In Slaughter Natives &#8211; SIDE-LINE

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

Mildreda – Blue-Devilled (Album – Dependent)

Inferno Sound Diaries — Sat, 16 Dec 2023 08:00:00 +0000

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Genre/Influences: Dark-Electro.

Format: Digital, CD.

Background/Info: Jan Dewulf (Diskonnekted, Your Life On Hold, Mildred In Oblivion ao) strikes back with his Dark-Electro project Mildreda. Two years after the praised album “I Was Never Really There” Jan unleashed twelve new songs inspired by the concept of ‘hell’.

Content: Diskonnekted moves on composing Dark-Electronics in the line of previous albums “Coward Philosophy” (2016) and “I Was Never Really There” (2021). The production is recovered with dense, overwhelming, darkness boosted by Epic arrangements and refined with cool string parts. More than ever before Mildreda sounds as the imaginary offspring between Yelworc, The Retrosic and In Slaughter Natives. This work sounds even more ‘atmospheric’ which has been reinforced by multiple fragments featuring Gregorian- and other chants. It’s a slow, bombastic composition featuring Jan’s tenebrous vocals on top.

+ + + : Mildreda confirms the potential of previous albums. Jan Dewulf reactivated Mildreda in 2009 and since then never stopped taking listeners by surprise. I can’t say he’s really innovating but he achieved an original and creative production mixing typical Dark-Electro atmospheres together with heavy, bombastic, Epic, arrangements and Industrial noises. The power of the production lies in the tormented atmosphere which in a way perfectly symbolizes the concept of hell. The work however features a few more dancefloor-driven cuts like “Friendly Fire”, “Prophecies” and “A Dog From Hell”. Production wise I also consider this album as the best Mildreda-work in history. There’s a true chemistry between all different influences, the chants and Jan’s own voice.

– – – : This is not the ultimate album for dance floors although there are some club stompers featured.

Conclusion: There are probably not enough bands dealing with a similar approach of Dark-Electro as Mildreda. That makes precisely the originality and strength of the project.

Best songs: “Prophecies”, “A Dog From Hell”, “Friendly Fire”, “Damaged Goods”, “Mirror View”, “Huis Clos”.

Rate: 8½.

Artist: www.mildreda.com / www.facebook.com/officialmildreda

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

Ulvtharm – Wrēkō (Album – Cyclic Law)

Inferno Sound Diaries — Mon, 06 Feb 2023 08:00:00 +0000

Genre/Influences: Dark-Ambient, Industrial.

Format: Digital, CD.

Background/Info: This is the debut album of
Jouni Heikki Ollila under the Ulvthram moniker. The name of this Swedish artist must surely ring a bell. He has been involved with EBM formation Pouppée Fabrikk and Industrial/Ambient project MZ.412. “Wrēkō” has been written over a period of several years. It all started when Jouni lived in Malaysia and was achieved when he returned to Sweden.

Content: This work brings us back to the early days and origins of 80s Industrial/Ambient music. The overwhelming production is featuring vintage string parts, epic arrangements reminding me of the early years of In Slaughter Natives, crashing percussions and passages with grave vocals.

+ + + : This is a great piece of music revealing a retro Industrial/Ambient style reminding me legendary artists from the 80s Industrial movement. The tracks have been composed with an impressive sound canvas. The tracks are progressively built up until reaching a true sound orgasm which you might experience at “All The Lambs” and “Death Of The Locusts”. The ghost-like vocals are perfectly matching with the style and also accentuating the perturbing sensation when listening to this opus.

– – – : The album features 5 cuts but the final one sounds unfortunately as an anticlimax to the rest of the work.

Conclusion: “Wrēkō” sounds darker than the night and more frightening than terror which makes it sound as the perfect Dark-Ambient release.

Best songs: “All The Lambs”, “Death Of The Locusts”, “God Of Sleep”, “We Will All Abandon You”.

Rate: 9.

Artist: www.facebook.com/ulvtharm412

Label: www.cycliclaw.com / www.facebook.com/cycliclaw

Mildred In Oblivion – Sisyphus’ Journey (Album – Ant-Zen)

Inferno Sound Diaries — Sat, 15 Jan 2022 08:00:00 +0000

Genre/Influences: Dark-Ambient.

Format: Digital.

Background/Info: Mildred In Oblivion is a new project driven by Jan Dewulf. This Belgian musician/producer gained recognition with his different projects; from Diskonnekted (Electro/Future-Pop) to Mildreda (Dark-Electro) to Your Life On Hold (Cold-Wave, Post-Punk). This debut work by Mildred In Oblivion is a conceptual work inspired by the concept that ‘Camus’ philosophy is linked to the Buddhist idea of the ‘bardo’.

Content: Jan Dewulf composed 10 songs. The opening part of the work is pure Dark-Ambient music revealing monstrous and overwhelming sound treatments. It’s an icy Ambient trip, which has been joined by Gregorian chants. The global atmosphere is clearly reminding me of early Raison D’Être although this work is more elaborated. Quite progressively we’re entering a still dark, but dreamier part with omnipresent strings. Tracks at the end are becoming heavier and have been accomplished with orchestra sound arrangements. There also is a track with fragmented vocal parts adding a Ritual touch to the work.

+ + + : The older he gets, the more Jan Dewulf take me by surprise. All his projects are quite different from each other revealing an artist who clearly feels fine dealing with different music genres. There for sure is a touch of Mildreda running through Mildred In Oblivion. The epic arrangements and tormented atmospheres from the new Mildreda-album “I Was Never Really There” have been extracted and transposed into a pure Dark-Ambient journey. The debut cuts are impressive; not that original as you easily recognize the influence of Raison D’Être and a bit of In Slaughter Natives, but the format sounds fully accomplished. The tracks are extremely elaborated for Dark-Ambient music, which in a way makes the originality of the work and the main difference with the aforementioned projects. This is a tenebrous experience reaching a new climax at “Death”. It also is an album with a strong visual appeal, creating visions of desolation and despair so this is not exactly the kind of work I would recommend listening to when having depressed feelings.

– – – : There’re a few cuts right in the midst of the album, which are more into dark, evasive fields that couldn’t convince me. There’s a kind of Cinematographic appeal emerging here, which might be an idea for another project…

Conclusion: “Sisyphus’ Journey” clearly reveals an artist who is familiar with Dark-Ambient music, and who has distilled an album with a few brilliant passages.

Best songs: “Death”, “Waves Of Bitterness”, “Conception”, “Transmutation”.

Rate: 8.

Artist: www.wolf-productions.be / www.facebook.com/mildredinoblivion

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

Asseptic Room – Extinction Or Reawaken (Album – Advoxya Records)

Inferno Sound Diaries — Fri, 26 Nov 2021 08:00:00 +0000

Genre/Influences: Dark-Electro, Cinematographic.

Format: Digital, 2CD.

Background/Info: Ten years after the band’s last album, Asseptic Room strikes back with their third full length. Carlos Ruiz –previously involved with Dioxyde, has been joined now by Mario González.

Content: This double album clearly has two sides. The main album features 15 songs, which are clearly driven by good-old Electronic standards. Several songs will definitely appeal for fans of :Wumpscut:. There’s a similar tormented sphere mixed with powerful sequences and overwhelming strings. The enraged vocals –mainly sung in Spanish, only accentuate the aggressive approach of Asseptic Room. The last 3 songs are remixes by Acylum, Hiotcan and Nano Infect.

The second album is something totally different. The atmosphere remains pretty dark and you easily recognize the Dark-Electro influence in the song writing, but this album is clearly meant as an imaginary Soundtrack. Most of the songs are instrumental edits –although you’ll notice spoken samplings and a few vocal lines. The songs are sometimes achieved with epic arrangements and constantly driven by rhythms.

+ + + : This work stands for the comeback of Asseptic Room. The first new full length in ten years sounds a bit like a new start and I can assure you the Spanish duo didn’t miss a step. I especially like the darkest and most tormented cuts of the work, which are easily reminding me of the glorious days of :Wumpscut:, but also of Acylum. It’s not of a coincidence Acylum has been asked for a remix and it definitely is one of the best songs of the album. I like the icy sound treatments this album has been made by.

The second disc is different, but Asseptic Room also reveals to have great skills to compose a Dark-Electronic soundtrack. Especially “Syndrome Of Decay” is an impressive piece of music for its epic arrangements; kind of In Slaughter Natives in a more Electronic way.

– – – : The tracklist of both albums could have been a bit shorter; all songs can’t convince me in the same way.

Conclusion: Asseptic Room strikes back with its best album to date: freaky Dark-Electronics for the dancefloors, but still to freak out alone at home.

Best songs: “Extinction Or Reawaken – Redemption”, “Insomnia – Acylum Remix”, “The Rise Of Doom”, “Extinction Or Reawaken” + “Syndrome Of Decay”, “The Destroyer Of Worlds”.

Rate: 8.

Artist: www.facebook.com/assepticroom.official

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

Mildreda – I Was Never Really There (Album – Dependent Records)

Inferno Sound Diaries — Sat, 28 Aug 2021 19:30:00 +0000

Genre/Influences: Dark-Electro, Industrial.

Format: Digital, CD.

Background/Info: Mildreda is the Dark-Electro/Industrial project of Jan Dewulf. While he was already active with this project during the 90s he mainly got recognition with the Electro-Pop project Diskonnekted while he, in the past few years, was more active with the Goth/Wave formation Your Life On Hold. He now strikes back with the fourth full length of Mildreda, which also is the first one released on CD format.

Content: Jan Dewulf reveals a rather diversified piece of work, which is however dominated by Dark-Electro sound sculptures. Some songs are supported by dark, melodic strings while other pieces are more into Industrial elements. I also noticed a few cuts mixing Dark-Electro and Industrial together with overwhelming epic arrangements. Notice by the way you’ll hear Dirk Ivens (Jan composed the music for the last Dive album) and Cyan (The Eternal Afflict) singing on two songs while Don Gordon (Numb) contributed to the production of one cut.

+ + + : The album reveals different influences, but Mildreda took me by surprise with “Liaisons Dangereuses” (there also is a great clip of this song) and “Erased” featuring Don Gordon. The epic/orchestral arrangements running through both cuts are absolutely impressive, creating a kind of new Dark-Electro dimension. It’s an imaginary hybrid between Yelworc and In Slaughter Natives. I also have to mention the Industrial-driven “Echoes” featuring Dirk Ivens, which sounds like a more elaborated Dive-song. The last part of the album also reveals 3 brilliant songs. “Blame It On The Moon” features the charismatic voice of Cyan. “Opposite Choice” is accomplished with a Techno touch and “Dream Machine” sounds like a great final track. Last, but not least I also have to say a word about the great ghost-like vocals’ production of Jan Dewulf, which matches this sound.

– – – : The album has something versatile and I regret there are no more Orchestral/Epic driven songs. Both debut cuts are a little bit hesitant, but quite progressively this album reveals great surprises.

Conclusion: Jan Dewulf has already done promising things in his career, but this Mildreda album might be his best work ever!

Best songs: “Liaisons Dangereuses”, “Opposite Choice”, “Erased”, “Dream Machine”, “Blame It On The Moon”.

Rate: 8½.

Artist: www.mildreda.com / www.facebook.com/officialmildreda

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

‘Click Interview’ with Empusae: ‘I’m Using Empusae As Personal Therapy’

Inferno Sound Diaries — Tue, 28 Jan 2020 18:00:58 +0000

Nicolas Van Meirhaeghe better known as ‘Sal-Ocin’ and involved with his solo-project Empusae for more than 20 years now, released by the end of 2019 his newest album “Iter In Tenebris”. The album is a new conceptual work around four demons, but still the exorcism of personal demons. The Belgian artist probably released his most personal-, but for sure his darkest- and most accomplished album to date. Released by Consouling Sounds, the four tracks bring together elements of dark-ambient, industrial- and epic music with a solid cinematic touch on top. “Iter In Tenebris” is a truly masterpiece, which also became one of the best releases from the past year.

(Courtesy by Inferno Sound Diaries)

Q: “Iter In Tenebris” is not only a dark title for an album, but it probably also is your darkest work to date! Introduced as the continuation of an exorcism, each track seems to deal about a demon. Tell us a bit more about the concept and in, which way this concept has to be understood as a metaphor of personal demons?

Sal-Ocin: I discovered, after finishing my previous album “Lueur” that I’m using Empusae as personal therapy. I think it has always been like that since the start, more than two decades ago, but I only realized it with “Lueur”. I needed to make that album to help me cope with my inevitable coming blindness. And it helped. So yes, “Iter In Tenebris” is in a way the continuation of it, but even more deliberately to confront some of my personal demons. The concept though, is that each demon can be interpreted and linked in a very personal way. The music has its own power to the listener, a musical illustration of inner demons. The inspiration came from deep down the abyss, I decided to give the compositions a certain name, but don’t let the name mislead you; each song has a link to your own demons. It’s up to the listener to find out which one. Hopefully with the same therapeutic effect. So listen at your own risk…

Q: When I saw the title of the album I immediately linked it to your visual handicap, which you’ve been talking about in different posts. What can you say about it right now and how do you see things evolving as the person you are and your artistic creation?

Sal-Ocin: Like I said earlier, my eye disease greatly influences my latest work, but not exclusively. I’ve been diagnosed about 5 years ago, the impact (in my everyday life) gets stronger every year. This year, I had to quit my job as a caretaker due to my handicap, which was extremely painful to decide, with a huge negative impact as result. At the moment I’m still trying to recover from it as well as trying to find a new professional direction. But it’s not easy, as my eye sight continues to degrade, which makes this quest very difficult.

As for my artistic activities, I didn’t gave up concerts so far (with Empusae as well as playing drums with Ordo Rosarius Equilibrio and Triarii). The people I work with are aware of my handicap and are very supportive, which enables me to continue. It’s not easy, but I really don’t want to give this up.

As for my studio work, with some small modifications and adaptations in my home studio, I can still compose nearly the same way as I used to. And I don’t plan ever to stop this, even if I’m completely blind, I’ll always find a way to produce music.

Q: Back to “Iter In Tenebris”, which I also experienced as your most elaborated and accomplished work to date. I always feel something authentic and intimate running through your music, but this album feels like the ‘opus magnum’! Can you tell us the different stages you’d to go through to achieve this work and what kind of work did you finally tried to compose?

Sal-Ocin: Thank you. I really enjoyed working on this album, as it had a different conceptual approach. Each song was inspired by a certain personal demon as starting point.

For the more practical part, I started sampling old 78rpm records from the early 1900’ I inherited from a relative. I used these recording as a starting point for each song by deforming them, manipulating the sound and structures, to be able to invoke the demons. I guess you could see those old records as the medium between the demons and myself.

The rest of the music was composed around those recordings. I used various different techniques and instruments, much less electronics/software compared to the albums I released on HANDS or Ant-Zen. So those old Century-old records combined with my voice (which I started using since “Lueur”) as well as many unorthodox home-made instruments, were a big challenge for me to make it sound like I desired. Luckily I was aided by Marc T. (with who I collaborated on the “Deugden Van Angst En Het Kwaad”), known from his projects Dirge and Dither, who did a wonderful job with mixing and mastering the album, as well as some added guitars on one song.

Q: I get the impression your work is progressively becoming more epic/orchestral in the arrangements, which I think is totally appropriated to the title of this album and the vision of darkness. But how do you perceive your own evolution as musician and possible influences/interactions in your work with all the other projects you’re involved with?

Sal-Ocin: The evolution of Empusae does not happen deliberately, it just happens. It is true that it has become more epic and orchestral. I have more experience, possibilities and resources than 20 years ago to achieve this kind of sound, but is was always on my head nevertheless. I guess projects I was involved in (Ordo Rosarius Equilibrio, Triarii, In Slaughter Natives) within the last decade, probably had an impact on that. Those projects are completely different from my solo-project and except for Ordo Rosarius Equilibrio, I’m only involved for concerts. But since they were my musical idols decades ago, they already influenced me back then, so being close to them now as friends, probably amplified it. Same for my other projects such as Tzolk’in, Onus and collaborations with artist like Marc T., Nick Grey, Lamia Vox, Sieben, etc… all these joint artistic experiences are influential for Empusae.

Q: “Iter In Tenebris” is much more than simply an album! You again collaborated with your partner Christel Morvan who realized a visual work for each of the songs. The visual side of the work is only accessible through an application on your smartphone, which is a kind of premiere in this scene. How did you get this idea and what’s the idea behind? And how did this new collaboration took place?

Sal-Ocin: The idea came from Christel. We’ve been working together for several years now. She has become the visual representation of Empusae. We had the idea of one illustration for each demon, she found a way to put the demons to life trough the technology of Augmented Reality. She worked with the company (EyeJack) which developed this in the past, so this was the perfect occasion to work together again for this project. The concept of amplifying the music with visuals has always been our concern of collaboration (for cover design as well as live visuals/animations) so with “Iter In Tenebris”, she could do both. The only frustration she has was the lack of time. It was hard to develop what she did, combined with her day job and a tight deadline. Her aim was to do something even more elaborated, but of course, time is the enemy. But personally I’m extremely satisfied with the result.

Q: Your latest productions have been released by the Belgian label Consouling Sounds, while before you were signed to Ant-Zen. The German label decided to stop printing CD formats, which simply says something about sales and music industry today. In which way are you affected by this evolution and how do you see things evolving?

Sal-Ocin: I personally never lived the golden age of music industry. My first release came out during the Napster phenomenon, so somehow, I was prepared for the changes until today. Also, it was never my aim to make a living or to make profit (other than reinvest in musical gear and instruments) out of my music. So on a personal, financial level it never really affected me that much. On the other hand, seeing cult labels such as Ant-Zen and so many others being forced to end their physical release era, if a very painful and frustrating thing.

As for Consouling Sounds, I praise myself lucky to be able to work with them. They are very smart, inventive and passionate business people, but most of all, very warm human beings. These two elements make the label more than just an ordinary one; it’s a community of friends, like-minded people with passion for art and quality, mixed with love and solidarity. Not that obvious one might think, considering the very dark nature of the artistic expression represented such as doom, black-metal, dark-ambient, post-rock, etc

Empusae – Inter In Tenebris (CD Album – Consouling Sounds)

Inferno Sound Diaries — Mon, 30 Dec 2019 21:00:37 +0000

Genre/Influences: Dark-ambient, industrial, epic, cinematographic.

Background/Info: Belgian artist Nicolas Van Meirhaeghe better known as ‘Sal-Ocin’ and still involved as live member with famous artists such as Ordo Rosarius Equilibrio, In Slaughter Natives ao is back on track unleashing his newest opus “Inter It Tenebris”. The album wants to be an exorcism of four demons, which you’ll find back in each song. The album has been released in his homeland by Consouling Records. There also is an important visual work accompanying the album and realized by his partner Christel Morvan. Each song has its visual content, which you can watch by the use of an application on your smartphone.

Content: “Inter In Tenebris” features 4 long duration and elaborate cuts. Multiple influences are running through the composition, but the main characteristics are the overwhelming atmospheres supporting the album, the empowering epic orchestrations and chants –which sometimes remind me of In Slaughter Natives, and the complex percussion patterns remaining an essential element of Empusae.

+ + + : Each time again, I make the same observation that Empusae is getting better and better album after album. This work is without a shadow of doubt the masterpiece from Empusae’s discography. The tracks have been carefully crafted, mixing numerous influences and featuring impressive sound layers. The production is totally high-tech while the writing is sophisticated –which is an aspect mainly revealed by the drum sections. The epic part of the work only reinforces the overwhelming impression while the slow progression of the song structure are ending with an apotheosis. “Shabriri” and “Iso” both are great exposures from Sal-Ocin composer skills. I also have to say a word about the great artwork (digipak) while the visual concept of this release is something ‘new’ and interesting.

– – – : I regret there are only four tracks delivered, but quality is definitely better than quantity!

Conclusion: Empusae is not only a very single project in its genre, but it also is a project that never stops to improve little details from the writing and production. This is probably the darkest- and maybe the most intimate work to date, and for sure the opus magnum from the Empusae discography.

Best songs: “Shabribri”, “Iso”, “Purah”.

Rate: (9).

Artist: www .empusae .com / www .facebook .com /empusaemusic

Label: http ://consouling .be / www .facebook .com /ConsoulingSounds

Megaptera – Disease (CD Album – Ur-Muzik)

Inferno Sound Diaries — Mon, 18 Feb 2019 20:30:03 +0000

Genre/Influences: Dark-ambient.

Background/Info: “Disease” was originally released in 1996 on Art Konkret. Driven by Peter Nyström (also involved with other projects such as Negru Pvlse, Kristoffer Nyströms Orkester ao) Megaptera became a reference in dark-ambient, obscure cinematographic and death-industrial music. This new edition has been remastered by Henrik Nordvargr Björkk and features one extra song.

Content: “Disease” brings us back to Megaptera at its best! It remains pure dark-ambient music accomplished with bombast sound, epic arrangements à la In slaughter Natives, bouncing drones and tormented atmospheres. The extra cut perfectly fits to the work and is an extra part from the track “The Squire Goes Insane”.

+ + + : The artwork has been completely changed and looks really artistic; this is a great digipak featuring artistic pictures. Sound-wise Megaptera invites the listener to join an imaginary universe of darkness and stupor. It indeed is a work with a strong visual appeal, which is instigated by the perfect mix between all elements of the production. The epic arrangements are adding some drama, the drones create a delicious vibrating sensation and the chilling atmospheres are very efficient.

– – – : “Disease” is an absolute great piece of music, but maybe missing the absolute climax to speak about a referential opus.

Conclusion: This is a noticeable album in the dark-ambient genre, which will please all of those who maybe missed “Disease”, but still a nice gift for the biggest fans because of the new package and artwork plus the extra cut.

Best songs: “Disoriented”, “The Passage To Your Evil Dreams”.

Rate: (8).

Artist: www .facebook .com /Megaptera –Åfficial -294144157411675

Label: http ://ur –muzik .blogspot .be / www .facebook .com /urmuzik .rec

Cold Fusion – Cross My Heart (CD Album – Rage In Eden)

Inferno Sound Diaries — Wed, 23 May 2018 19:30:08 +0000

Genre/Influences: Cinematographic, epic.

Background/Info: Marcin Bachtiak (label owner of Rage In Eden) has reactivated his Cold Fusion project. “Cross My heart” is the first new opus since “Architecture” (2011). It all looks like Bachtiak needed some period of rest to think about new music ideas.

Content: The very first notes of the work clearly reveal what it’s all about. “Cross My Heart” stands for bombast and orchestral arrangements. Deep, resonating tones and echoing drones in the distance are inviting the listener for an epic voyage sometimes reinforced by typical chants. This is the kind of music that might remember early In Slaughter Natives, but will first of all appeal for all lovers of heavy orchestral pomposity.

+ + + : This is epic music by excellence. It’s not only a cimematographic thing, but pure sonic drama. The visual appeal of “Cross My Heart” is rapidly coming through, this way awakening our most inhibited thoughts. The tracks have been masterly accomplished and I especially like the percussion- and drones parts. Even if the typical epic chants/choirs are pretty typical for this kind of music, it however remains a great experience in sound totally appropriated for this album. The tracks remained untitled, but the sixth piece is an absolute masterpiece accentuating overwhelming sound blasts.

– – – : Even if the epic chants are quite similar on most of the albums in this music genre, I regret Cold Fusion didn’t use them more. I also noticed a few single cuts, which are quite repetitive and less inspired. But globally speaking, you don’t hear me to complain.

Conclusion: I’ve always supported the work of Cold Fusion and it’s really great this band is back on track with a noticeable work, which is maybe one of the best productions in this artist’s history.

Best songs: “Untitled 6”, “Untitled 3”, “Untitled 5”n “Untitled 1”.

Rate: (8).

Artist & Label: www .rageineden .org / www .facebook .com /rageinedenrecords

Mildreda – Cowards (CD EP – Alfa Matrix)

Inferno Sound Diaries — Sat, 06 Jan 2018 20:30:38 +0000

Genre/Influences: Dark-electro, industrial, epic-electronics.

Background/Info: Belgian artist Jan Dewulf got some name and recognition for his work under the moniker of Diskonnekted. But Jan was already composing music before he got involved with Diskonnekted. Mildreda saw the daylight in the 90s and got reactivated in 2009. We last year welcomed the digital album “Coward Philosophy”, which was a real cool surprise. This EP is getting back to this album, but still serves as an appetizer for the upcoming full length.

Content: Mildreda can be the best described as the offspring between In slaughter Natives (for the epic/orchestral elements) and Yelworc (for the dark-electro link based upon haunting atmospheres). The result might be a bit compared to Stiff Miners and clearly reveals a very single approach in dark electronics. A few elements might also remind to the complexity of Frontline Assembly and Mentallo & the Fixer. The vocals are harsh, but a few songs also reveal a clearer production revealing Jan Dewulf’s more familiar timbre of voice.

+ + + : I’m totally devoted to the epic and orchestral elements running through a few cuts. This makes the originality of Mildreda and I’m convinced it’s the kind of sound that could bring this band to a higher dimension. Especially the epic chants create mystery, and also support the work with dense, dark layer. And Mildreda is definitely into darkness and even obscurity. “Stories (Short Edit)” is a great illustration of this tormenting electro style. I also like the fact this band has nothing in common with the electro/future-pop sound of Diskonnekted. Mildreda is something apart and remains a promising project.

– – – : I just noticed a few cuts, which are more average like. I guess it’s not really a surprise it here concerns the songs without epic arrangements.

Conclusion: Just imagine In Slaughter Natives getting contaminated by a dangerous sonic virus. The result of this new hybrid would be called Mildreda!

Best songs: “Stories – Short Edit”, “I Got The Morbs – In Abalba”, “Erazor – Extended Version”, “The Parting – Club Edit”.

Rate: (8).

Band: www .facebook .com /officialmildreda

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

Maschinenfest 2017 compiled and available in a few weeks from now

Bernard - Side-Line Staff — Wed, 18 Oct 2017 18:00:17 +0000

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.

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.

‘Click Interview’ with Empusae: ‘There Is Something Beautiful Within The Darkness’

Inferno Sound Diaries — Thu, 29 Jun 2017 17:00:49 +0000

Nicolas Van Meirhaeghe aka ‘Sal-Ocin’ and instigator of the dark-ambient/ritual/cinematographic project Empusae is a Belgian artist I discovered since his early years. He also played live percussions and got involved in very diversified bands (Implant, Ah Cama-Sotz, This Morn’Omina, In Slaughter Natives, Sophia, Triarii, Tzol’kin, Ordo Rosarius Equilibrio ao.). With his newest opus (cf. “Lueur”) released on the Belgian label Consouling Sounds, Empusae took me by surprise achieving a poignant and transcendental work.

(by Inferno Sound Diaries)

Q: Nicolas, you’re an artist I’m following since your very first official releases (on Divine Comedy Records) and I’m really impressed about the evolution in the global production process between the early work and what you’re composing today. How much of early Empusae do you recognize in your latest work?

Sal-Ocin: Thank you for your kind words. Since the beginning of Empusae, it was always about creating soundtracks for the imaginary. Certain elements in sounds and compositions you might recognise through my work such as being atmospheric, dark, melancholic melodies, ritual rhythms and a mixture of unearthly sounds and sounds and scenes from our lives (I used to sample a lot from movies, which I changed now to field recordings and recordings in my studio). In all my albums you will find out there is something beautiful within the darkness. Which is exactly the theme of my last album, literary.

Q: I experienced your newest work “Lueur” as an album with a diversified and dark sonic canvas. What kind of work did you’d in mind and how did you came to work together with Chve?

Sal-Ocin: I started to write “Lueur” as a therapeutic exorcism against a recent demon I encountered 3 years ago (genetic eye disease). I had no idea of any particular style or sonic result, it was more about transcribing emotions, fear, pain and anger into music. The result is indeed very dark but you might recognise there also is some light within. When I was at a certain point of composition, I felt something was missing. Since I didn’t know what, I experimented several ways to fill it in, but without results. After a few days it hit me like thunder: It was Colin’s voice who was needed at that passage of the song.

After he said yes to try some things out, I (re-)composed the two songs with his voice in mind. He perfectly did (even more) what I had in mind and I think the end result speaks for itself; an enhancement of the emotions I needed to express with the album. He instantly grasped the concept and it all happened very fast and naturally.

Q: I especially like the balance between music and vocals, but still the progression running through both songs, which are reaching a kind of transcendental final. How did you get such an apotheosis and do you’ve references in the genre?

Sal-Ocin: To be honest I have no idea what to compare it with. I really just did what come out during the writing of it, without thinking how I would do it and especially without any particular result. It’s the first time I used my own voice and someone else’s (except Tom De Doncker’s Vox Demonii). But it felt very natural and I need also to mention the work of Tim De Gieter (Much Luv Studios) who did an astonishing craftsmanship in mixing the whole album into a perfect result!

Q: You’ve worked with numerous guest artists while you’ve been –and still are involved in numerous other (and sometimes famous) bands. What do you like in the work and exchange with other artists and what’s the impact on your own work and evolution as musician?

Sal-Ocin: Working as percussionist (live) with Triarii definitely helped me finding the way to compose orchestral passages within ‘Sphere From The Woods’, ‘Split’ and ‘Lueur’. Those are elements which were also present in previous albums, but not as well orchestrated and integrated in the dark ambiences and electronics.

This aspect I actually put in “Vision:Libertine” from Ordo Rosarius Equilibrio. I think Tomas (Pettersson) recognised that as well and asked me to integrate that into his songs, together with the tribal rhythms.

What I do as Tzolk’in (with Gwenn from Flint Glass) is something similar as with Empusae in the sense that we create a soundtrack to the pre-Colombian civilisations.

With Onus (with Peter Bjärgö from Arcana and Sophia) it is for me the same principle: creating atmospheric music based on the burden of life.

Q: What means this artistic involvement and creation to you?

Sal-Ocin: Some people have kids, Christel and I have art. It is more than just a passion, it’s our drive of life, our therapy, our essence of life and our catharsis. It’s an obsession, an endless source of pleasure, commitment, self-development, symbiotic interactions.. In other words, hard to describe, but it means the world to me.

Q You’re right back from WGT 2017. How did it happen for you and what’s the importance of playing live plus did you see other interesting bands on stage?

Sal-Ocin: WGT was very intense this year. The Empusae gig was in a full house ‘Volkspalast Kantine’. The sound was amazing, so was the audience, they were very silent (which is not always the case and can be a huge pain in the ass during ambient parts of a concert) and attentive with a huge feedback from then at the end. It’s one of the concerts where myself as well as several people in the audience started crying.

A few hours later we performed in ‘Volkspalast Kuppelhalle’ (full house as well) with Orde Rosarius Equilibrio. One of those concerts where I had a big smile on my face at certain moment and where I had so much fun playing my percussions. Unfortunately, I didn’t visit any other band or venue, I decided to spend some feel good quality time with the band and friends.

Courtesy by Inferno Sound Diaries

Mortiis offers 1994 album ‘Ånden som Gjorde Opprør’ for free download + massive Cold Meat Industry Fest !

Bernard - Side-Line Staff — Fri, 02 Jun 2017 17:30:02 +0000

Mortiis will present a live reinterpretation of the 1994 release “Ånden Som Gjorde Opprør” this fall at the Cold Meat Industry 30th Anniversary celebration in Stockholm. The event will take place on the 3rd & 4th of November 2017 at Klubben.

To celebrate this the “Ånden Som Gjorde Opprør” can now be downloaded for free right here.

“Together with CMI founder Roger Karmanik we have now gathered more acts signed to the famed Cold Meat Industry than any other festival has ever managed to and we intend to make this event the ultimate Cold Meat Industry 30 Years Anniversary!” says Mortiis, and he continues: “I don’t just want to do the record as it was back in 1994, but rather excavate it from 1994 and drag it into the new light of the current world, while retaining the atmosphere of the original sound.”

Other artists performing at the event are Arcana, Archon, Satani, Brighter Death Now, Coph Nia, Desiderii Marginis, Deutsch Nepal, In Slaughter Natives, Mothhound, MZ.412, Ordo Rosarius Equilibrio, Raison D’Etre, Sanctum, Sephiroth and Sophia.

You can order your tickets right here. Below is the posterartwork for the festival.

Sins of Mine (Apoptygma Berzerk) by Mortiis

Free download Apoptygma Berzerk remix of Mortiis track ‘Sins of Mine’ + remix by Technomancer/Angst Pop

Bernard - Side-Line Staff — Mon, 29 May 2017 17:30:30 +0000

A few days ago we announced that you could listen to a superb free remix by Apoptygma Berzerk of the Mortiis track “Sins of Mine”.

Good news, that remix is now available as a free download from the Mortiss Bandcamp page. It furthermore includes a remix of “Demons are Back” by Technomancer/Angst Pop. For those familiar with Apoptygma Berzerk, Per Aksel Lundgreen who is behind the projects Technomancer/Angst Pop used to be in Apoptygma Berzerk when the band started out.

It’s not the first time that Mortiis is offering free downloads, here are the previous free download singles which can still be downloaded here:

– “Bleed Like You” – Merzbow & Prurient Remixes
– “The Great Leap” – Godflesh & Chris Vrenna Remixes
– “The Die Krupps & Leather Strip Remixes”

The remix by Apoptygma Berzerk is part a collection of “corrupted” tracks released as “The Great Corrupter”. That album also includes remixes by Chris Vrenna, Rhys Fulber, Die Krupps, John Fryer, GODFLESH, In Slaughter Natives, Raison D´Etre, Je$us Loves Amerika, PIG, and many more, as well as unreleased material from the original “The Great Deceiver” recording sessions.

“The Great Corrupter” is available on vinyl which will be limited to 500 copies in five different vinyl colors (all versions are available via Mortiis’ very own webstore), limited to 100 copies each, with a unique center-opening gatefold. Four vinyl colors will come with its own exclusive poster, only available with that specific color, and one with a large woven patch.

The CD version will be made up of eight-panel, DVD sized Digipak, containing a 24-page booklet of exclusive photos. The set (available here) will also include additional remixes exclusive to the deluxe CD package. This package will include download cards for three previously unreleased uncensored videos. This deluxe version will also be limited to 500, after which the CD will be available in a less elaborate standard format. The CD version is also available digitally right here on iTunes.

Apoptygma Berzerk puts synth-pop spin on Mortiis track ‘Sins of Mine’ – listen here!

Bernard - Side-Line Staff — Mon, 08 May 2017 18:40:15 +0000

(Photo by Sebastian Ludvigsen) On the latest single from “The Great Corrupter“, Norwegian “futurepop” group Apoptygma Berzerk transforms Mortiis’ “Sins of Mine” into a synth-loaded version. Quite a transformation but that is clearly the idea behind Mortiis’ “The Great Corrupter”, namely offering new and sometimes unconventional reworks of the tracks from “The Great Deceiver”.

“Stephan from Apoptygma Berzerk really twisted ‘Sins of Mine’ into a way more accessible format, which I really liked,” says Mortiis. “When I made that track, it was this semi-dissonant, somber piece about hopelessness and just giving up and letting past guilts and crimes wash over me and undo me, just make me disappear. So it was really dark. Stephan twisted it around to become this way more accessible, yet very uncommercial song, still about the darkness that follows guilt. Those wonderful feelings were kept intact.”

Mortiis himself was even able to add a little to the Apoptygma Berzerk version of the song. “I had this one line from the lyrics that I could never seem to fit in, so it was left out,” he said. “But Stephan wanted me to come in and add some new vocals, so I was able to put it in there. I simply repeated it, like some sort of mantra.”

You can listen to the Apoptygma Berzerk remix right below. The collection of “corrupted” tracks also includes remixes Chris Vrenna, Rhys Fulber, Die Krupps, John Fryer, GODFLESH, In Slaughter Natives, Raison D´Etre, Je$us Loves Amerika, PIG, and many more, as well unreleased material from the original “The Great Deceiver” recording sessions.

“The Great Corrupter” is also available on a vinyl which will be limited to 500 copies in five different vinyl colors (all versions are available via Mortiis’ very own webstore), limited to 100 copies each, with a unique center-opening gatefold. Four vinyl colors will come with its own exclusive poster, only available with that specific color, and one with a large woven patch.

Japanese noise legend Merzbow mutilates Mortiis on latest single

Bernard - Side-Line Staff — Mon, 10 Apr 2017 16:15:06 +0000

The latest single from Mortiis’ “The Great Corrupter” album comes courtesy of the Japanese dark ambient-noise artist Merzbow, who twists “Bleed Like You” into a completely new form. Check out the Merzbow Remix below.

In a reaction Mortiis says: “This is not a remix – it´s abuse, the good kind. If you prefer your music traditional, and your audio all pleasant and polished, you should consider walking away now. It is Merzbow mutilating Mortiis. I never really thought that that was going happen, and I don´t think anyone else did either!”

The radical remix also is visible in the artwork used for the single: “We’ve been trying to think a bit different art-wise for the last few singles,” said Mortiis. “I thought the time was right to try art directions that were not typical of Mortiis to take. The Merzbow remix single art is another idea I’ve had for a long time. As usual, it’s morphed from the original idea, into a different beast almost entirely, in time. But what else is new?”

Mortiis’ “The Great Corrupter” is due for release on April 21, and is a collection of tracks from “The Great Deceiver” album, deconstructed and ‘corrupted’. Other artists who remixed Mortiss for this occasion include Chris Vrenna, Rhys Fulber, Die Krupps, John Fryer, GODFLESH, Apoptygma Berzerk, In Slaughter Natives, Raison D´Etre, Je$us Loves Amerika, PIG, and many more. The record will also contain unreleased material from the original recording sessions.

Each of the record’s formats will be as its own art package with collectible artwork, including limited edition colored vinyl and a limited edition DVD sized double-CD Digipak with additional exclusive remixes and many other extras. “The Great Corrupter” can be preordered on LP and CD directly from Mortiis´ webstore!

‘Click Interview’ with Llumen: ‘I Strive To Make Llumen Very Much My Own’

Inferno Sound Diaries — Tue, 28 Feb 2017 19:15:27 +0000

LLUMEN is the newest Belgian formation that joined the Alfa Matrix stable. It all started as a real band featuring several members, but throughout the years Pieter Coussement remained the single member on board. His debut album “The Memory Institute” took me by surprise for its complexity in sound writing, maturity in the global production process and efficiency when it comes to club-friendly music. It’s hard to define the style LLUMEN is dealing with, but you for sure will recognize elements of EBM, future-pop, IDM. According to me LLUMEN is one of the hottest newcomers from the moment so I wanted to know a bit more about this project.

(by Inferno Sound Diaries)

Q: How did you get contaminated by the electronic-music virus and tell us a bit more about the set up of Llumen?

Pieter: I guess it must be somewhere around 1985. Back then my older brother was a DJ playing a lot of punk and new-wave. A lot of Cure, Sisters Of Mercy, The Smiths and so on. I remember hearing Fad Gadget’s “Back To Nature” on one of those parties and I was instantly hooked. While my high school friends were really into Pink Floyd, Tangerine Dream, Deep Purple, the Rolling Stones and so one, I was the oddball out and spent every waking hour getting infected by electronic music.

I played in a few rock bands in my teens and even then I explored the possibilities of electronic instruments. Finally one of those bands grew out to be my first electronic project. Life caught up to it, as the other members had found new priorities. I however kept involved with electronic music and sound art throughout my studies and early professional career. In the end, LLUMEN became the more mainstream outlet of what I was doing, since everything else was (and is) very experimental, even though I can’t seem to stop experimenting even when making music for LLUMEN.

Q: “The Memory Institute” is your official debut album, so what does it mean to you and what is the album all about?

Pieter: Because of my previous job “The Memory Institute” has become the result of a very lengthy process, even if I hoped to get everything finished way sooner. In that respect, I think every debut album is a reflection of a search for a certain (musical) identity, and all songs represent part of that search. The release is a moment in time where I can reflect upon the path that I took and look forward to where it can lead.

“The Memory Institute” touches a variety of themes or better points of view but all are orbiting a central theme. While many would agree that my music is rather dark, the songs are almost always love songs. The different points of view towards love, for me, blur the autobiographic or fictional aspects of what I’m writing about.

Q: I think there clearly is a link between your daily job and the music you’re composing. What is it all about?

Pieter: Today I work at the faculty of Architecture in Ghent. You probably refer to my job at IPEM. I finished my PhD research at The Institute of Psychoacoustics and Electronic Music some years ago. Early on in the inception of LLUMEN, when I was still working for IPEM, I was constantly surrounded by technology you can normally only dream about and way better musicians than me. Two of them became very good friends and keep on pushing me in bettering the music I make.

My PhD was about interactivity and music and I’ve been making a lot of Interactive and Responsive sound installations, experimenting with generative music, virtual reality elaborate surround systems, sensors and 3D tracking systems. I even wrote a synthesizer for deaf people at one point. Having the luxury to experiment daily with what you love is great, but it does slow other things down a bit too. I hold my time at IPEM very dear and the experimental part of it can still be found in the way I work on LLUMEN songs and how to visually represent my music.

Q: It’s clear that you really share a passion for ‘sounds’ this way creating a kind of very own sound-DNA. How do you work on the compositions and do you have some referential artists?

Pieter: Thank you for this, I regard this as a big compliment! I’m massively interested in creating sound pallet with which I can paint my musical ideas and obviously spend too much time on it. When I go clubbing, I often find myself standing still on the dance floor mid song trying to figure out how a certain sound has been made or incorporated in a song. Artists that trigger me in that aspect can always count on my respect, even when their music doesn’t always find a one-to-one translation in my music. Apart from the obvious like Klinik, Suicide Commando, F242, Covenant and basically everything Daniel Meyer does, there are many things that very much influence me. A lot of martial music like The Protagonist or In Slaughter Natives, but also bands like Ordo Equilibrio or Rome. Completely out of the scope of EBM or industrial I find a lot of the Raster Noton projects sonically and visually very intriguing. People should really check out Kangding Ray, Emptyset, Atom TM and Ryoji Ikeda for 21^st century way out there electronic music.

Q: You just mentioned Daniel Meyer (Haujobb) and I’ve to say your album makes me think to a kind of sonic hybrid between Haujobb and Covenant! I would say not that bad, but what are the elements in their sound you recognize in Llumen?

Pieter: As said, I have a profound respect for what Daniel Meyer does, even if it took me until the release of Haujobb’s “Ninetynine” to become a complete fanboy. With Covenant it is probably the other way around, “Dreams Of A Cryotank” and “Sequencer” instantly became two of my favorite albums. Because of this, I can’t argue with calling LLUMEN a hybrid between two of my all-time favorite bands, even if I never intended it. I do recognize some of their elements in my music, like their attention to detail, but I strive to make LLUMEN very much my own.

Q: The live performances reveal an important visual aspect, which in a way is another aspect of your work. What do you try to express on stage?

Pieter: I think there is a lot you can do on stage with visuals and light. I’m a big fan of the audiovisual performances that seem all the rage these days and I am a firm advocate of the synergy this can create. In a side-project we work with audiovisual synths, where the visuals generate the sound and visa versa. We are currently working on some new stuff to tell the LLUMEN story better that incorporates ideas from the audiovisual world even more. As such, we work with a lot of responsive visuals, stuff that we program from scratch and we always try to find new ways of controlling those visuals. We are however a bit dependent from the venues where we play, but plan to expand the visual show with DMX controlled lights so we can get some extra atmosphere that does not rely on the quality of the venues projection capabilities. I believe that working this way, rather then having someone faking on a keyboard can work way better. This is why you always see my brother completely stressed out on stage.

Courtesy by Inferno Sound Diaries

Trèfle Noir – Villanelle Du Diable (CD Album – Rage In Eden)

Inferno Sound Diaries — Mon, 16 Jan 2017 20:05:14 +0000

Genre/Influences: Dark-ambient, epic.

Background/Info: Behind Trèfle Noir is hiding French artist Alexandra Nordrac who’s also active as the singer in Liyr. She set up this solo-project to exorcise dark-ambient demons.

Content: “Villanelle Du Diable” which can be translated as “Dance Of The Devil” invites the listener to join in for a strange dark-ambient voyage. It’s not exactly the classical format of dark-ambient music, but the atmospheres are definitely devoted to this style of music.

The main difference and specificity of Trèfle Noir is the addition of vocals by Alexandra Norcdac. I even can speak about a conceptual approach as the lyrics are taken from old French poetry of the 19^th Century. The lyrics are dark and sometimes a bit tormenting, which is accentuated by a ghost-like interpretation. Other vocal parts reflect a childish timbre of voice, which reminds me of BeNe GeSSeRiT.

The sound has been reinforced by industrial components and even some tribal percussion parts. You also will notice epic arrangements injecting some drama and bombast to the work. This is the kind of atmosphere which might remind you of In Slaughter Natives.

+ + + : Trèfle Noir has accomplished a very personal adaptation of dark-ambient music. The work is carried by captivating, chilling sound waves while elaborated by many other influences. I like the heavy bombast and spooky vocals. The debut song “Fleur De Verre” is a remarkable and totally representative cut to give you an idea about this album’s potential.

– – – : I’m not that fond of the more childish timbre of voice used on some of the tracks, but the main point I regret is the absence of a booklet with the lyrics and references. Poetry is one of the most essential elements of this album so it would have been cool to get more information about it.

Conclusion: Alexandra Nordrac got inspired by the devil and accomplished a dark and bewitching opus, which I can only but recommend.

Best songs: “Fleur De Verre”, “Amour d’Hôpital”, “La Ronde Du Remords”, “Villanelle du Diable”.

Rate: (7).

Band: www .facebook .com /Trèfle –Noir -595124217289889

Label: www .rageineden .org / www .facebook .com /rageinedenrecords

Dead Man’s Hill – Crossroads (Digital Album – Dead Man’s Hill)

Inferno Sound Diaries — Tue, 15 Nov 2016 20:00:10 +0000

Genre/Influences: Epic, drones, dark-ambient.

Background/Info: Bart Piette is the ‘body and soul’ of Dead Man’s Hill, which is a project he set up in the late 90s. He released an impressive number of work on different labels like War Office Propaganda, Old Europa Café, Bugs Crawling Out Of People, Steinklang Industries ao. But his newest work, which has been released after a break of a few years, is a self-released digital production featuring 6 songs.

Content: If you’re familiar with the sound of this Belgian composer you instantly will recognize the epic orchestration and powerful bombast. Dead Man’s Hill is a kind of Belgian In Slaughter Natives and that’s more than simply a reference.

Piette is now a real experienced musician who has found the secret formula to compose overwhelming epic music carried by drones and accomplished by intriguing choir layers. The tracks are supported by dark and often tormenting atmospheres creating the illusion of nearby danger. It’s not only epic, but also music for ghosts. That’s what you’ll experience on the final cut, which features some nasty screams mixed with heavy, industrial sounds.

+ + + : I’m not familiar with the entire discography of Dead Man’s Hill (featuring numerous collaborations with other artists), but this new work is a kind of opus magnum. The songs were achieved with knowledge and a real passion for sound treatments and a nose for drama and epic arrangements. It’s a kind of apocalyptic production with an absolute climax on “Strix Aluco: The Gates Of The Deep Way”.

– – – : It’s a damned pity this opus has been not immortalized on CD and/or vinyl format because it’s the kind of record you really want to hold in your hands and simply cherish the artwork when enjoying the music.

Conclusion: I already heard good music from Dead Man’s Hill, but this new work is the absolute masterpiece in Bart Piette’s wide discography. This opus sounds like a reference in the epic music genre.

Best songs: “Strix Aluco: The Gates Of The Deep Way”, “Crossroads”, “Warning Moon (First Quarter)”.

Rate: (8).

Band: www .facebook .com /pg /deadmanshill

Mildreda – Coward Philosophy (Digital Album – Alfa Matrix)

Inferno Sound Diaries — Wed, 29 Jun 2016 21:00:23 +0000

Genre/Influences: Electro-industrial, epic-industrial, dark-electro.

Background/Info: We all know Jan Dewulf from his electro-pop band Diskonnekted, but the Belgian pop-master was previously active under the Mildreda moniker. That was a while back, somewhere in the midst of the 90s when Mildreda released two cassettes. After a long hiatus Mildreda was reactivated and even played live. Jan Dewulf even composed a bunch of new songs in 2009. “Coward Philosophy” features the ‘new’ and previously unreleased cuts plus a bonus of early demo songs and live cuts.

Content: The ‘2009’ songs reveal a fascinating electro-industrial style, which is mixing heavy epic blasts reminding me of In Slaughter Natives together with dark and doom-minded electro atmospheres, which are now and then reminding me of Yelworc. The cuts are carried by bombast and intriguing growling vocals by Jan Dewulf. The work is not entirely industrial-like, Jan Dewulf sometimes gets back to more electronic work. It however remains cold and always carried by some industrial treatments. I really like the contrast between Diskonnekted and Mildreda revealing the open-minded approach of this composer.

We next get 14 demo songs from 1996. The work is quite different and more dark-electro driven. You now will recognize some possible influences from bands like Suicide Commando and In Strict Confidence, but here again with some epic arrangements and industrial sounds on top. It feels a bit like a demo for what Mildreda accomplished in 2009.

Last, but not least there are 6 live versions from a live show in Bruges during 1998.

+ + + : I was impressed by the elaborated electro-industrial compositions of 2009 revealing impressive epic arrangements and great moody atmospheres. Jan Dewulf is revealed to be a multi-faced musician who can switch from alluring electro-pop to industrial mysticism. The ‘recent’ work of Mildreda features many cool songs.

– – – : Some In Slaughter Natives tricks sometimes are a bit too emulative and predictable. The older cuts are not as interesting and I especially refer to the live tracks.

Conclusion: If you never got the opportunity to hear the industrial side of Jan Dewulf you definitely have to give Mildreda a chance. I sincerely hope this new project will inspire and motivate Jan to move on with Mildreda.

Best songs: “Anthem Of Tomorrow”, “Erazor”, “Aborted”, “Stories” + “
Chaos – Early Tape Version ’96”, “Religion – Early Tape Version ’96”.

Rate: (7).

Band: www .facebook .com /officialmildreda

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

In Slaughter Natives re-release legendary radio recording ‘Mort aux Vaches’ on vinyl

Bernard - Side-Line Staff — Tue, 12 Apr 2016 12:12:59 +0000

Releasedfor the first time ever on vinyl is the legendary In Slaughter Natives radio recording “Mort aux Vaches”. The recording, commissioned by VPRO’s “Nachtleven Grand Disco Classique”, was originally released in 1994 as a split-album with Deutsch Nepal. The In Slaughter Natives part was re-released in 2011 on the “Insanity & Treatment” live archive album.

The 7-track release comes in a limited edition vinyl format and can be ordered right here.

In Slaughter Natives is the project by Jouni Havukainen, a pioneering artist in symphonic industrial. After releasing albums on Cold Meat Industry and Staalplaat, the project remained dormant for many years. In 2014 Jouni revitalized In Slaughter Natives on Cyclic Law with the album “Cannula Coma Legio”.

Here’s one track from the album.