think about social media, streaming platforms, Youtube channels… but also economic crisis etc. What are the pros and cons of these changes/evolutions and in, which way did you had to adapt/change your strategy and activities?

Dave: The biggest change was the death of retail record stores. That was how I started consuming music as a 10 year old kid. I mean I just did not go there to buy music, but to discover it. The cool stores played cool music and I also would just go through the record bins to find something new that caught my eye. Retail was still a force in music in the 90’s, but went really downhill after 2002 or so. As I mentioned above, retail promotion was important, but now it is almost gone.

So, of course digital comes along and I knew tons of artists and labels that were vehemently opposed to the format. Don’t get me wrong I thought 128 bit rate MP3 played on a computer sucked compared to a Compact Disc on a good stereo system. However, that is the way people wanted to consume, so we sold digital downloads.

At present, hardly anyone buys downloads and streaming revenue is going through the roof. Of course, I have artists complaining about this. More arguments / discussions with artists about streaming than any other industry issue, but it has saved the industry not destroyed it. Illegal downloads and CD burning where the real culprits.

Spotify, Apple Music, Amazon Prime, Deezer, Pandora are great platforms. However, YouTube sucks. They pay a fraction of what everyone else does, but people are complaining about Spotify instead of them. That I do not understand.

The bottom line is to adapt fast to a changing industry.

The benefit of the digital world is the massive savings on manufacturing, storage, and shipping, which of course is also good for the environment.

As far as the economic downturn, we go through these all the time and readjust.

Q: The ongoing pandemic has affected all artistic life and activities so what’s the true impact on your label activities and do you think it will also affect your long term objectives?

Dave: The pandemic has hurt the industry considerably. We had a dozen tours lined up for last spring including Lords Of Acid, Clan Of Xymox, KMFDM, Front Line Assembly, The Birthday Massacre, and many more. All cancelled and the bands lost money to varying degrees. However, the recorded music industry saw their revenue grow since almost everything is digital or online even including physical sales. In the long run and this intermediate period, nothing will change much, people will go back to their old habits for the most part.

Q: Do you think media (magazines, online platforms etc…) still have an impact and a role to play today? What’s your relationship with ‘journalists’ and how important is their work?

Dave: Yes, that medium is still important. All promotional activity counts. You have to spread the word around wherever you can. However, I really cannot comment on my relationship with the journalists as I never really had one. I am talking about me, not the label. Publicity and press is one of the few things I have always delegated to someone else.

Q: What do you consider as your biggest accomplishment(s)? Do you have specific goals/dreams you want to achieve and how do you prepare and see the future of the label(s)? And what are your biggest regret(s)?

Dave: Even though I eventually worked with some big names in the industry what I liked most was taking bands that were once small and introduce them to the scene, promoting them and then selling reasonable amounts of records for them. Covenant, Haujobb, Velvet Acid Christ, Wumpscut, Combichrist, Apoptygma Berzerk, And One, Assemblage 23 were all selling just a couple thousand copies and eventually sold 20,000 to 50,000 albums in North America alone. These are good numbers for alternative music. VNV Nation sold even much more than that. Just to put it in perspective only one in a hundred artists sold over 10,000 copies back then no matter what the genre.

I have met my goals. As I mentioned I wanted to do this for a living and I did. Also, Metropolis has a good brand name and I got to meet a lot of great artists who are now my friends. I wish I could have pushed the boundaries more and could have done more outside the Goth / Industrial genre. However, that did not work out that well except with the a few bands like Mindless Self Indulgence and Electric Six.

I am content with the label’s accomplishments. The label is 27 years old and I was well into my thirties when I started in the music business. So, we will continue to do what we do and improve where we can, remembering that adopting to change is important.

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

Front Line Assembly’s Bill Leeb and Rhys Fulber have just announced “Deviator”, the first new Noise Unit record in over 15 years. The duo will release the new album on Toronto-based Artoffact Records on double vinyl, CD digipak, and digital formats.

The new album features exclusive artwork by Dave McKean (see below), and one of the announced tracks is a collaboration with KMFDM / PIG vocalist Raymond Watts. The first single to drop from the record is “Body Aktiv”.

About Noise Unit

Noise Unit was founded by Bill Leeb of Front Line Assembly as a side project. The project has seen several changes in line-up, with Bill Leeb being the only permanent member.

Noise Unit’s first album, “Grinding into Emptiness”, for instance arose from the collaboration between Leeb and Marc Verhaeghen of Belgian industrial band Klinik. It was released in 1989 through Wax Trax! and Antler-Subway. The 1990 album “Response Frequency” included Rhys Fulber. While Verhaeghen left Noise Unit for several years, Fulber remained with the band for the next three releases. Verhaeghen resumed his collaboration with Noise Unit for the 1996 album “Drill”, which also featured members of German industrial band Haujobb.

After an eight-year hiatus, Leeb teamed with former Front Line Assembly member Chris Peterson in 2004 to release “Voyeur” in 2005. Jason Filipchuk and Michael Balch also contributed to the album.

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!

side-line.com

Genre/Influences: Industrial-Pop, Experimental.

Format: Digital.

Background/Info: Five years have passed since Entrzelle last album “Total Progressive Collapse”. Preparing the third full length album “Dust On A Razorblade” David Chamberlin delivers this EP as an appetizer.

Content: The title song is a well-crafted piece of intelligent Electronics, which once again reminds me of Haujobb. The “Club Edit” sounds as the title indicates; pure dancefloor driven Electro. Remixes have been accomplished by label mates Aesthetische and Neikka RPM. We also get another new song (cf. Tax On Modern Life”) and another new one (cf. “Let Me Be A Memory”) remixed by another label mate, Llumen.

+ + + : I have to admit Entrzelle is a project I lost touch with, but this EP is a stunning comeback. The title song is a great piece of music, revealing the intelligent approach in sound. It’s hard to define, but accomplished with cool sound treatments and a great atmosphere supporting the song. There’s also something to say about the rather clear production of the vocals. The “Club Edit” is a true attention grabber. Among the remixes I like the familiar bombastic drums created by Neikka RPM.

– – – : I was less convinced by “Tax On Modern Life” and Llumen’s remix, “Feeling Heavy These Days” being the true title song from the EP.

Conclusion: This EP stands for a great comeback of Entrzelle and I’m really wondering how the new album will sound like.

Best songs: “Feeling Heavy These Days – Club Edit”, “Feeling Heavy These Days”, “Feeling Heavy These Days – Neikka RPM Remix”.

Rate: (7½).

Artist: www.entrzelle.com / www.facebook.com/entrzelle

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Feeling Heavy These Days’.

About Entrzelle

Entrzelle is the electronic project of David Chamberlin. Five years after the album “Total Progressive Collapse”, Chamberlin released the “Feeling Heavy These Days” EP on Alfa Matrix as a preview of the planned third full-length, “Dust On A Razorblade”, pairing the title track and “Tax On Modern Life” with a club edit and remixes from label mates Aesthetische, Neikka RPM and Llumen. Alfa Matrix continued to feature Entrzelle on its free label sampler releases in the years that followed.

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: Industrial, Industrial-Techno, Dark-Techno.

Format: Digital, CD.

Background/Info: Rendered is a sonic meeting between Germany and France, between Daniel Myer (Haujobb, Architect, Liebknecht ao) and Clément Perez (14anger). Under the Rendered moniker they released multiple EPs on very different labels such as Omen Recordings, Aufnahme + Wiedergabe, Tripalium Records ao. This album is a fine selection of tracks that were originally released on different productions and, which are now for the very first time on CD. You’ll also find two previously unreleased songs.

Content: “Stonecoldsoul” takes off with heavy Industrial-like rhythms. The rhythm is ultra important in the band’s work and is progressively touching ground with Dark- & Industrial-Techno. But there also is something shamanic in some songs. Some of the Electronic arrangements are retro-like and reminding me of early Ministry and Revolting Cocks. A few vocal parts/effects have been mixed in some songs.

+ + + : The rhythm is an essential aspect of this band and clearly the main strength of the work. It will get you to dance, but also into trance! Rendered isn’t just Dark-Techno like; it’s more elaborated and I especially like some vintage Electronic sequences like on the title track. My favorite song is the extremely powerful “Girlscoutsinacoma”. The song is dark, elaborated and driven by a frenetic cadence. Rendered is one more great project from Daniel Myer, but the collaboration with Clément Perez from 14anger has something  visionary.

– – – : Both ‘new’ songs aren’t exactly the most efficient ones from the album; so no real bonus here.

Conclusion: Rendered stands for a solid and tenebrous Techno sound, the album featuring multiple outstanding cuts.

Best songs: “Girlscoutinacoma”, “Bendover”, “Stonecoldsoul”, “Puppetskin”, “Holeinthehead”.

Rate: (8½).

Artist: www.facebook.com/rendered.audio

Label: www.audiophob.de / www.facebook.com/audiophob

About Rendered

Rendered pairs German musician Daniel Myer, also known for Haujobb, Architect and Liebknecht, with French artist Clément Perez of 14anger. The duo has released multiple EPs on labels including Omen Recordings, Aufnahme + Wiedergabe and Tripalium Records. “Stonecoldsoul” collects tracks from those earlier releases on CD for the first time, alongside two previously unreleased songs, released on Audiophob.

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

The French label Unknown Pleasures Records, run by Pedro Peñas y Roble aka HIV+, stops its activities this summer. They are currently emptying their last stocks before closing for good. The label which started in 2013 was based in the south of France was dedicated to the production of material from the post-punk, minimal wave and EBM scene. Their final release is a Tribute to Death In June.

In the past the label has released albums of bands like Norma Loy, David Carretta, Blind Delon, Adan & Ilse, Hausfrau, Black Egg, European Ghost, Ono Scream, Antipole, Kill Shelter, Vogue Noir, Ohota, Wendy Bevan, Alek Drive, Art Kinder Industrie, Baroque, Maman Küsters, Japan Suicide, Follow Me Not, Der Himmel über Berlin, Dave Inox, Mr Nô, None, Velvet Kills, Selfishadows, Container 47, The Shyness Of Strangers, Secret Sight, La Main, Fluxus, Grand((Ø))Signal, Neon Electronics, Hardlab, Judith Juillerat, Monolog and Love In Prague.

The label has also worked and collaborated with several musicians such as Alan Vega, Gabi Delgado, Dirk Da Davo, Eric Van Wonterghem, Jurgen Engler, Richard 23, Patrick Codenys, Marc Hurtado, Arturo Lanz, The Hacker, Dirk Ivens, The Horrorist, Haujobb, Position Parallèle, John Lord Fonda, Dominique Nicolas, Marc Collin, Michaël Theis, Radical G, Növö, Millimetric, In Death It Ends, In Aeternam Vale, Sonic Area, Adriano Canzian, Alice Botte, Versari and many more.

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!

side-line.com

Good news, the duo Rhys Fulber and Bill Leeb are working on a brand new Noise Unit album and this 15 years after the last album “Voyeur” was released on Metropolis. Precise details are not yet known though, more news as we get it.

Noise Unit: a continuously evolving project

Noise Unit is a Canadian industrial project founded by Bill Leeb of Front Line Assembly as a side project. The band has seen several changes in line-up, with Bill Leeb being the only permanent member.

Noise Unit’s first album, “Grinding into Emptiness” was a collaboration between Leeb and Marc Verhaeghen of Belgian industrial band Klinik and was released in 1989 through Wax Trax! and Antler-Subway. For the 1990 album “Response Frequency” Leeb was joined by Rhys Fulber. After the completion of the album, Verhaeghen left Noise Unit for several years while Fulber remained with the band for the next 3 releases.

Verhaeghen resumed his collaboration with Noise Unit for the 1996 album “Drill” which also featured members of German industrial band Haujobb. Leeb finally teamed up with former Front Line Assembly member Chris Peterson in 2004 to release “Voyeur” in 2005 with further help from Jason Filipchuk and Michael Balch.

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!

side-line.com

25 years after their debut studio album “Navigator”, the German electro-industrial music band Forma Tadre releases “Navigator Travelogue” on Bandcamp. The album is a collection of remixes, singles, demos and previously unreleased tracks from the years 1994-1997, a total of 17 tracks and 2 bonus tracks.

Forma Tadre was founded in 1986. The sole member is Andreas Meyer. Originally from the Lower-Saxon region of Germany, Andreas Meyer was heavily influenced by the electronic band Tangerine Dream. In fact, the name Forma Tadre is a sort of portmanteau from Tangerine Dream’s album Force Majeure.

Meyer has worked with Psyche and Haujobb, forming the side-project Newt in the late 1990s (with Haujobb’s Daniel Myer). Meyer also executed remixes for Coil, Joachim Witt, Wumpscut, Assemblage 23, Seabound and others.

In 2008, after 8 years of silence Forma Tadre returned with a new 13-track download-only album, “The Music of Erich Zann”.

Here’s what you can expect from the new album.

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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Circumpolar is a Swedish duo driven by Jonas Mattson and Patrik Wallin. They last year self-released their debut-EP “Until The End Of Time” and next got signed on Alfa Matrix, which re-released this work. The second EP “We Will Remain” was released nearly at the same time and revealed a more sophisticated sound approach. The intelligent sound treatments remind me a bit of bands such as Clock DVA, Haujobb and related formations. Circumpolar might be the next new sensation for all of those who like intelligent electronics!

(Courtesy by Inferno Sound Diaries)

Q: Circumpolar is a rather unknown name at the wider fields of electro-underground music so can you briefly introduce the band, the way you get contaminated by the ‘electronic virus’ and what were the original purposes when setting up Circumpolar?

Circumpolar: Circumpolar is a new Swedish dark-electro/wave act that consists of Jonas Mattsson and Patrik Wallin. We are old friends since way back in time. We started to make music together when we were about 18 years old, and then played in different bands for some years in the Northern part of Sweden. However, we never released any of that material on record. For years now we have been talking about getting back together again, and about two years ago we decided trying to make electronic music together again.

The purpose behind Circumpolar is to create interesting electronic music within our own conceptual format and sound, which hopefully will be enjoyed by people all over the world.

Q: The name of your band refers to astrology, but can you tell us a bit more about this name and the possible links with lyrical content and music style?

Patrik: The stars that circle around the celestial pole and never set below the horizon are called ‘circumpolarstars’. In ancient Egypt, the circumpolar stars in the Northern sky were called ‘jhmw-sk’, ‘the ones not knowing destruction’. The astronomical characteristics of these specific stars were used in numerous religious texts to express immortality and eternity, for example:

‘O uplifted one (i.e. the Pharaoh), being great among the circumpolar stars. You have not perished, you star of eternity’ (a citation from the so-called Pyramid Texts, 2300 BC)

I studied a lot of ancient history at university, and I have a PhD degree in Egyptology. Sometimes I use the imagery and concepts of life/death and space/time from ancient Egyptian religion in my lyrics.   

Q: Referring to the music style and/or the ‘sound’ properly speaking, I experienced your work as a fusion between different genres and influences; EBM, IDM, ambient, dark-electro… How do you perceive your own sound? Can you tell us a bit more about potential sources of inspiration? References? And how did the song writing happened?

Circumpolar: Bands like Skinny Puppy, Front 242, The Klinik, Twice A Man, Kraftwerk, The Neon Judgement and Portion Control have always been sources of inspiration to us. Further, The Fields Of The Nephilim, The Sisters Of Mercy, Swans, The Cure, Joy Division, Rome and Dead Can Dance are bands that we both like a lot.

Both of us are still buying lots of records and we constantly discover new electronic and dark-electro artists. There is so much great new music within our genre yet to discover.

We like to think that we somehow have created mix between EBM, dark-electro and dark wave/goth. However, this was not the intention when we started the band, it just happened.

The process of creating new songs usually starts with an instrumental loop or just single sample, which we successively develop into a song.

Q: You last year self-released the debut EP “Until The End Of Times” -which got next re-released on Alfa Matrix, plus another EP “We Will Remain”. Can you briefly analyze both EP’s? Was there a particular focus in writing and production? And how did you get the deal with Alfa Matrix?

Circumpolar: The first song we recorded as Circumpolar was “The Rain Will Burn” from the first EP, and then we realized that we had created a musical concept and sound that we really liked. After that moment, it was very easy to continuing writing new songs. 

On the “Until The End Of Time”-EP the foundation of our sound was built, whereas on the “We Will Remain”-EP the sound and concept evolved into something that will be even more present on our future releases.

We sent the songs from our first EP along with the songs to the “We Will Remain”-EP to about 15 different record labels. We got some offers, but when we got a positive response from Alfa Matrix we were overwhelmed.  

Q: I think there’s an interesting evolution in writing and production between both EP’s; “We Will Remain” being definitely more elaborated and subtle, reminding me to bands such as Haujobb, Mentallo & The Fixer and Clock DVA. What does it say about your approach, studio equipment and your own evolution as musicians?

Circumpolar: On the second EP we have worked more with the vocals, and experimented a bit more with reverb, delay and other effects, trying to create a more dynamic and atmospheric experience. The structures of the songs are also a bit different compared to the first EP. Further, we spent much more time on mixing and mastering.

We have bought a lot of new gear since we recorded the first EP, for example a Korg Minilouge XD, the fantastic Strymon Big Sky Reverb, and some Roland drum machines.

Q: I think you’re back again in studio, so I can imagine there’s an album in the pipeline? What brings the future and what might we expect regarding topics such as image, social media activity and live performances?

Circumpolar: For the moment, we are recording new songs for a forthcoming album release. We are constantly producing loads of loops and outtakes, but now we have selected about nine songs out of that material to be finalized for an album.  

It is quite possible that there will be some social media activities prior to our next releases, perhaps some live performances from the studio…

Yes, we will definitely play live in the future.  

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, industrial, electronic, ambient.

Format: Digital.

Background/Info: Circulpolar recently joined the Belgian ‘matrix’ re-releasing their debut-EP “Until The End Of Time”. “We Will Remain” has been released the same day (on the 5^th of December) and features five new songs.

Content: Compared to “Until The End Of Time”, this EP sounds even more elaborate, and also more rhythmic. The Swedish duo has accomplished a compact fusion between intelligent sound treatments, dark atmospheres and slow rhythms. The songs have been achieved with fine, tickling bleeps reminding me of Benestrophe and Mentallo & The Fixer. The sterile atmospheres and cadence comes closer to the genius of bands such as Clock DVA and Haujobb. The songs have been progressively built up, slowly reaching a true sound orgasm.

+ + + : This second EP sounds more mature and accessible although it remains a sophisticated work, which is hard to define. But it first of all is the result of a creative process and intelligent writing revealing a promising, genius formation. The sources of inspiration have something retro-like, but clearly adapted into a modern and even avant-garde, icy perception. This work has been composed with an impressive sound canvas of endless little noises and effects. Bombast and refinement both come together in a poignant sonic manifesto, which I hope will be the start of a successful career.

– – – : Complexity might be Circumpolar’s enemy as most of the electro heads still seem to enjoy easy, repetitive standards. This work is a challenge!

Conclusion: Circumpolar was maybe the missing link at Alpha Matrix. This band brings something the label hasn’t been used to releasing over the years. Circumpolar is the talented sonic child from renowned parents like Clock DVA, Haujobb and Mentallo & The Fixer!

Best Songs: “In A Distant Sky” , “Lost In Time” .

Rate: (9).

Artist: www.facebook.com/Circumpolar1

Label: www.alfa-matrix-store.com / www.facebook.com/Alfa.Matrix

About Circumpolar

Circumpolar is the Swedish duo of Jonas Mattsson and Patrik Wallin. The pair first appeared on Side-Line’s charity compilation “Face The Beat: Session 5” with the track “Until The End Of Time”, before signing to Alfa Matrix in December 2019. The label immediately reissued their self-released debut EP “Until The End Of Time” alongside the new EP “We Will Remain”, both drawing on the sound of Clock DVA, Haujobb and Mentallo & The Fixer.

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, minimal-electronics.  

Liebknecht.jpg” alt=””/>

Format: Digital, Vinyl.

Background/Info: Liebknecht is the meeting between Daniel Myer (Haujobb, Architect ao) and Rinaldo Bite (Destroid, Static sky). Both musicians already worked together under the Destroid moniker and are now joining hands back again.

Content: If Liebknecht has been introduced as an exposure of Daniel Myer’s numerous projects transposed into a technoid soundscape with analogue sequences made by Rinaldo Bite on top, it first of all appears to be truly vintage, IDM and minimal-electro work. There for sure is a link with techno music, which sometimes reminds me of some intelligent techno productions from the 90s and the ‘Frankfurter’-scene. The songs are carried by solid bass lines and icy, analogue sound treatments. Some arrangements remind me of Haujobb, but here stops any further comparison.

+ + + : I was deeply impressed by this new project. The genius of Daniel Myer is a point we no longer have to discuss, but Liebknecht is much more than simply a new project or challenge! This music reveals the magic of electronic music and reminds me why I like this underground scene. The production is the fruit of a creative and deeply, artistic process revealing outstanding sound treatments, great sonic manipulations and irresistible effects. This is a brilliant fusion between retro-elements composed with vintage electronics revealing a refreshing electronic work. The “Ursuppe Remix” sounds close to perfection!

– – – : Both last cuts are less powerful and reveal a rather electro-ambient direction. It still sounds minimal and accomplished, but can’t compete with the other tracks.

Conclusion: I think there’s no better way to launch a new project by unleashing such a sonic bomb!

Best songs: “Ursuppe Remix”, “ICE Over Erfurt”, “Danzig”, “Saint Pete”.

Rate: (9). 

Artist: www.facebook.com/LiebknechtOfficial

Label: www.ant–zen.com / www.facebook.com/antzen.official

About Liebknecht

Liebknecht pairs Daniel Myer, also known for Haujobb and Architect, with Rinaldo Bite of Static Sky. The two know each other from Destroid and formed Liebknecht for high-tech productions mixing techno, dancefloor elements and dark textures.

The project’s studio album “Produkt” was released on December 13, 2019, in a limited edition of 500 hand-numbered copies with three bonus tracks over the digital version, and was supported by tour dates opening for Nitzer Ebb across Europe that November and December. A companion mini-album, “Produkt V1.2”, appeared the same period. “Produkt V1.1”, reviewed here, followed through Ant-Zen and Ván Records.

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, minimal-electronics.  

Format: Digital, Vinyl.

Background/Info: Daniel Myer (Haujobb, Architect ao) and Rinaldo Bite (Destroid, Static sky) released this EP together with “Produkt V1.1”.

Content: The debut EP already reveals an impressive exposure from both artists writing skills, but it all feels like this second EP simply moves a step further. The analogue treatments are somewhat reminding me of Front 242’s “Geography” with some extra Suicide on top. It also has a deeply minimal touch created by endless sound manipulations and effects. The retro style is omnipresent. The work is mainly instrumental although there’s one song featuring vocals with a space effect on top.

+ + + : It remains fascinating to see how good-old analogue sound treatments can be refreshing. It’s not about innovation, but creativity adding an extra dimension to the work. Liebknecht has accomplished a phenomenal work, which from start till finish held me in its grip. It’s not just the addition of analogue sounds, but also the way these sounds have been constructed. It feels like the songs have been meticulously created. There are feelings of passion and devotion emerging from this work. The songs are going further than electro-minimalism. There’re also melodic passages running through the songs. I was also impressed by the solid bass lines and the progression of the cuts.

– – – : I don’t see any single minus points to make about this work and I sincerely hope Liebknecht will move on composing new great work.

Conclusion: Daniel Myer has his hand in numerous outstanding productions, but Liebknecht instantly became my personal favorite! Perfection is just an illusion, but this work comes damn close to it.

Best songs: “Hamburg”, “White In Blue – Album Edit”, “Köln”, “Overwrite”.

Rate: (9½). 

Artist: www.facebook.com/LiebknechtOfficial

Label: www.ant–zen.com / www.facebook.com/antzen.official

About Liebknecht

Liebknecht is a collaboration between Daniel Myer, also known for Haujobb and Architect, and Rinaldo Bite of Destroid and Static Sky. “Produkt V1.2,” reviewed here, was released alongside the companion EP “Produkt V1.1.” The duo continued with the album “Fabrikat” in 2023, released via Ant-Zen.

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

Out on December 13 is the newest studio album by Liebknecht. “Produkt” comes in limited edition of 500 hand-numbered copies and contains three additional bonus tracks compared to the digital version.

For the younger generation which probably doesn’t know who is behind this project, Liebknecht is the brainchild of Daniel Myer who is also the founder of Haujobb, Architect etc. and a member of the current line-up of Covenant. Via Liebknecht Myer brings a mix of techno, dancefloor elements and dark textures.

Below is the album teaser.

On tour with Nitzer Ebb

Liebknecht is the tour support of Nitzer Ebb during their European Tour. Below are the dates.

• 07.11.19 D-Berlin
• 08.11.19 D-Dresden
• 09.11.19 D-Hamburg
• 10.11.19 D-Magdeburg
• 12.11.19 D-München
• 14.11.19 D-Oberhausen
• 15.11.19 D-Oberhausen
• 16.11.19 D-Langen
• 17.11.19 F-Paris
• 18.11.19 F-Strassbourg
• 19.11.19 NL-Heerlen
• 20.11.19 B-Sint-Niklaas
• 22.11.19 GB-Glasgow
• 23.11.19 GB-Manchester
• 24.11.19 GB-London
• 13.12.19 E-Madrid
• 14.12.19 E-Barcelona

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!

side-line.com

Genre/Influences: Electro-pop.

Background/Info: Set up in 2008 the Hungarian duo Black Nail Cabaret aka Emese Arvai-Illes (vocals) and Krisztian Arvai (keyboards) are back on track. After having released 2 albums on Daniel Myer’s (Architect, Haujobb) label Basic Unit Productions, Black Nail Cabaret together with Ultranoire set up their own label: Dichronaut Records. “Pseudopop” is the bands third official full length –while they self-released the debut album “Emerald City” in 2012.

Content: If you’re familiar with the electro-pop sound of Black Nail Cabaret you know this band is an atypical formation in the genre. The new songs aren’t that different, revealing an intimate mood and precious song writing. A few tracks are a little bit more into ‘dance’, other passages are sensual, but globally speaking this is more the kind of pop music to dream away on.

+ + + : There where so many electro-pop bands are holding on to the same influences and standards, Black Nail Cabaret deals with an own approach. It’s pretty diversified, like reflecting multiple influences, but in the end I would say they’re composing intelligent electro-pop. Emese Arvai-Illes is a talented vocalist and not only for her sensual timbre of voice, but the vocals are in perfect osmosis with the music. I also have to say a word about the lyrics, which clearly seem to be important as well. Here again I noticed an unusual approach; this is an electro-pop band dealing with other subjects than the familiar electro-pop themes about lost relationships etc. Song-wise “Bête Noire” –which has been also released as EP-title song clearly is the most danceable cut and a real potential hit. I also have to mention the more groovy “Trigger-Happy”, the wafting “Rhythm X” and deeply sexy (just pay attention to the lyrics) “La Petite Mort”.

– – – : The album features 10 songs and there’s just one little piece (cf. “90s”) which couldn’t convince me. I think there’s no reason to complain.

Conclusion: The front cover of this album is clearly inspired by the famous Rorschach test; it’s intriguing and perfectly symbolizing the work of Black Nail Cabaret: unique, a bit mysterious and deeply artistic.

Best songs: “Bête Noire”, “Trigger-Happy”, “Rhythm X”, “La Petite Mort”, “Icarus”, “Resonance”.  

Rate: (8½).

Artist: www.blacknailcabaret.com / www.facebook.com/bncband

Label: www.facebook.com/dichronautrecords

About Black Nail Cabaret

Black Nail Cabaret is Emese Árvai-Illés and Krisztián Árvai, formed in Budapest, Hungary in 2008. The duo self-released its debut album, “Emerald City”, in 2012, then issued two albums through Daniel Myer‘s Basic Unit Productions before co-founding Dichronaut Records with Ultranoire.

“Pseudopop” was the band’s third full-length. Black Nail Cabaret’s most recent album, “Chrysanthemum”, was released on 1 March 2024, and the duo confirmed 2026 tour dates across Hungary, Germany, the Czech Republic and the United Kingdom in support of it.

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: Electro-pop, wave-pop.

Background/Info: While you maybe heard of this ‘new’ band before (being featured on a label compilation “Dependence 2012”) “Radioakt One” is the debut full length of Krischan Wesenberg (Rotersand, Future Lied To Us ao), Frank Spinath (Seabound, Lionhearts, Edge Of Dawn, Ghost & Writer ao), Daniel Myer (Haujobb, Architect ao) and Sascha Lange (who seems to make his first steps as a band member). Notice by the way the album is also available as double CD format featuring extra songs and remixes.

Content: When some of the most genius artists from this scene come together with one of the most praised singers you only, but can expect a masterpiece. “Radioakt One” is a record on, which you can hear the input of the ‘three’ big names from the band. Some arrangements and sound treatments are clearly reminding to Rotersand while more evasive atmospheres sound like the trademark of Daniel Myer while Frank Spinath has this unique timbre of voice. The songs sound like a very personal and somewhat future-like vision of electro-pop.

+ + + : Radioaktivists clearly is the meeting between some of the biggest names active at the wider German fields of electro-underground music. And the good thing is that they clearly have injected their very own touch to the work, which resulted in a harmonious and accomplished work. The album sounds as a sonic exploration moving from evasive passages towards a few harder cuts. But in the end it all remains an album, which is more made to listen to instead of music for the dancefloor. I personally like the darker and even anguished parts such as the last track “Leere”. I also have to recommend “Radioactive” for the osmosis of Haujobb and Rotersand plus “I Want You”, which is the most accomplished and artistic piece of the work.

– – – : No doubt about it, this album will get a great response and especially in Germany, but it also is a rather complex piece of music. It’s not exactly the most accessible music, which also is hard to label.

Conclusion: The good thing is that Radioaktivists are playing live so this album might be more than a one-shot project. Let’s now hope that there’ll be a harmony between those artists instead of an ego-clash.

Best songs: “I Want You”, “Radioactive”, “Sinner”, “Leere”.

Rate: (8).

Artist: www.facebook.com/Radioaktivists

Label: www.dependent.de / www.facebook.com/dependent.records

About Radioaktivists

Radioaktivists is a German electro-pop project bringing together Krischan Wesenberg (Rotersand, Future Lied To Us), Frank Spinath (Seabound), Daniel Myer (Haujobb) and Sascha Lange. “Radioakt One”, reviewed here, is the project’s debut album on Dependent Records, following its earlier appearance on the label compilation “Dependence 2012”.

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