When a band signs his 12^th studio album, “The Chaos Machines Part 1 – No More Flies On The Windscreen”, and can be proud of an impressive eclectic discography and music legacy ranging from industrial dance to harsh EBM through electro pop and dark synth, we could not resist to meet with Len Lemeire, the voice and driving force behind that unique Belgian sonic UFO called Implant … And before he asks me, yes Len, I did have my Implant today 😉!

The new “The Chaos Machines Part 1 – No More Flies On The Windscreen” album is out via Alfa Matrix and available from Bandcamp and from the Alfa Matrix webstore.

SL: “The Chaos Machines Part 1 – No More Flies On The Windscreen” is the first chapter of a trilogy. What inspired you to embark on this ambitious project, and what themes or ideas can listeners expect to explore throughout the trilogy?

LL: It evolved into this indeed! We started composing on this album with the idea to release the typical Alfa Matrix 2CD limited edition. We have been doubting the concept of a CD and a remix CD for quite a while. With oxynoxe-x we wrote a 2^nd cd using only the modular synths. But we did this after we finished composing the first disc. This time we wanted to do something similar, but instead of composing 2 entities, we wanted to work on the 2^nd disc while working on the first one. To give the tracks more room to grow. At one point I started singing on these soundscapes, and it worked very well. And hence we started to re-arrange these tracks, but with vocals in mind. Along this process we realized that the 2 CDs were starting to intermix, to blend. So, the idea grew to release them as 2 separate albums. And somehow make clear they belonged together. We also wanted a 12” vinyl. Because we like to smell vinyl J. Alfa Matrix liked the idea, but only if the vinyl had some exclusive content. So, we decided to make a trilogy out of it.

SL: The album is described as a clash against algorithms and a journey into chaos. Can you elaborate on how you approached creating music that embodies these concepts of chaos and defiance against digital norms?

LL: It is a bit hard to talk about defiance against digital norms when a lot of the chaos is actually circuit based. Defiance implicates that one refuses to obey to something. I don’t think we are trying to refuse to be bound by norms or anything. It’s not a statement or a quest to redefine things.  I think we embrace chaos more than we used to. We gave more space to the machines themselves. Sometimes synths can be rooted in such ways that chaos is more imminent. And we took that as a concept. we incorporated this while writing the songs. And eventually ended up adding chaos to unexpected places.

IMPLANT’s sound in this album ranges from psy-trance industrial cuts to electro-pop with influences from early SKINNY PUPPY and KLINIK. How did you blend these diverse styles to create a cohesive listening experience?

LL: I’m not sure if we always succeed in blending it all to a cohesive entity. But I guess that is one of the liberties you get if you work with chaos. You can hide behind the concept and claim that blending styles chaotically was part of the idea. The truth is far more pragmatic. Sometimes you must let a track take you on a little journey in the studio. And the final product should be judged by its quality, not its style. In the end the intersection between all the tracks is IMPLANT.  It has always been a part of IMPLANT to experiment with elements from different styles. I think this has been our strength over the years. But I guess, one could easily argue that it is a weakness.

SL: Noemi Aurora’s lush vocals are a highlight on this album. How did her collaboration come about, cos it’s not the first time you guys work together,  and what do you feel she brings to the overall sound and atmosphere of “The Chaos Machines”?

LL: I am a huge fan of Noemi’s voice, and she already collaborated with us on ‘phantom pain’. While writing the lyrics, I always had in mind to make it a duet. 2 sides of the story. She was the first one I had in mind. It took a while to set it up. But the result really works. She has this kind of power voice, and it was exactly what this track needed. She also collaborated on a track that will be released on ‘the chaos machines part 3’. It is very different from this track. But I think even more essential to the track than her contribution to ‘I wasn’t there’!

SL: Your declaration, “No boundaries, no compromises, only chaos and machines,” sets a powerful tone for the album. How does this philosophy influence your songwriting and production process?

LL: It is always a bit of a marketing tool to try and work with catchy slogans. But again, something I have always done with IMPLANT. The phrase ‘did you have your implant today?’ is something I have been using since the start. For the chaos machines I wanted to try and find a phrase that fits the concept. It’s kind of a justification for it all. We did not want to be restricted by boundaries, not in musical styles, not in sound design. We have tried to avoid compromises, although totally avoiding them is never possible. We did stress the limits of the technologies at hand. We never stopped taking a track into a certain direction because it was not scene friendly. And so on. And we did try and let the machines take over at some points. Most of the time this resulted in very chaotic sounds or textures. So, with all this in mind, the catchphrase does make some sense. And it can be used as a glue between the 3 releases.

SL: The album is filled with both dark moments and tongue-in-cheek lyrics. How do you balance these contrasting elements to maintain the album’s intensity while also keeping it engaging and enjoyable?

LL: A day without laughter is a day wasted. Or so they say. I think it’s trying to add another layer to the music.  Lyrics is a place in art where an opinion, a vision, a feeling … can be expressed. But one can also use it for the obvious. Compare it to a painter. One can paint a very social critical painting, or one could draw a few lines on a canvas and claim it to be social critical.  I never got the painter that painted lines and claimed to expand our thinking. To me, there are different mediums for different outlets of creativity. If lyrics is your forum for creativity, you should try and use it. A song is a little journey that can blend melodies with words. I’m not that keen on wasting this medium for the obvious.  If it can make you smile or look at things differently it’s not wasted. If I use it to express some darker things, then It’s probably something that is bothering me or something that needs to be addressed. There is a lot of “me” in those lyrics. I hope I wrote them in such a manner that it leaves room for interpretation. I once read a scientific article on the correlation between dark humor and alzheimer disease, and I remember thinking: “shit, I’m going to die as a fool”. (laugh)

SL: Given that this is your 12th studio album, how has IMPLANT’s sound evolved over the years, and what new directions or experiments did you undertake specifically for this project?

LL: I always think it’s kind of impressive talking about a legacy of 12 albums. Not sure if that was the goal when I started all this. I guess this kind of happened. But yes, with each release I’ve tried to experiment with different things. The balance between soundscapes and more conventional tracks is the place we tried to experiment on these 3 releases. I think each song is a little experimental trip on its own. With its own merit. Either it’s the break, the intro, or the whole track. Or sometimes just the approach of the routing of the synths. To me the whole transition from the early years to now makes a lot of sense. It is what it is. We could not have made (or remade) the album we did 3 albums ago, and back then we would never have been able to create this album. if the creative process can be digitized, it will be done by machines. Surprising the algorithm is what differentiates us from automated processes.

SL: You mentioned that it’s always more fun to pick up the pieces with IMPLANT. Can you share an example from the making of this album where embracing chaos or an unexpected twist led to a particularly memorable or successful outcome?

LL: Ha, this might be the hardest question of the interview. Because you must understand how ‘intentional’ all this chaos actually is. Maybe I can explain this with a little example. If you work with modular synths, connecting cables is the routing of the sound. The fun thing is that anything can be connected to anything. So, if you have a hihat triggered by a clock-divider, you can feed it a clock (mostly the BPM of the track). But you can also feed it an LFO. If you do this with a modular, you can probably control the LFO-time or shape by a knob or connect another LFO to control the time or shape of the first LFO (and hence the rhythm of the hihat). Before you know it, you’ll end up with something very chaotic, but partially controllable. In like 99% of the cases this will turn into something that can’t be used (although some bands make full tracks out of this. And some of these tracks are surprisingly interesting). If you use the possibilities to control things (like a knob for the speed of the LFO), eventually you’ll end up looking for a sweet spot. Resulting in a sound or rhythm that can be blended with the track you are working on. All this is pretty time consuming. But the result no matter how chaotic it may sound, is very intentional. One could say that the chaos is planned, and the actual outcome more of a coincidence.Jan has this module called “morphagene” by Make-noise. This is one of those modules that create instant chaos. I have been nagging at him a lot to use this one in a track. Eventually he used it on the samples in ‘The drive’. And I think it works great. We remixed that track for the 12” and it has more of those samples. To me, this is a fine example of the beauty of a chaos machine.

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: Power-Noise, Experimental, Electro.

Format: Digital, Vinyl.

Background/Info: Quite a while ago Belgian Industrial sound terrorist Olivier Moreau released new work under the Imminent moniker. “Mythrality” has been released as a single on vinyl while the digital version features an extra song.

Content: The ‘roots’ of this artist are clearly Power-Noise like and this element is still present in the new work. But there’s no longer the initial power, this work having been refined by dark, Ambient-like strings. The extra song features heavy, blasting sound treatments.

+ + + : This is a great production for the way the influences have been mixed together. You don’t exactly imagine heavy, Power-Noise sequences merged together with great, Cinematic, strings. The title song is a great experience featuring two edits.

– – – : I regret this is only an single/EP; I just want more stuff like this.

Conclusion: Imminent strikes back with a heavy although controlled power-bomb.

Best songs: “Mythrality”, “Mythralität”.

Rate: 8.

Artist: www.facebook.com/profile.php?id=100057982695612

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

About Imminent

Imminent is the solo project of Belgian producer Olivier Moreau, founded in 1993 as Imminent Starvation before being shortened to Imminent. The project grew out of the early-1990s power noise scene, mixing rhythmic noise with cold, atmospheric textures. Moreau also records as Axiome, a duo formed in 1990, and under several other aliases. Ant-Zen has released Imminent’s work for years; the “Mythrality” single followed 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.

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Washington D.C. based act Zabus just released a second album in just three months, following January 2024’s debut, “Topography of Iconoclasm”. The new album, “The Future of Death”, sees the addition of drums and electronic percussion, and was influenced by early ‘80s UK post-punk and proto-goth.

Formed in 2023, as part of the Washington D.C. artist collective and recording label Saccharine Underground, Zabus is the brainchild of writer and multi-instrumentalist, Jeremy Moore who was joined in Zabus by collaborators from Moore’s previous projects, Zero Swann and Gorazde.

Note that Saccharine Underground is also the home to several other projects helmed by Moore as well. These include deathrock band Thee Rise Ov Sadistic Youth; free improv / psychedelic outfit Zero Swann; and the experimental dark ambient group Gorazde.

Moore explains the genesis of the album as follows: “The album began as a singular idea focused on the psychological and emotional vulnerability inherent in depression and suicidality. The album evolved thematically from there—what if, during these periods of extreme susceptibility, we were more open to supernatural influence? The first song recorded for the album, “The All Light”, pushes this question further—what if the prospect of imminent death opened a gateway to the astral realm, from the victim’s mind to the universal unconscious? The album is not a glorification of death, but urges us to revere it as a necessary and sacred component of our cyclical existence, from corporeal to incorporeal.”

Here’s the new album, also available on bandcamp.

Bernard - Side-Line Staff

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

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

Format: Digital.

Background/Info: “Symbiosis” is the second album of Brien Hindman which has been released five years after the debut work “Cognitive Buffer Hypothesis” (2018). For “Symbiosis” he collaborated with multiple guest artists like iVardensphere, Imminent, [law-rah], Eva|3, Meredith Yayanos and Tim Kniep.

Content: The work is diversified and that’s clearly because of the different guest artists injecting their own touch and influences to the work. From IDM to pure Experimental music and from Industrial & Tribal to deeply Ambient Electronics -even reminding me of Tangerine Dream, there’s a lot of experience here.

+ + + : I’m always a bit skeptical when artists are inviting an important list of contributors. But I have to admit it works well at this opus and especially the track composed together with Imminent and iVardensphere is simply brilliant; an absolute masterpiece. I also recommend the totally different and Tangerine Dream-like “Cognitions”. 

– – – : Some passages are hardly accessible for their explicit Experimental content which sounds as a bit like an antithesis to some of the other cuts.

Conclusion: Diversified Electronic work which will mainly catch the attention of Ambient and Industrial lovers.

Best songs: “Vestigial Structures”, “Cognitions”, “Cladogenesis”.

Rate: 7.

Artist: www.facebook.com/brienhindman

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

About Brien Hindman

Brien Hindman is a video artist and musician who has directed clips for Asche/Morgenstern, Synapscape, Monokrom, and Mandelbrot. With Philipp Münch he released an album as Colony Collapse Disorder. His solo debut, “Cognitive Buffer Hypothesis,” arrived via Ant-Zen in 2018, featuring 6 tracks plus a remix by Münch.

“Symbiosis,” reviewed here, followed via Ant-Zen on 8 November 2023, five years after the debut. The album features guest contributions from iVardensphere and Imminent on “Vestigial Structures,” The [law-rah] Collective on “Imposter Syndrome,” Eva|3 on “Bereavement,” Meredith Yayanos of The Parlour Trick on “Eosophobia,” and Tim Kniep of Synapscape on closing track “Primordial Soup.”

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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According to an interview with the Canadian industrial music pioneers, Nivek Ogre and cEvin Key, in LA Weekly (published on November 30), Skinny Puppy will split up after this tour. Skinny Puppy formed in Vancouver in 1982. The group is among the founders of the industrial rock and electro-industrial genres. Initially envisioned as an experimental side-project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie).

Key acknowledges internal conflicts but emphasizes the joy and special nature of their last performances. Ogre from his side dismisses any notions of a future reunion: “People thinking that we’re gonna come back for a money grab in 10 years – it’s not gonna happen. In 10 years, I’ll be 70, so it’s definitely not gonna happen. But in five years or three years or whatever, it’s not gonna happen.”

The interview also reveals the complex dynamics between Ogre and Key, hinting at strained relations despite their mutual respect and admiration for each other’s talents. In the interview Key reflects on the band’s journey, expressing surprise at their longevity and satisfaction with their final tour. “I clearly remember saying in interviews back in the ’80s that there’s no way we’re gonna be doing this when we’re 60. So now we’re 60-plus, and it’s bizarre that we’re still going. (…) We have spent 40 years running that fine line between acrimony and getting work done.”

Talking about the past Key is quoted saying this about his work with the late Dwayne Goettel: “I only got to work with Dwayne for nine years, but we did manage to make a number of albums through that time. But the memory of working with him is unsurpassed.” As for highlights he mentions albums like “VIVIsectVI,” “Too Dark Park,” and “Last Rights” as creative high points.

Discomfort with the ‘industrial music’ label

Ogre shares his evolution as an artist and person since the band’s inception in 1983. Discussing the authenticity of his early work, he seems to be disillusionised with the current state of music, which he feels often prioritizes commercial success over genuine emotion.

Ogre and Key also discuss their discomfort with the ‘industrial music‘ label, noting how the genre has evolved and diverged from its original ethos. Ogre says more precisely this: “As far as the scene goes, it seems to have devolved into more of a metal vibe, for the most part. All of the stuff that I loved about industrial music that came out of Genesis, with industrial records, or even going back to Stockhausen, all of that kind of, just freedom to do whatever with whatever. That’s the thing that’s missing in industrial music.”

Despite their imminent split, both Ogre and Key have future projects lined up. Ogre is collaborating with Paul Barker and others on a new project, while Key has completed scoring for the video game “Silent Hill: Ascension” and is working on a new album with Bill Leeb.

About Skinny Puppy

Skinny Puppy formed in Vancouver, British Columbia, Canada, in 1982, originally a side project of cEvin Key (drums, electronics), then a member of the band Images in Vogue. Vocalist Nivek Ogre joined shortly after, and the pair’s self-financed 1984 cassette EP “Back & Forth” drew Vancouver label Nettwerk to sign them. Bill Leeb (bass synth, performing as Wilhelm Schroeder) joined in 1984 and left in 1986 to found Front Line Assembly, replaced by Dwayne Goettel (keyboards, sampling).

Key albums include “Bites” (1985), “Mind: The Perpetual Intercourse” (1986), “VIVIsectVI” (1988), “Rabies” (1989, with Ministry’s Al Jourgensen as producer and guitarist), “Too Dark Park” (1990) and “Last Rights” (Nettwerk/Capitol, 1992). Ogre left the band in June 1995; Goettel died of a heroin overdose two months later. Key and Ogre reformed in 2003 with producer Mark Walk, releasing “The Greater Wrong of the Right” (2004), “Mythmaker” (2007), “HanDover” (2011) and “Weapon” (2013).

The band announced its Final Tour in February 2023, coinciding with its 40th anniversary, and played its last show on 5 December 2023. In a November 2023 interview, Key and Ogre confirmed the split was permanent after 41 years, with Ogre stating: “People thinking that we’re gonna come back for a money grab in 10 years – it’s not gonna happen.” Skinny Puppy played its final show on 5 December 2023, ending a 41-year run that Nivek Ogre has said will not be followed by a reunion.

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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English vocalist and violinist Erica Nockalls releases the official video for cover of Roxy Music’s “In Every Dream Home a Heartache”. The video follows her recent single, “Build Me a Ship”, which was released in September to celebrate the announcement of Erica’s UK tour supporting Echo and the Bunnymen.

“In Every Dream Home a Heartache” was originally penned by Bryan Ferry, and initially featured on Roxy Music’s second album, “For Your Pleasure”.

Erica Nockalls is an English violinist, vocalist, songwriter, and visual artist. She is best known as the violinist in The Wonder Stuff, one-half of acoustic duo Miles Hunt & Erica Nockalls, and as a live fiddle player for The Proclaimers. Nockalls is also the lead vocalist, violinist, and guitarist in her self-titled art-rock band. Her solo work has explored a dark, intense style of alternative-pop embracing electro, synth and industrial elements into her unique approach.

“In Every Dream Home a Heartache”, also featuring Parisian studio producer and artist Jean-Charles Versari, is a twisted duet between the main protagonists where Erica takes on the role of the doll with Jean-Charles her male counter-point. A bleak, dystopian interpretation of Roxy Music’s original, “In Every Dream Home a Heartache” showcases Erica Nockalls’ sound perfectly.

Here’s the video for the track.

About Erica Nockalls’ solo career

Erica Nockalls unveiled her maiden solo album, “Imminent Room”, under the banner of Independent Records in 2013, offering a collection of eleven original tracks penned and rendered by her, rooted in the realms of art-rock and alternative genre.

Nockalls candidly shared that her journey towards solo creation matured at 27, spurred by a blend of boredom and disappointment stemming from the prevailing musical landscape. As elucidated in the artwork of “Imminent Room”, she transitioned from a mere critic to a creator, embracing her intrinsic musical leanings that transcended her classical violinist training.

“Imminent Room” boasted collaborations with notable artists like Jeff Walker (Carcass) on “Neon Crucifix”, and Wayne Hussey (The Mission) along with Mark Thwaite (Tricky/Peter Murphy/Mob Research) on “I Am Me, This Is Now”.

The album’s mixing and co-production were helmed by TV composer George Taylor (Fratelli Brothers), with whom Nockalls initially crossed paths in 2008. Taylor enlisted Nockalls to lend her string expertise for his diverse TV endeavors, encompassing BBC Arena documentaries such as “The Dreams of William Golding” (2012) and “The Hunt for Moby Dick” (2009), among others.

Post the release of “Imminent Room”, Nockalls assembled a live band, embarking on a UK tour as a supporting act for The Wonder Stuff, and further shared stages with artists like Toyah, Public Image Ltd, Pop Will Eat Itself, and Miyavi, while her live performances showcased her artistic flair with personal artwork adorning the stage.

Her sophomore solo album, “EN2” (2014), encapsulates eleven original compositions, with Nockalls orchestrating every aspect from writing to releasing. January 2014 marked the onset of a new musical chapter as she produced and self-released an album within the one year. “EN2” was funded entirely by sales of her artwork and album pre-sales through her website.

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 London-based electro act Alien Creation has unveiled a new single, “Super Villain”. The single is the follow-up to the previous single, “Red Pill”. “Super Villain” primarily addresses the idea that people bring out the worst in others; something everyone can relate to.

Chris Clark explains: “Super Villains often have terrible childhoods or are bullied or have a terrible accident in the lab or something. Thus, a Super Villain is born. The lyrics in “Super Villain” are inspired by a phrase I heard from the popular T.V. show, The Big Bang: Theory; “Watch out, he’s one lab accident away from becoming a super villain”.”

“Super Villain” is the last of unreleased tracks on all digital formats before the imminent release of new recorded 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!

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Belgian duo Cedrik Fermont (Ambre, Dead Hollywood Stars, Črno Klank, Kirdec ao) and Olivier Moreau (Imminent, Ambre ao) set up Axiome in 1991. Both artists and friends got involved in an impressive number of projects, but they regularly move back working on new Axiome stuff. The band explored multiple influences and music genres, but the last albums became more sophisticated, mixing elements of IDM, Acid and Minimal-Electro. The new album “Field Guide To Alien Planets And Other Disco Balls” released on Audiophob is an intelligent piece of modern underground Electro. This album deserves a bit more information which was given by both protagonists.

(Courtesy by Inferno Sound Diaries)

Q: Getting back to the early work of Axiome (more than 30 years ago now) and listening afterwards to your new album I honestly didn’t get the impression listening to the same project. What has made this radical evolution and what remains from the early Axiome anno 1991?

Axiome: It’s perhaps not a radical evolution, we had more than three decades to reach that point. Unlike some artists we never got stuck in one music genre, if one listens to all of our releases it is easy to see that we have always been evolving and changing: we played Industrial, Power-Noise, Glitch, Breakcore, Acid and Electro. We sometimes went with the flow, like when we played Breakcore, we wanted to bring something new in the Power-Noise and Industrial music scene that has sometimes a hard time to renew itself. We both lived in Belgium back then and the Breakcore scene was huge in there, the audience was also very different, more related to the club scene but also the Punk scene too and we loved that energy, we were booked to play for Breakcore Gives Me Wood or for the Maschinenfest scenes that brought very different listeners, which was interesting to see but we are also both fan of Electro and related genres, we partly grew up with Punk and Post-Punk, EBM, New-Beat and Acid and also with Noise, Experimental and Industrial music, I presume all this imprinted us.

What remains from the early times is probably that fact that we like to try new things and as a duo have our own personality.

You know, what shaped our first tape recordings around 1990/1991 was not only our music tastes but also our inexperience and lack of money to buy better gears.

Q: You guys have been involved with numerous projects so what makes Axiome different from the rest and what’s the main focus when working together as Axiome?

Axiome: Axiome is the oldest active ‘band’ we are involved with and maybe with one exception, we always meet to compose, we don’t exchange files for working remotely. Which is not always the case with some of our other projects.

The main focus is perhaps enjoying time composing together, having breaks to listen to music we like and eating good food.

Q: One thing is for sure, the title of the new album sounds totally weird. Is there a deeper- and maybe metaphoric significance behind or is it just your sense of humor?

Axiome: It’s just humor, you can see it in many of our other releases. Humor is often lacking in the Industrial, EBM or Electro circles and we both like humor. We both grew up in Belgium, a surreal place that is not afraid of making fun of itself, isn’t it ?

You’ve got all these Electro artists embracing sci-fi topics, often dystopian ones but the world can be hilarious too… No alien ever attacked us so far, the problems astronautics has to deal with are Moonwalkers crapping their pants and clogged toilets on the space station. Here are some of the real space quest’s dramas. Can you imagine how it’s going to be on Mars? Settlers walking with diapers, humanity reborn! Ah ah!

Q: Sound-wise I experience “Field Guide To Alien Planets And Other Disco Balls” as totally ‘free-style’. Multiple influences have been mixed together without compromises. How did the writing process happened and did you handle specific references and/or guideline?

Axiome: We never write down ideas and concepts or music notation, here again, we go with the flow. Trial and errors. We might have a vague idea in mind but the end result is often different from the original idea if we had one. There’s no fixed goal.

We sit behind the computer and try to compose a looped rhythm, once we think it sounds good, we add sounds and synthesizers and perhaps other beats and then nowadays voices too.

The only concept that we have are the provisory titles which are often connected to vegetable names, so when we compose an album, each track is connected to a vegetable or fruit belonging to the same family. Sorry if we ruined all our fans’ fantasies.

Q: One of the influences running through your latest works is Acid music which is not exactly often used and mixed with Industrial- and related music genres. What does Acid music evoke to you and the famous Acid scene from Chicago, Detroit ao?

Cedrik : I think Olivier is more acquainted with Acid music than me. I listen to some of it, mostly old stuff, not only the US scene, I like some of the productions a lot but never dove deeply into what has been done or is still being produced. I must tell you that I don’t consider AXIOME to be an Industrial band, we have been one but what we do now is pretty different and doesn’t correspond to how I see Industrial music. Acid is related to Dance music and clubs and what we do is some kind of perhaps mutant version of Dance and Club music.

We thought I’d be interesting to incorporate such influence into something else than Techno. In fact other artists have been incorporating 303 sounds with Ambient or Industrial music for a long time now, it’s nothing new.

Q: What makes the chemistry between both of you and how do you expect AXIOME evolving after more than 30 years?

Axiome: We met when we were two years old, going to the same kindergarten (no kidding !) and even if we now live 700 km apart from each other, we usually see each other several times per year to compose music and music-wise, we still have a lot in common.

We never exactly know how Axiome will evolve, we sometimes have a plan but without guarantee that it won’t change. We wanted to make some Detroit inspired Electro and now, check our latest two albums “Who Will Control Us?” and “Field Guide To Alien Planets And Other Disco Balls”, the result doesn’t exactly fit that box.

As many events that occurred in the past three years have proven it, humanity’s future is unpredictable, so is Axiome too. A next album could be Hip-Hop or Ambient or else, this is what makes us interesting, we hope, there’s no rule.

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, Acid.

Format: Digital, CD.

Background/Info: Belgian Axiome duo strikes back with a new album which is their first one released by Audiophob. Active since 1990/1991, good-old mates Olivier Moreau (Imminent, Urawa ao) and C-Drik Fermont (Kirdec, Tetra Plok, Ambre ao) have released the main part of their work on Ant-Zen.

Content: This work sounds like the offspring between different influences. Broken beats have been mixed with retro-strings, numerous effects, Acid sequences and pitched vocals. The work sounds diversified although there’s a true cohesion between the songs.

+ + + : I already heard great works from this duo but I’m impressed the way they evolved in sound throughout the years. It’s fascinating to see how pure vintage/analogue-like sounds and effects have this magic to become refreshing and even visionary. This album sounds a bit minimal but is mainly characterized by impressive sound treatments and terrific retro strings. The vocals often sound like samples but first of all create a robotic, ghost-like sensation. The broken beats get the production ultra-danceable. I definitely like the Acid sequences which are mainly emerging at the final part of the work. The album reveals a succession of great cuts but the masterpiece is “The Dentist”.

– – – : The very last track which is also the longest one is the single track that couldn’t totally convince me. I think there’s no reason to complain!

Conclusion: Axiome is getting better and better with this new album being a sublime and totally accomplished piece of modern and intelligent Electronics.

Best songs: “The Dentist”, “Enemies Or Foes?”, “Forsaken”, “Gala On The Moon”, “Planetarium”, “Superfluid”.

Rate: 9.

Artist: http://syrphe.com/axiome.html /  www.facebook.com/Axiome.duo

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

Trepanation Recordings has announced the imminent release of “The Anchorhold Dissolution” by Leicester (UK) based Phil Stiles versus Seattle (USA) based DJ Shane Aungst on digital download and limited edition CD on 10th June. You can pre-order your copy, as well as a bundle featuring “The Anchorhold” and “The Anchorhold Dissolution”, right here from Bandcamp.

For this release the duo was influenced by the likes of Nine Inch Nail’s “Fixed” and Massive Attack Vs The Mad Professor. “Dissolution” is a fresh take on 2021’s “The Anchorhold” album with DJ Shane Aungst rebuilding the album from the ground up, remixing each of the pieces and adjusting the running order to create something entirely new. As we all know the splendid work Shane Aungst has delivered for our “Face The Beat” series, you can be sure that this album follows the same quality path.

Phil actually first encountered Shane via his remixwork for our very own “Face the Beat” series, produced in conjunction with Side-Line Magazine.

The result was not unlike the original Anchorhold collaborations, where each of the guest artists brought something wholly unique to the record, and the pair began talking. Initially, the idea was for Shane to remix one or two songs, but in the end ideas for a grander project formed – a full album remix that would allow Shane to put his own stamp on the whole record. The musical conclusion is “The Anchorhold Dissolution” billed as ‘Phil Stiles Vs Shane Aungst’.

Of the project, Phil said: “I honestly never expected that Shane would have the time or the interest to create an entirely new vision for the album. When we started talking, it was one of our various late-night rambles and we were chatting about some of the artists that we both love. Perhaps inevitably Nine Inch Nails came up, and we started talking about how amazing it was that Trent was able to present versions of his records that were substantially different and yet really added something to the experience.
The next thing I know, Shane starts sending through these amazing versions of songs from The Anchorhold. Each take offers something different, but what I didn’t release until the end was that Shane had a masterplan, creating a new sequence that saw the songs become increasingly splintered until the molten-vinyl finale of It Follows Me. For me, despite having worked for over a year on the original record, it was like hearing the album for the first time, and I am so happy that Shane was able to create something that took the intent of the original and filtered it through his own, highly individual vision.”

With new artwork, once again from Final Coil’s Jola Stiles, and additional mastering from Phil, “The Anchorhold Dissolution” is now available in pre-order. You can already check a first track, “C21H22N2O2”, right below.

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: Dark-Folk, Chanson.

Format: Digital, CD, Vinyl.

Background/Info: Solventis is a solo-project from Toulouse (France), which self-released a debut EP called “Wintersongs” in 2018. This debut album was released at the end of 2020 on Steelwork Maschine.

Content: This project is driven by ‘Sol’ who’s playing all instruments and singing. He got a helping hand from a few guests. The songs are rather short and carried by a dark Folk-like approach. The rather typical guitar playing creates this Folk basis, which is accentuated by some violin play, creating an emotional side to this work. The vocals have something heavenly, but still fragile and sometimes feel like an invitation to dream away. 

+ + + : I like the dreamy side of the production, which appears to be the main characteristic of this production. The darker side of the sound however has something ominous; like an imminent, invisible danger. I like the violin parts for the magic and especially emotional touch they inject. “The Night Is Gone” and “Grey Dawn” both are excellent cuts illustrating this sonic grace. But my favorite song is “The Peaceful One”, which simply sounds right and beautiful. The somewhat fragile timbre of voice creates a perfect twist with the reverie of the work.

– – – : I just regret the songs aren’t more diversified and especially the violin play could have brought the work to a higher level.

Conclusion: Solventis is an interesting discovery, which brings a new dimension of Neo/Dark-Folk music.

Best songs: “The Peaceful One”, “The Night Is Gone”,  “Grey Dawn”.

Rate: (7).

Artist: www.facebook.com/solventis

Label: www.steelwork.fr  / www.facebook.com/pages/Steelwork.Maschine

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

Darkride Records announces the imminent release of London After Midnight’s first live album, “Live From Isolation”. The new album contains 10 performances; classic LAM songs plus some rarely performed fan favorites. Sean Brennan: “The album shows the power behind the live performances and gives the fans a chance to hear the band perform together, live, during a dark time when most people were in isolation”.

The album also includes 6 very rare radio promos and commercials, unheard since the early 1990s. One of the radio commercials is for LAM’s 1991 record release concert for the first album, “Selected Scenes from the End of the World”, which originally aired on the famous Los Angeles radio station KROQ. The commercials, produced by the radio stations, were probably the first times that music related to the gothic rock scene was even mentioned on these mainstream radio stations.

The year 2020 was supposed to be a year of heavy touring for London After Midnight, with festivals and events in the UK, Europe, Mexico, and the US. But the pandemic shut down live performances worldwide. So, during the summer of 2020 a ‘live’ album was recorded- where the band got together online and recorded and mixed live performances, thousands of miles apart from each other and in isolation, performing the songs as they would in concert. The goal wasn’t a perfect studio album, but rather something that captured a live concert experience.

“Live From Isolation” will be available on CD and digital.

New studio album postponed

The next studio album, “Oddities Too”, was scheduled to be released in Autumn of 2020 but finishing that album required travel in order to mix and do final recordings.

The “live” album didn’t have the same demands, as the band members could perform in their own studios and the final mix could be done online in real time between California and Sean’s new headquarters on the east coast of the USA.

“Oddities Too” will be postponed until later in 2021.

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: Cinematographic, dark-ambient.

Format: Digital, CD.

Background/Info: Ghosts Of Breslau is a Polish project, which is already active for a while, releasing new stuff from time to time. Breslau is the German name for the Polish city Wroclaw. This album, which was originally self-released in 2017, is inspired by a Scandinavian myth.  It stands for the ‘misty, foggy realm of the dead, ruled by Hel, the goddess of death and the underworld’, but ‘Niflheim’ can also be used to describe a hellish place. Irrwelt has re-released the album on CD format.                                  

Content: This album is a truly sonic labyrinth featuring endless corridors and corners. The tracks have been progressively built up. You get the impression less is happening and yet the atmosphere is constantly present to warn you of imminent danger. The last track is a bonus one, which didn’t appear on the digital format from 2017. The track is somewhat different for the addition of mysterious chants reinforcing the spooky sphere hanging over “Niflheim”.

+ + + : Ghosts Of Breslau has created an intimate, but anguished atmosphere. It’s somewhere in between cinematographic and pure dark-ambient music. Even if the compositions have something obscure, it also has something relaxing, creating a dreamy darkness. I like the opening cut “Brume” for its slow progression, but the already mentioned, last cut “The Crows, The Dead & The Fog” has something extra because of the incoming chants. I also want to say a word about the sober, but cool artwork of this digipak.

– – – : This album only features 35 minutes of music, but the main point is that some passages are a little less monotone. 

Conclusion: I can’t say I was totally convinced by this work.  I got the feeling there’s more potential hiding in this project than what came out on this album. 

Best songs: “The Crows, The Dead & The Fog”, “Brume”, “Mistpouffer”.

Rate: (6½).

Artist: www.facebook.com/breslaughost

Label: www.facebook.com/irrwelt

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

First Aid 4 Souls is an Hungarian formation, which is already active for more than ten years now. Set up by ex-Vacuum member István Gazdag and actually completed by US-based singer ‘Mortum’ (Human Vault) the band signed to Alfa Matrix to release their new album. “Keep This World Empty” features thirteen songs, which will directly appeal for EBM freaks in love with the late 80s and 90s EBM. The work is characterized by a sophisticated writing reminding bands such as Frontline Assembly and Skinny Puppy, but still Yelworc for the dark and somewhat disturbing atmosphere recovering the songs. The band’s singer accepted to answer a few questions.

(Courtesy by Inferno Sound Diaries)

Q: We were in touch after the “Dark Tunnel”-album released in 2017. I remember you were already busy with ideas and a concept around your next full length album based on the work of Vladimir Sorokin. What makes the link between the writings of Sorokin and the music of First Aid 4 Souls?

Mortum: Yes, indeed we already talked about this album last time. It took us a good amount of time to finalize it. We put a lot of work into it. The connection between us and Sorokin… Hmm… Well I guess he and us, we all believe that for humanity the only way of survival is an imminent evolution of the human being; an evolving conscious mental state and a must physical improvement of the human body. Sorokin shows us a possible way of that in his book.

Q: I think to have understood the preparation and research to compose an album takes you a lot of time and also is a very important stage to accomplish an album. How did it happen for “Keep This World Empty” and can you describe the process from research/preparation till the songs are finished?

Mortum: Istvan is the man to ask about the studio procedures… I am just the vocalist and that is all. However I can tell you one thing; in order to reach the final stage of a song, Istvan usually rewrites them at least 4 times and that is not a joke… And we still are not talking about the mixing and mastering. An album for us to realize usually takes a full entire year of work. Although finding the concept for an album is not really hard for us, we are full of ideas all the time.

Q: You’re now singed on a leading label from the electronic scene so I can imagine it feels a bit like a consecration, but still maybe frustrating to have wait all these years before it happened. What does it mean to you and what do you expect from a label such as Alfa Matrix you maybe didn’t get on other companies?

Mortum: Oh yes, getting in the roster of Alfa Matrix was a great feeling; we could see that there were people out there who actually appreciated the music we created. The label is very professional and super friendly. It is surprising how much they at Alfa Matrix know about this music scene. Working with them is amazing. They do not limit any ideas from their artists! That in my opinion is very important. Istvan and me respect the policy of the label and to be honest with you, we do not expect anything from the current music industry. We do not expect anything from Alfa Matrix as well.

Going deeper and understanding the present situation where every 10th person makes music… where every single month another hundred new industrial projects grow out and another thousand albums being released… we just could not expect anything from the people too who do their best to keep up with this overwhelming market of new music.

Q: I noticed Alfa Matrix linked your sound to EBM while I remember you once said EBM is just an influence running through your work. I get the feeling First Aid 4 Souls moves further than simply one established music genre, but maybe become a ‘total happening’, mixing different artistic formats together! What is it all about?

Mortum: First Aid 4 Souls was never a real EBM project. The vivid experimental virtue was always in its vein. We have a goal to reach when we start working on an album and we do whatever it takes to achieve this goal. The only limitation is the music equipment we possess. All synths gears, no acoustic- or any other instruments. We might do rock’n’roll music if we had guitars, but of course we don’t have any (lol). Anyway in brief, we do not mix different genres in our music to show the world how unique we are; we just do whatever we need to do. For example, presently we are working on new recordings and these new demos are totally different than anything we have done before.

Q: Today there’s internet to connect people from all over the world, but I can imagine you need much more than internet when you’re an electronic underground formation based in Hungary! What are the pros and cons belonging to a small electro-scene and what might we expect from First Aid 4 Souls for the future?

Mortum: True, Hungary has no active electro-industrial scene! We have got about 6-8 still operating projects and that’s all. Here comes the benefit when you have a band. You do not care how the Hungarian scene will embrace your sound… whether they will like your album or not. Too small community to matter in the market. The cons at the same time are simple. None buys your music and none comes to your shows. Nothing to worry about (lol). Istvan and me though still step forward and never look back. Since the future is always full of possibilities, but one thing is for sure, we are at the present now and that is all that should matter.

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

To celebrate the imminent Attrition show in Transylvania, performing their horror film score “Invocation” (released in October 2012), the UK act is giving away the soundtrack as a free download (the CD version will be half price) for the month of August only.

The album came 30 years since their dark ambient album “This Death House”. For the occasion Martin Bowes has combined forces with his wife Kerri on this full length movie score, written for the film “G.H.O.S.T” from cult U.S. horror film company Mutantville.

You can download it right here:

Attrition was formed in Coventry, England in 1980 by Martin Bowes and Julia Niblock. The band emerged from the experimental post-punk scene of the early 1980s and, along with other groups such as Throbbing Gristle, Coil, Einstürzende Neubauten, and In the Nursery, greatly contributed to the development of industrial music in the UK.

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

Background/Info:

Read the news on ‘Die4.Generation’.

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 in a few weeks is “Maschinenfest 2017”, a compilation including all artists who have performed at Maschinenfest 2017. You can order this set right here. This year’s event will take place from Friday 27 October 2017 until Sunday 29 October 2017 at the Turbinenhalle in Oberhausen, Germany

On the compilation you’ll find material from the following bands: Ah Cama-Sotz, Alarmen, Aphexia, Dive, Empusae, Esplendor Geometrico, Gatto Nero, Geneviéve Pasquier, Gold, Goreshit, Greyhound, Haus Am Rand, Horskh, Imminent/Synapscape, In Slaughter Natives, Lustmord, Meta Meat, Mono No Aware, Monolith, Nur Zwei Linien, S.K.E.T., Siamgda, Somatic Responses, Suicide Inside, Sutcliffe Jügend, Yura Yura and more.

Maschinenfest is a yearly, 3-day underground music festival in Germany, featuring industrial, power electronics, noise and other alternative electronic performers.

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

Read the review of ‘Die4.Generation’.

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

Here’s something for those Factory Records fans who want to collect everything related to the label and its personnel. “1965-1980” and the mini-album “In Dub”, 2 classic releases by the punk-dub rhythm act Basement 5, finally see a reissue.

The “1965-1980” album takes its title from the year frontman Dennis Morris (legendary photographer of Bob Marley and the Sex Pistols) arrived from Jamaica to its recording in 1980. Having secured the services of Factory Records renowned in-house producer, Martin Hannett (Joy Division) things looked good. However, the original drummer walked out on the first day of recording and was immediately replaced by the Blockheads Charlie Charles who went to finish the sessions. In the spirit of the day things didn’t last, underlying tension saw the band implode whilst touring through Europe. The final incarnation of the band lasted a mere eighteen months.

The “1965-1980” sessions also yielded dub versions of several of the main tracks and were later on released as “In Dub”.

The re-issue comes on vinyl and can be ordered right here.

Basement 5 formed in London in 1978. Their first vocalist was Winston Fergus, then Don Letts. One of their early performances was a support for Public Image Ltd.’s London debut at the Rainbow on Christmas Day 1978. Finally in 1979 Dennis Morris took over as creative force, lead vocalist and lyricist. He also designed the Basement 5 logo and created their image. The drums were played by Richard Dudanski, who had played in the bands 101ers, The Raincoats and Public Image Ltd. Their songs reflected the political situation of the time in Great Britain including youth unemployment and strikes. In 1980 they got signed to Island Records with vocalist Dennis Morris. Shortly after releasing the single “Last White Christmas” in 1980 the band broke up, with several members forming Urban Shakedown.

Here’s a video for “Riot” in a remastered version.

Side-Line also covered Joy Division’s ‘Atmosphere’.

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

The 7th and final part in the series of re-releases of all classic Calva Y Nada albums, “Schlaf”, will be out in a few weeks from now, coming in all new artwork. Orders are accepted right here, especially for the super-limited 2CD set.

“Schlaf” was Constantin Warter’s (aka Calva Y Nada) last ever album and was released on the legendary Hyperium Records label in 1998. With “Schlaf”, this German electronic/avant-garde music project founded in 1990 by Constantin Warter came to a sudden and unexpected end. Nothing has ever been heard again from Calva Y Nada after that.

The album is being re-released as a VERY limited 2CD edition of just 222 copies (available here), including an exclusive 3” Bonus-CD, that features the ultra-rare track “Guns’n’Weiss”, released in 1998 on the 4th “Zwischenfall”-compilation (and one year later also on French Elegy magazine compilation) only.

Here’s the title track to freshen up your memory.

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

Read the review of ‘Protectorate’.

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

Track 46 on our free download compilation “Face The Beat: Session 3” is by Cain Johnson. “Corrupt” is an acoustic track, quite an odd thing one might say on an almost 100% pure electronic music compilation. The track will appeal to the neo-folk minded readers but also to those who like a good portion of Laibach.

You can listen to the track below:

Cain Johnson is a project by Karsten Allenstein. He says: “This is a new project. It’s a complete new start. A reset. I’m lucky I was born in the right country, lucky that my family and me are well, lucky that I am currently not hungry nor have to be afraid of imminent war. This kind of luck is NOT bestowed upon everyone… I would like to combine my passion for music and that for helping others. For that very reason I have initiated the project Cain Johnson.”

As a result Johnson will donate all the proceeds of his first album to the ‘Childrens charity World Vision’. Says the musician: “I have already covered costs for music and video production, promotion and such, so that from the first sold album onwards all funds can be donated.”

The “Reset” album can be found on on Amazon DE as CD or download.

This will be a one off project though. You can check out the official Cain Johnson website, Facebook page and Soundcloud for more official info.

Here’s the video for the track:

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

The Swedish electro-synth-pop band Cinemascape are releasing a new digital EP on December 17.

The new Cinemascape EP is called “Foreign Terrain” and is the band’s first release of new material since their second album, “Cold Heaven”, was released over two years ago. The EP contains 4 brand new tracks. Tracklist: “Sinister”, “Alien Surface”, “Scene Of The Crime” and “Cruelty”.

Cinemascape is the project by Johan Jarl (lead vocals), Sebastian Milo (lead vocals) and Marcus Johansson (keyboards, computers).

Here’s a video trailer the band upped to announce the imminent release. The music video for the first track “Sinister” will be out soon.

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