Inertia &#8211; SIDE-LINE

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!

Inertia are back with a brand-new album, ‘Estranged Icon’ – Out now

Bernard - Side-Line Staff — Tue, 08 Oct 2024 18:30:23 +0000

Inertia are back with a brand-new album, “Estranged Icon”. Fronted by Reza Udhin (Killing Joke / Black Volition / The Devout), Inertia’s new album offers singles like “New Format” with Seiben’s Matt Howden on violins along with “Scowl” including guitar work from Steve White of KMFDM and PIG.

“Estranged Icon” is the band’s 14th studio album, and was just released by Distortion Productions on all digital and streaming platforms along with a limited edition CD. Inertia will soon be announcing North American and European tour dates.

Estranged Icon by Inertia

About Inertia

Inertia is a UK-based industrial/electronic band known for their fusion of darkwave, industrial, and electro sounds. Formed in 1992, the band was created by vocalist and musician Reza Udhin, who is also known for his work with the gothic rock band Killing Joke. Over the years, Inertia has become a staple in the UK industrial music scene, releasing a series of albums and EPs.

Inertia’s discography includes albums such as “Negative Prime”, “Deworlded”, and “Universal Blood”, showcasing their evolution from raw industrial sounds to more complex and polished electronic arrangements.

Talst – Celestial Displacement (Album – Winter-Light)

Inferno Sound Diaries — Tue, 16 Apr 2024 07:00:00 +0000

Genre/Influences: Dark-Ambient, Cinematic.

Format: Digital, CD.

Background/Info: This is the debut-album by Chicago (USA)-based artist Rob Meldrum. The work features ten tracks and was released by the very last days of 2023.

Content: Talst brings an obscure work which totally matches with Dark-Ambient standards. Deep, growling sounds and low, vibrating, sound waves are leading the listener into a freaky fantasy world which can be now and then accentuated by heavy, blasting, sound treatments.

+ + + : I like the way the tracks have been progressively built up. The deep, sound waves accentuate the anguishing sphere hanging over the work and which has a great impact at the debut tracks. There however is another noticeable cut right at the last part entitled “Stasis”. This cut is boosted by overwhelming sound blasts.

– – – : This is an encouraging and promising debut-album which is just missing a real, true, apotheosis.

Conclusion: Talst has found the right platform at Winter-Light to contaminate Dark-Ambient lovers by imaginary horror themes.

Best songs: “Stasis”, “Proximity”, “Inertia”, “Disengage”.

Rate: 7.

Label: www.winter-light.nl / www.facebook.com/winter.light.1

Listen to “Celestial Displacement”:

Celestial Displacement by Talst

About Talst

Talst is the dark ambient project of Chicago, USA-based sound artist Rob Meldrum. “Celestial Displacement” is his debut album under the Talst name, released on Winter-Light on 19 January 2024 as a glass-mastered CD in a six-panel digi-file limited to 300 copies, with mastering by Ronald Marien (Stratosphere) and artwork by Abby Helasdottir. The ten-track album includes “Proximity”, “Sundering”, “Inertia”, “Intersect”, “Entropy”, “Disengage”, “Retrograde”, “Stasis”, “Triangulate” and “Incubate”. Meldrum followed it with a second Talst album, “Sewn Into The Infinite Sky”, released on Winter-Light in January 2026.

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.

Celtic Circle Productions (CCP) founder Alfred Kaenders is no more

Bernard - Side-Line Staff — Tue, 09 Apr 2024 09:21:16 +0000

Alfred Kaenders, founder of the Geldern (DE) based electro-industrial label Celtic Circle Productions is no more. He died a few days ago.

The sad news was announced by Bruno Kramm (Das Ich) on his Facebook page.

Bruno: “Today, I learned about the far too early death of one of the scene’s originals, Alfred Kaenders. As the founder of the Celtic Circle Productions label in the nineties, in recent years he was especially ubiquitous at festivals with his perfume and jewelry stands. Alfred had a very eventful life story with many highs and lows, many legendary tales and incidents, but always with his mischievous smile that I will never forget. My thoughts are with his family. Farewell, old friend.”

In a reaction Seba Dolimont, who worked with Alfred when he ran the printed version of Side-Line, says: “This is shocking news. Definitely too young to die… Alfred was a true passionate man for our dark scene and he had a strong and active contribution to it in the 90’s through concerts, the labels and magazine publishing. Professionally, I learnt a lot from him and he gave me his trust back in the days for releasing my own music as Aiboforcen and bringing Side-Line Magazine on the map as leading print mag in English with attached CD. He definitely somehow contributed to the foundations of what Side-Line Magazine and Alfa Matrix/Spleen+ would become later. Sadly enough, some major mismanagement mistakes brought his activities to collapse. But i will never forget his unlimited devotion to the dark underground music scene, his countless stories he was telling with ultimate passion, his big heart for the people and artists he was supporting and bringing together. We spent unforgettable moments together during these years between Belgium, Geldern & Krefeld (Germany) and his unique laughter is still echoing in my ears… Merci for all the positive things and moments you brought and all these nice people i learnt to know thanks to your impressive networking. I hope you find some nice dark tunes out there. RIP my “un-be liev-able” old bro…”

Celtic Circle Productions

The label which launched its first productions in 1992 originally was the home to Inertia, Yelworc, AmGod and many other groups of the early and mid-nineties. The label also had a sub-label, Khazad-Dûm, and produced compilation releases for Side-Line, Gothic Grimoire and Vertigo. The label ceased operations in 1998 after experiencing financial difficulties.

We offer our sincere condolences to his family and friends.

Greenwashing in the music industry? We checked it out

Bernard - Side-Line Staff — Thu, 09 Nov 2023 09:22:19 +0000

Greenwashing in architecture happens a lot, but what about the music industry? “It’s an issue”, says Figen Sekin – a Turkish specialist in sustainability. “A growing number of companies claim eco-friendly practices while possibly engaging in environmentally harmful activities.”

The production of physical media, energy use during events, and merchandise manufacturing are areas where transparency is vital. Fans and artists alike are pushing for genuine sustainability efforts, scrutinizing claims to ensure that eco-friendly messages aren’t just a marketing ploy but a reality.

Together with Sekin we checked into 3 products that have eco-friendly solutions and will check if festivals are really so eco-friendly as they claim to be.

Bio vinyls in the music industry, the real solution or greenwashing?

Traditional vinyl is made from PVC, which is derived from fossil fuels, and the entire process is environmentally damaging. A fact. Bio-vinyls produced with reused PVC represent a step towards sustainable practices in the music industry. Figen Sekin: “The production plants basically aim to reduce the environmental footprint by recycling materials that would otherwise contribute to waste. However, the effectiveness and the true environmental impact of these bio-vinyls often are questioned.”

Are these practices genuinely sustainable or do they simply serve as a band-aid solution that allows the industry to appear green without making significant changes.

“Bio-vinyls, like the ones produced by Optimal Media in collaboration with PlastChem, are an innovative step toward sustainability in the vinyl record industry,” Sekin says. Their BioVinyl is made from bio-based PVC, which uses recycled cooking oil or industrial waste gases instead of petroleum, leading to significantly reduced CO2 emissions. All good news?

Sekin has some doubts: “Well, you also have to look at the entire production lifecycle. For instance, the PVC granulate used for pressing vinyl can release highly toxic chlorine-based chemicals, from production to disposal. Even eco-focused plants like Deep Grooves acknowledge that while they strive for sustainability, some aspects like the granulate still pose challenges. They actively seek out the most eco-friendly granulate and employ eco-methods even for special patterns and limited editions.”

With vinyl sales increasing, or better getting a revival, the impact of their production and distribution on the environment is significant. But some plants go even further and have invested in technologies that reduce reliance on electricity or fossil fuels, like the steam presser from Vyril used by Smashed Plastic in Chicago.

In short, initiatives by pressing plants and companies like Optimal Media and Deep Grooves show a promising direction, “with a shared vision to reduce the environmental footprint of music production and distribution” Sekin adds.

What about the cost?

Introducing sustainable practices like the production of bio-vinyls does often come with financial implications. “The research and development of alternative materials, obtaining certifications like ISCC PLUS, and implementing greener manufacturing processes can increase production costs,” Figen Sekin says. And she adds: “However, the long-term benefits, like reduced environmental impact and appeal to environmentally conscious consumers, can potentially offset these initial expenses. Moreover, as demand for sustainable products grows and technology advances, the cost of eco-friendly alternatives may decrease over time.”

Bio-based vinyl compounds, which include bio-based plasticizers, could be more cost-effective than traditional petrochemical-based vinyl. Teknor Apex’s BioVinyl flexible vinyl compounds, for example, use these plasticizers, which have shown greater efficiency than traditional plasticizers, reducing the amount of plasticizer needed per pound of compound, which can lower costs. This efficiency, coupled with the reduced carbon footprint of BioVinyl compounds, suggests potential cost benefits over traditional vinyl production methods.

Despite this, it’s important to note that transitioning to these more sustainable materials can involve upfront costs for research, development, and certification. The overall cost implications would likely depend on factors such as scale of production, technological advancements, and market demand for sustainable products. Sekin adds: “It seems that while initial costs may be higher for setting up eco-friendly production, the long-term savings and benefits could balance or even outweigh these initial investments.”

Eco-friendly produced CDs

Eco-friendly alternatives for CD production are also available, focusing on reducing carbon emissions and environmental impact. For example, Breed Media offers a range of manufacturing and packaging solutions with minimized environmental impact, including the Digifile for more sustainable CD and DVD packaging. This option reduces carbon emissions by up to 80% compared to traditional CD jewel cases and uses FSC certified sustainable card, vegetable-based inks, and non-toxic, water-based varnish. Their products are 100% recyclable and produced with environmentally-focused ISO-certified methods.

What about the cost?

Again, the shift towards sustainability often comes with a premium due to the materials and processes used. “However,” says Sekin, “these costs could be mitigated over time as sustainable practices become more widespread and efficient. If you’re considering such alternatives for CDs, it’s worth exploring these options further with manufacturers who specialize in eco-friendly production.”

Eco-friendly produced T-shirts

There are eco-friendly options for T-shirt production as well. Companies like No Nasties and The Good Tee are at the forefront of this movement.

No Nasties offers T-shirts made from 100% fair trade and GOTS certified organic cotton, using non-toxic dyes. They ensure their entire supply chain, from cotton farming to manufacturing, is sustainable and they contribute to the community by planting trees and supporting local initiatives.

The Good Tee also uses 100% fair trade and GOTS certified organic cotton, AZO-free non-toxic dyes, and incorporates materials like coconut for trims and buttons. They trace their supply chain transparently, ensuring ethical labor practices and use biodegradable packaging for shipping. As a Certified B Corp, they’re committed to meeting rigorous standards of social and environmental performance.

Both companies exemplify a growing trend in the apparel industry to reduce environmental impact through sustainable practices, from the sourcing of materials to the manufacturing processes and beyond.

Sekin concludes: “The cost may be higher compared to standard T-shirts due to the more sustainable production methods and the higher quality of materials used.”

Greenwashing rampant with concert organisors

And are the concerts eco-friendly enough?

Accusations of greenwashing have been raised against music festivals and venues. Activists and scholars have criticized some festivals for greenwashing and lack of transparency over their sustainability data. For instance, major events like Tomorrowland have been called out for their large carbon footprint due to audience travel, which significantly outweighs the carbon emissions from waste produced at the festivals. Despite efforts to promote green initiatives, the reliance on diesel generators and the extensive carbon footprint from mass transit raise questions about the effectiveness of these measures.

Furthermore, data on the actual environmental impact of festivals is scarce, making it difficult to hold them accountable. Only a small portion of festivals have been found to calculate their carbon footprint, and while innovative tools for better measurement and CO2 calculation are becoming available, the actual implementation is still in the early stages.

Figen Sekin: “Criticism has also focused on the need for festivals to enforce their sustainability initiatives rather than just promoting them, showing the importance of action over appearance. The accusations of greenwashing suggest that more concrete actions and transparency are necessary to achieve genuine sustainability in the music industry.”

Some music venues and festivals are already implementing a variety of eco-friendly initiatives to reduce their environmental impact:

EarthPercent by Brian Eno: This initiative aims to support the music industry in transitioning to more sustainable practices. Brian Eno, a prominent figure in music, launched EarthPercent as a means to provide a simple way for the music industry to fund actions addressing the climate emergency. The initiative suggests donating a small percentage of revenue from various aspects of the industry to support climate-related projects.
International Music Summit’s Eco Badge and Eco-Tax: IMS introduced the Eco Badge initiative to incentivize attendees to use sustainable means of transport, offering discounts to those who could prove eco-friendly travel. Moreover, an eco-tax applied to delegate badges helps fund environmental efforts, such as beach cleaning. They are also working towards an environmentally friendly stage setup for their prominent Dalt Villa event, acknowledging the importance of sustainable practices in even the most visible parts of their operations.
A Greener Festival’s Role: Acting as a pioneering force for sustainability in the music industry, A Greener Festival offers education, resources, and recognition through awards for festivals moving towards eco-friendliness. Their Greener Festival Awards have seen an increase in applications, indicating a growing commitment across the industry to sustainability.

The benefits are quite important though.

Cost Savings: Energy-efficient systems and waste reduction programs, while initially expensive, can lead to significant cost savings over time. The investment in green technology can offset the initial costs through reduced energy and maintenance costs.
Reputation: Venues with strong sustainability initiatives can enhance their reputation, attracting environmentally-conscious clients and attendees.
Regulatory Compliance: Proactive measures can help venues comply with sustainability regulations, which are becoming more common, avoiding potential legal issues.

What about the costs

Implementing eco-friendly measures in music venues and festivals comes with both costs and benefits:

The challenges:

Initial Costs: Eco-friendly designs and initiatives often involve significant upfront investment. For instance, installing solar panels, setting up waste recycling systems, or purchasing biofuel generators can be expensive. Such costs may be a barrier, especially for smaller venues or festivals with limited budgets. The return on investment for these green technologies can take several years to realize, necessitating long-term financial planning.
Resistance to Change: Stakeholders, including investors, sponsors, and even attendees, who are accustomed to traditional practices may resist changes necessary for sustainability. This resistance can stem from a variety of concerns, such as the fear of increased ticket prices, changes in the event experience, or simply the inertia of established ways of doing things. Overcoming this resistance often requires education, clear communication about the benefits of sustainability, and sometimes, compromises in the short term to achieve long-term goals.
Regulatory and Standards Modification: Compliance with existing regulations and standards can be a hurdle in implementing sustainable practices. For example, building codes may not accommodate innovative eco-friendly designs, or local waste management regulations may not support the type of recycling initiatives a venue wants to introduce. Navigating this bureaucracy can be time-consuming and costly, and may require venues to advocate for changes in local or regional policies, which is a process that can take years and involve extensive lobbying efforts.

And Figen Sekin concludes: “Lots of good things happening, some other aspects seriously need an eco-upgrade, especially in the festival sector.”

Stefan Weglowski – Smooth Inertia (Album – Glacial Movements)

Inferno Sound Diaries — Wed, 02 Aug 2023 07:00:00 +0000

Genre/Influences: Cinematic, Experimental.

Format: Digital, CD.

Background/Info: “Smooth Inertia” is the fiftieth record released by Glacial Movements. Polish artist Stefan Weglowski has already released several works but this is the first production released by the Italian label. The tracks were composed during a period of solitude.

Content: The album is diversified and feels a bit like every single track stands for a different chapter. It takes off with an ominous sphere accentuated by repetitive Electronic sequences. We next go through relaxing atmospheres featuring field recordings. The work is progressively revealing delicacy by subtle sound treatments while Female spoken words are emerging. We next get a darker cut with melodic sounds. We get four songs plus a remix of the last -and darker cut, by Michal Wolski.

+ + + : The work is diversified and yet compact; electronics, guitar play and field recordings have been sticked together as an Experimental sonic collage and yet it all sounds coherent. This work has a strong visual appeal which is mainly coming through at the opening cut and the last one -plus the remix. “Time Brings Relief” featuring a few spoken, French, vocals is also worthy of examination.

– – – : This is maybe not the most ‘traditional’ Glacial Movements production although it’s a damned good one; so the fans of the label will maybe have to give it a second try.

Conclusion: Solitude can be a great muse to create great music.

Best songs: “Deep Light”, “Frozen Memory – Michal Wolski Remix”, “Frozen Memory”.

Rate: 7½.

Artist: www.stefanweglowski.com / www.facebook.com/stefanweglowski

Label: www.glacialmovements.com / www.facebook.com/glacialmovements

Listen to “Smooth Inertia”:

Smooth Inertia by Stefan Węgłowski

About Stefan Weglowski

Stefan Węgłowski is a Polish composer, producer and live performer based in Warsaw, where he teaches at the Faculty of Media Art at the Academy of Fine Arts. His work combines minimalist and spectral compositional techniques for small ensembles and solo instruments with electronic music. “Smooth Inertia”, released in 2023, is his first production for the Italian label Glacial Movements and the label’s fiftieth catalog release, composed during a period of solitude.

’30 Years Of Journalism – Celebration Interview’ with Uwe Kanka / Armageddon Dildos: ‘We Were In The Right Place At The Right Time!’

Inferno Sound Diaries — Wed, 01 Dec 2021 18:00:00 +0000

Back in 1991 I started writing my first reviews for Side-Line magazine. I would have never thought to go on writing reviews and making interviews non-stop for 30 years. So 2021 is a special year to me, a kind of ‘celebration year’. I got the idea to celebrate this special event by interviewing people from the scene who all have a special meaning to me. EBM formation Armageddon Dildos definitely is a band I had to interview. The German band, which started as a duo, composed a very dynamic EBM sound and got rapidly famous for their impressive live shows. The band never stopped to evolve and rapidly started experimenting with harder Industrial elements to finally move towards a more ‘Poppy’ production. Uwe Kanka kindly accepted to look back at the impressive career of ‘the dildos’.

(Courtesy by Inferno Sound Diaries)

Q: Armageddon Dildos was originally set up in 1990 (!) by you and Dirk Krause. How did you guys meet and what was your music background?

Uwe: Dirk and I met us in 1986 in the same rehearsal room in Kassel. I played guitar/vocals in a classic three-man band (Beat The Beat) and Dirk keyboards/synths in a Synth-Pop group.

We liked each other immediately and very quickly it became clear to us that we wanted to explore new musical ways. Harder and more aggressive Electronic sounds and harder beats, that was the plan. After a few jam sessions, we knew that it worked great!

Q: Armageddon Dildos became an instant successful EBM band; you got directly signed to Zoth Ommog, releasing the EP’s “Never Mind / Pressure”, “East West”, “Resist” and of course the debut album “That’s Armageddon”. According to you what made the success formula of the early productions and what has been the impact of Talla 2XLC who produced your first works?

Uwe: I am still firmly convinced that it was largely due to the symbiosis between Dirk and me – added to that the incredible energy of that time.

Actually, something new was always happening; musical as well as social (fall of the Berlin Wall) changes certainly played a part in it. It was an unbelievable dynamic, open and wild time. Being signed to Talla 2XLC and Musik Research/Zoth Ommog was a blessing for us. It was the perfect timing for Armageddon Dildos. Talla and its staff convinced us with their high level of competence and passion for music. Frankfurt and the Techno Club, for example, was, along with Berlin, the measure of all things in Germany for us at that time. Looking back, I am sure that the success of Armageddon Dildos was largely due to Talla 2XLC and his team. We were in the right place at the right time!

Q: Zoth Ommog was one of the absolute leading labels from the 90s Electro underground scene. How do you look back at this period, the 90s, Talla 2XLC, the label and label mates?

Uwe: Zoth Ommog was very important for the development and spread of Electronic music at that time worldwide. Label bands like Leather Strip, X Marks The Pedwalk, Bigod 20, Orange Sector, Consolidated, Psychopomps, The Armageddon Dildos to name a few, played an important role in the scene in the late 80s to the mid 90s. Those were very exciting times.

Through Talla’s contacts and our gigs at the New Music Seminar 1991 and 1993 in New-York, Howie Klein became aware of us and we got a contract with Sire Records in the U.S.A. Rüdiger Ladwig took over our management and booked our concerts. “Homicidal Dolls” was released by Sire Records in 1993 in The States and “Lost” followed in 1994. After the release of “Lost” we went on tour and played among others at the Zillo Festival in December 1994 at the Zeche Karl. We were accompanied at the Zillo gigs by Markus Hartmann, who would play an important role for us in the next few years.

Q: Quite progressively the band evolved towards harder music, still EBM driven, but with an Industrial input with guitar play and samplings. What made this evolution towards a more ‘Industrial’ sound?

Uwe: We have always worked with samples. That was our usual way of working. Sampled speech, noises but also instruments like guitars were part of almost every production.

On some tracks I played the guitars later myself. In 1994, for the production of “Lost”, we went to Chicago to Wax Trax Studio to work with Keith ‘Fluffy’ Auerbach (producer/sound engineer of Ministry, Revolting Cocks, Pigface, Skinny Puppy etc.). During this time we recorded guitars and drum sequences instead of sampling them. To bring the production to the stage, Vom, who now drums for The Toten Hosen, and Uwe Osterlehner, played guitars, joined the band.

Q: You also started working with another producer; Sevren Ni-Arb produced several productions and I remember a lot of bands wanted to record in his studio. What made him that special and what has been his true impact on the final production? Are you still in touch with him?

Uwe: Most of our albums/EP/singles from ’89 to ’99 were produced by different producers. However, Dirk and I were always significantly involved.

We met Andre Schmechta (Sevren Ni-Arb) through Talla in Frankfurt. We immediately got along really well, had a very consistent understanding of music and, not to be underestimated, a very similar sense of humor. Therefore we decided to produce “Homicidal Dolls” with Andre. Working on the album was a lot of fun, full of energy and musical creativity. Later on we worked again with him on “Fear” and “Homicidal Maniac”. Besides, it always smelled wonderfully of freshly baked goods in the studio because there was a bakery in the neighborhood.

Unfortunately, we lost track of each other over the years and are no longer in contact.

Q: I got the impression the “Speed”-album (my favorite by the way) released in 1997 was a kind of turning point in the band’s early years. You signed to a major company (BMG), got produced by Bob Kraushaar and Andy Gill (Gang Of Four). The sound became ultra-professional, but how did you experience the “Speed”-album and the move to a major company?

Uwe: Through Markus Hartmann (see above) we got the contract with Metronome and later also with BMG Ariola in Hamburg. The move from Zoth Ommog to a major label changed a lot for us: first of all, of course, the financial means for production, marketing etc.. We travelled to London in search of the right producer and met Bob Kraushaar (Pet Shop Boys, Paul McCartney, ABC etc.) among others. Bob had very concrete ideas about the production of the new Armageddon Dildos album and suggested to have one half of the CD produced by himself and the other half by Andy Gill, the legendary guitarist of Gang Of Four. We agreed immediately and went to London in the Summer of 1996 to produce “Speed”. But some tracks on the album were also produced at Skyline Studio in Düsseldorf. “Speed” is, and I agree with you 100%, a very professional production and an excellent album.

Q: Do you remember how much albums you were selling at that time and was it possible to earn a living from your music?

Uwe: We had very good sales at times and could also live on it during such periods. However, the consistency was missing. I think many artists are in the same situation. You should always have a plan B in mind. But let’s be honest: there were never enough albums sold to be able to make a living from it in the long run.

Q: BMG became a one-shot experience, you get back to Zoth Ommog, revisiting some of your early songs by the album “Re:Match”. It also was the last work together with Dirk Krause. How do you explain the split of the band and are you still in touch with Dirk today?

Uwe: In hindsight, I think the events following the completion of “Speed” were key to the band’s development. We had a fantastic team behind us at the Metronome, a killer production and a very good video for “Open Up Your Eyes” recorded in Kenya. Everything was great and then we got the devastating news: Metronome was dissolved!

What a bummer. We got the rights for “Speed” and ended up with BMG Ariola, but that didn’t work out. The label split up with us and we had to look for a new label. All that was hard stuff and the band didn’t take it too well.

Dirk decided to leave the Dildos to start a new project. I wanted to continue. We decided to do one last release together and that became “Re.Match” on Zoth Ommog in 1999. Dirk and I have hardly any contact today.

Q: “Morgengrauen” released in 2003 on Electric Blue was the first album you were totally involved in the song writing. That was something new and without offending you Uwe, I think the only Armageddon Dildos-album that couldn’t convince me. What’s your personal analysis about this work?

Uwe: I underestimated, as I see it not only now, that this kind of music definitely does not fit to an EBM/Industrial band like The Armageddon Dildos.

I like “Morgengrauen”. It’s an Electro album with good songs, artwork and photos. However, I should have released it as a new project with a different name. But as we all know, hindsight is always the wiser!

Q: “Sangreal” got released in 2005 on Ausfahrt, but it finally was the “Untergrund”-album released in 2011 on Alfa Matrix that put you back on the map. You joined back hands with a leading label from the scene and for the very first time you also produced the album. What does this album mean to you and where do you place this work in the band’s discography?

Uwe: “Untergrund” is a very important album for me. It combines interesting Electro sounds and beats with hard guitars without slipping too much into pure Industrial. Unfortunately, I could not convince Ausfahrt/Electric Blue with this production. I asked for a termination contract, got it and signed with Alfa Matrix a short time later.

However, this is not the first independently produced album. I have been working with sound engineer and producer Mathias Black since 1997, who mixed and co-produced all Armageddon Dildos albums from “Re:Match” onwards.

Q: After “Untergrund” it took your nine years to strike back with the “Dystopia”-album, which became one of the most achieved, diversified and professional albums. Do you feel this album as different from the others? And tell us a bit more about the ‘teamwork’ to achieve “Dystopia”?

Uwe: “Dystopia” is the first Armageddon Dildos album where I did everything on my own until the mixing phase. From the composition/lyrics to the recording and programming of the instruments to the recording of the vocals including Malin’s vocals for “Neon”. I had quite clear ideas in which direction “Dystopia” should move. Mathias changed or added vocals and some sounds later while mixing the tracks. We had a very good division of labor. I am really satisfied with the result of this production!

Q: Armageddon Dildos always had a strong live reputation. How did you see the shows evolving throughout the years and what’s your connection with the fans?

Uwe: What has changed over the last thirty years is the number of musicians on stage: Dirk and I started in ’89 as a duo. In the mid-90s, there were four of us for a while with Vom and Uwe Osterlehner. After that with Vom it was three.

At the first gig without Dirk at the beginning of 2000, Malin and Dave Anderson were there with me. Then Ulf Häusgen joined on guitar/vocals. A short time later Rene Nowotny took over the keyboards. On our five-week U.S. tour with Inertia in 2007, Gabriel Shaw joined me and Ulf Häusgen.

And for almost ten years now, it’s been just the two of us on stage again: Uwe Kanka and Sven Mouhcine. Last but not least, it is very important to say that Mathias Black has been responsible for the sound of the Dildos as a member of the band for 99% of the gigs since 1996.

What has not changed at all during this time, thank God, is the energy and power of every Armageddon Dildos show, which also includes the very close contact to the audience and the fans.

Q: I remember there was an Armageddon Dildos fan-club. How important is it for a band to have a fan club?

Uwe: I think that a fan club is very important for artists. In our case it was phenomenal. The Armageddon Dildos Fan Club was founded in Aachen after our gig in Übach-Palenberg on 24.06.1991. After that, regular meetings took place in Düsseldorf or Aachen. The fan club did unbelievably good public relations work, e.g. published an info letter. Members of the fan club were at almost all the band’s concerts until the middle of the ’90s. Due to personal changes and also due to the musical development of the band from the middle of 90s onwards, the interest of the members of the Fan Club in the band waned.

Q: If you had to introduce Armageddon Dildos to people who never heard of the band before, what song and album would you choose first?

Uwe: It depends on the people. I have friends who can’t do anything with our older songs; I would play “Stay” or similar tracks for them. People from the scene who don’t know us, mmhm, that’s not so easy. Maybe “I Can’t Remember” or “White Room”. But I could also think of pieces by “Speed” and “Homicidal Dolls”. I personally like “Gottland” very much.

Q: Do you’ve other passions in life next to music?

Uwe: Ride a motorbike, skiing and enjoy the tranquility of nature.

Q: Did the success of the band had an impact on you as human being?

Uwe: I don’t think so. Rather the failures. Because those were the ones that kept me going.

Q: What’s your best- and worst memory after more than thirty years Armageddon Dildos? And do you still have secret wishes and dreams?

Uwe: I would like to mention two of the many wonderful memories: the fantastic concert in Übach-Palenberg together with And One, when we met the people from the later Fan Club, and our performance at the Roskilde Festival at midnight in front of about 10,000 spectators. That was gigantic.

The worst was definitely the moment when we were informed about the closure of Metronome.

Secret wishes and dreams? Yes, I do. And they should be kept secret.

Deux Filles ‎- Silence & Wisdom / Double Happiness by Dark Entries Records

The tragical start and end of Deux Filles… even Milli Vanilli didn’t drive their con that far

Bernard - Side-Line Staff — Tue, 02 Nov 2021 12:10:12 +0000

The short, mysterious career of the female French duo Deux Filles started and ended in tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule’s mother died of an incurable lung disease, and Forque’s mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers.

This would be a terribly sad story… if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction.

Turner and Tucker strictly maintained the fiction throughout the duo’s career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London.

Deux Filles released two albums through Turner and Tucker’s Papier Mache label, 1982’s “Silence & Wisdom” and 1983’s “Double Happiness”. In 2016 Deux Filles reappeared with the album “Space & Time” and in 2021 it was followed by “Shadow Farming”.

Both first albums are included now in a re-release via Dark Entries records: “Silence & Wisdom / Double Happiness”. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley.

Check it out.

About Simon Fisher Turner

Simon Fisher Turner is an English musician, songwriter, composer, producer and actor.

After portraying Ned East in the 1971 BBC TV adaptation of “Tom Brown’s Schooldays” and roles in films such as “The Big Sleep” (1978), Turner rose to fame as a teenage star in Britain when his mentor, Jonathan King, released Turner’s eponymous first album on UK Records in 1973. For a period of two years Turner was a member of The Gadget and also joined The The. He has used several names as a recording artist, including Simon Fisher Turner, The King of Luxembourg, Deux Filles and Simon Turner. He continues to record albums for Mute Records as Simon Fisher Turner.

Turner was also a member of The Portsmouth Sinfonia Orchestra, and plays clarinet on the orchestra’s only live album recorded at The Albert Hall, London.

About Colin Lloyd Tucker…

Since his teenage years, working as an engineer for the De Wolfe music library from their Soho base in the 1970s he has been involved in all aspects of music production. Here he developed skills in the art of tape manipulation in those far off, pre-digital times, skills he would pass on to Matt Johnson and Simon Fisher Turner, both of whom he still works with today.

As a singer/musician he signed a management deal with Tony Calder in the mid 1980s. Ex-Immediate Records boss and co Stones manager Calder had been introduced to Colin’s work by model Linda Keith. A single was produced, “Head”, that obtained little commercial success.

Unhappy with Calder’s desire to turn him into a pop star Tucker walked away and began a journey along a much less commercial, though more independent route. Various discs with different independent companies were to follow. He also formed Papier Mache Records with Simon Turner and together they issued two well-regarded long players as Deux Filles.

The 1990s saw Colin sporadically issuing the odd solo album and cropping up as a guest vocalist on Kate Bush’s “Red Shoes” album (Tucker also appeared as a devil in the accompanying film). Before the decade was out he made the album “Skyscraping” with Paddy Bush under the group name Bushtucker.

In 2006 he formed his own Samphire Records as an outlet for his solo work producing a string of diverse releases.

A re-union with Matt Johnson cumulated in appearance in The The’s “Inertia Variations Film” and “Trilogy” box set with Tucker performing Johnson’s “Bugle Boy” (2017).

UK electro outfit Inertia returns with all new single ‘Scowl’ including a nice welcome return by Alexys B

Bernard - Side-Line Staff — Fri, 13 Aug 2021 08:46:27 +0000

After 29 years in existence as a band, the UK act Inertia are back with a brand new single, released on their very own label, Cryonica Music: “Scowl”. “Scowl” features bandleader, Reza Udhin with members Ollie Cater (Guitars), Andrew Lowlife (Keyboards) and Circus performer Blue Jigsaw on drums. And, good news, coming back to the Inertia fold after 7 years is co-leadsinger and ex drummer, Alexys B, lending her vocals to the track.

And that’s not all, we also hear 3 more guitarists: Steve White (KMFDM and PIG), Tim Stephens (ex-Inertia, ex-EMF, Mojiles) and Nick Bayford from Alexys B’s own Rockabilly band Lady Luck Lexy & the Riverside Boys.

Next to the title track we also get 2 remixes by CyberIndustries and Modulate. Out today, you can check the lyric video below, and get the 3-track single right here on Bandcamp.

Welcome back guys!

About Inertia

Inertia was formed in 1992 Reza Udhin and was signed to Germany’s Celtic Circle Productions in 1994 through which the debut MCD “Infiltrator” was released in June 1995. This CD was actually a re-recording of the band’s first demo tape. The band returned to the studio in February 1996 to start work on the “Programmed to respond” album and the “Mind-Energy” MCD. The album and MCD were released respectively in February 1997 and December 1996. By then 1996 Alexys B had joined Inertia on electronic drums.

1997 Mark Barrett leaves Inertia., Ed Luxmoore joins Inertia on Synths.

February 1999, the band released the remix album “Demagnetized / Remagnetized” which featured remixes by artists such as Das Ich, Spahn Ranch and Julian Beeston (Nitzer Ebb). The same year a brand new album, “Negative Prime”, was released in May 1999 on Nightbreed Recordings. A year later the remix CD “Positive Angel” was released on Inertia’s own label Cryonica Music.

November 2001, the new single “No Defect” is launched while the band complete their brand new album “Advanced Revelation” due for release in February 2002. In 2004, the album “Black Ice Impact” hits the streets followed in December 2005 by a best of Double CD “Decade of Machines – 1994-2004”. This DCD is released by Cryonica Music in Europe and Cleopatra Records in the USA.

May 2007, a brand new self titled album “Inertia” is released on Cryonica Music. The album features several guest musicians, including Kneill Brown (Killing Joke), Client E / Emily Strange (Client) and Phill Good (Libitina/Pinion). Inertia also recruit a new member, Bob Malkowski as guitarist. 2 years later the remix album “Interpret”, with remixes from Youth (Producer/Killing Joke), Die Krupps and Armageddon Dildos featured, is released by the Japanese label Deathwatch Asia. In the meantime Reza Udhin becomes the keyboard player for the legendary band Killing Joke.

2010, Inertia emerge with a new line up with Kneill X on Guitar (ex Killing Joke, Killer B Movie) and Andrew Lowlife on Synths (Swarf). In early 2010, they release the covers album “Kloned”, it is followed by the single “Repeat & Follow” later that year. November of the same year sees the new album “Deworlded” being released. At at the end of the year they collaborate with UK band Mechanical Cabaret to release a cover version of the classic John Leyton/Joe Meek track “Johnny, Remember Me”.

2012 Inertia signs with Metropolis Records. A new single “Alive” is released in October, followed by a brand new album “Universal Blood” in November 2012. 2 more albums follow on Metropolis, “Existential” (2015) and “Dream Machine” (2017), plus a string of singles, the last one being “Only Law” in 2017.

4 years later the band returns with the single “Inertia” featuring Sieben on Cryonica Music, and now the new single “Scowl”.

Spherical Disrupted – 25 (Album – Audiophob)

Inferno Sound Diaries — Sat, 20 Mar 2021 20:30:00 +0000

Genre/Influences: Electro-Ambient, IDM, Industrial, Cinematographic, Minimal-Electro.

Format: Digital, 3CD Box.

Background/Info: Mirko Hentrich set up Spherical Disrupted in 1995. He later on became co-owner of Audiophob and moved on releasing new works as Spherical Disrupted, but also still with side-projects like Sick En For and Capsular. “25” is celebration record featuring a new album plus two more discs with remixes and songs that are now released on CD for the very first time.

Content: The first disc “25 (Future)” features 11 new songs, which clearly expose the project’s diversity. There’s a constant mix between genres; moving from freaky Ambient-Electronics to Klinik-al Electro sequences to cinematographic passages to pure Electro-Minimalism to some groovy parts. The major innovation consists of 2 songs featuring guest singers. Tino Claus (TC75, Amnistia, MRDTC) and Jana Komaritsa (Darkrad) have been invited to join in.

The two other discs are titled, “25 (The Past)” bring us back to 25 years of history although a few songs have been previously unreleased (mainly live versions). You’ll also (re)discover songs spherical disrupted has remixed for other artists such as Bloody Dead And Sexy, Experimnetum Crucis, Yipotash, The Trial, Kiew, Mimetic Dancing, The_Empath, Xabec, Mandelbrot and Still Patient?

+ + + : The new album, which stands for “Future” reveals Mirko Hentrich in a good light. The work is accomplished with an impressive arsenal of influences, which I think is pretty characteristic for this project. Spherical Disrupted is not easy to seize and often resulted from a true sonic symbiosis of multiple ideas. I like the haunting atmospheres and icy, ‘klinik-al’ sequences emerging at “Basalt” featuring Tino Claus. “Transneptunian Objects” featuring whispering vocals by Jana Komaritsa is another successful collaboration. I here especially like the atmospheric side of the song. The remixes by Disharmony and especially Wesenberg at the end of the first disc are worthy of examination.

The 2^nd disc features several attention grabbers, but here again I like the variety of influences. From the cold-like and Industrial sounding “Monasteria” to the metallic sound treatments of “Yderligere Oplysninger”, this disc brings some essential –although often forgotten and unknown, pieces back to life. I’m especially fascinated by the icy, analogue sound treatments supported with an anguished sphere.

The 3^rd disc is more diversified and that’s because of the many bands Spherical Disrupted has accomplished remixes for. If there’s one song I would recommend (re)discovering is the Cinematographic rework of Mimetic Dancing’s “Small Spherical”.

– – – : Referring to the new tracks from this album I have to admit I already heard more convincing works from Spherical Disrupted. But as a celebration release this album is a real must have as it’s not a ‘best of’, but a true gift for the fans.

Conclusion: Spherical Disrupted probably is the kind of project you can label as ‘difficult music’ and that’s maybe the reason why this German artist never got a wider recognition. I can only express my respect for 25 years of great music!

Best songs: “Basalt”, “25”, “Basalt – Wesenberg Rework” + “Monasteria”, “Yderligere Oplysninger”, “Cavity block (Not The :W: Master)”, “Solar Luminosity – Terminal Mix” + Mimetic Dancing: “Small Spherical – Extended Nova Stella Mix”, “Kiew: “Zentrifuge – Inertia Mix”.

Rate: (8).

Artist: www.disrupted.de / www.facebook.com/sphericaldisrupted

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

Armageddon Dildos – Dystopia (Album – Alfa Matrix)

Inferno Sound Diaries — Tue, 03 Nov 2020 20:30:11 +0000

Genre/Influences: EBM.

Format: Digital, Double CD.

Background/Info: Armageddon Dildos is back on track unleashing the first ‘new’ studio album since “Untergrund” (2011). Uwe Kanka introduced the new album by the solid EP “Heut Nacht” released earlier this year. “Dystopia” wants to be a critical reflection about the dystopian world we’re living in. The front cover clearly reminds me of the legendary “1984” novel of George Orwell.

Content: The regular album features 13 songs while the bonus disc features 12 extra songs/remixes. The album takes off with a unique song for the band, but still a great and overwhelming piece of music. Armageddon Dildos next moves from harder EBM cuts –including the already known “Heut Nacht”, towards slower pieces. I also noticed some interesting experiments like the minimal driven “Night People”, which sounds a bit 80s like. The song “Neon” is also a noticeable cut featuring female vocals by Malin Kanka (Uwe’s daughter). “Stay” is already something totally different and brings a surprising guitar Electro-Rock style. The work ends with a hard “Club Mix” of the title song.

The bonus disc is featuring remixes by Schramm, Intent:Outtake, First Aid 4 Souls, Inertia, Dave Anderson, Digital Factor, Orange Sector, AD:Key, Fredrik Söderberg, Lights Of Euphoria, Rico Ferenc Piller and Synapsyche.

+ + + : “Dystopia” is a diversified album driven, by good-old EBM sequences mixed with eclectic elements. The die-hard fans will be ravished discovering songs such as “Dystopia” and “Heut Nacht”. “High Up In The Sky” stands for modernism while “Night People” is a great ode to 80s electronics. “Heut Nacht” and “Destruction” both reveal noticeable melody lines. Last, but not least “Ohne Dich” is a cool Body-Pop song sung in German while featuring female French samplings. Among the remixes I want to mention the devastating remix of “Dance Of Dead Bodies” by Lights Of Euphoria. Intent:Outtake did also a great job remixing “Dystopia”.

– – – : Some cuts are clearly unexpected, and not totally convincing. I of course refer to the already mentioned “Stay”. The early and successful days of this band are clearly a way behind us.

Conclusion: I remember to have been disappointed when discovering the “Untergrund”-album while “Dystopia” reconciles me a bit with the true spirit of the band.

Best songs: “Ohne Dich”, “Dystopia – Club Mix”, “Heut Nacht”, “Night People”, “Destruction” + “Dance On Dead Bodies – Light Of Euphoria Stadium Mix”.

Rate: (8).

Artist: www.armageddondildos.info / www.facebook.com/armageddondildos

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

Ego Likeness – Wolves (EP – Metropolis)

Inferno Sound Diaries — Fri, 25 Sep 2020 19:30:58 +0000

Genre/Influences: Electro-pop, trip-pop, electro-wave.

Format: Digital.

Background/Info: It’s a while ago we heard new stuff from Ego Likeness. The formation set up in 1999 by Steven Archer and singer Donna Lynch recorded this “Wolves”-EP in 2017 –two years after their last album “When The Wolves Return”. “Wolves” features the title song plus three remixes from other songs.

Content: Ego Likeness always composed a very own sound and it’s not that different for “Wolves”. The title song is a mix of different elements, moving somewhere in between electro-pop and electro-wave music.

We next get remixes by Stoneburner (the tribal project of Steven Archer), Out Out Vs. Stoneburner and Inertia. Both remixes of “Darkness” –originally released at the last album, have something dark and hot.

+ + + : It feels good to hear Ego Likeness again. This band clearly has something apart, which is mainly illustrated by the title song, but it also comes through in the remixes. And when Steven Archer as Stoneburner is remixing Steven Archer as Ego Likeness there’s some part of magic emerging. The downtempo-like “Aviary” features a great twist between electronics and guitar playing. But the real attention grabber is the remix of “Darkness” by Out Out Vs. Stoneburner. This remix sounds hard and really hot!

– – – : Time for totally new work and I hope we’ll get a new Ego Likeness album!

Conclusion: This EP is a small little gift to satisfy the fans of the band, but I’ve to admit it’s a damned great work.

Best songs: “Darkness – Out Out Vs. Stoneburner Rework”, “Darkness – Inertia Remix”.

Rate: (8).

Artist: www.egolikeness.com / www.facebook.com/Egolikeness

Label: www.metropolis-records.com / www.facebook.com/MetropolisRecords

Armageddon Dildos – Dystopia Download
Armageddon Dildos – Dystopia CD
Armageddon Dildos – Dystopia 2CD

Armageddon Dildos return with ‘Dystopia’ in 3 formats: CD / 2CD / Download – out now

Bernard - Side-Line Staff — Mon, 31 Aug 2020 03:28:00 +0000

In March 2020 Düsseldorf’s leading EBM act Armageddon Dildos launched a brand new download EP, “Heut Nacht” (available here on Bandcamp). Today the band releases a new album. Uwe Kanka takes the opportunity to protest against our world’s dystopia in general, and socio-political issues in particular like intolerance, abuse, disinformation or yet selfishness.

For the occasion he surrounded himself with studio gurus and old time friends Mathias Black and Sven Mouhcine. You can expect 80’s melodic influences with the 90’s power of industrial dark techno.

Below you can listen to the complete album.

The limited edition of the album includes a bonus album featuring one remix of each album song by a wide range of collaborators including Orange Sector, Digital Factor, Ad:Key, Lights Of Euphoria, Schramm, Intent:Outtake, First Aid 4 Souls, Inertia, Synapsyche, Dave Anderson, Rico Piller and Fredrik Söderberg.

Available formats:

And here are the first 2 tracks to check out.

Dystopia (Bonus Tracks Edition) by ARMAGEDDON DILDOS

Slowly but steadily

Armageddon Dildos was formed in 1988 in Kassel Germany, and the name comes from the slang term for intercontinental ballistic missiles. The band has always been popular within their native Germany but also outside of Germany they have a cult following among industrial music lovers. They released their first album, “That’s Armageddon”, in 1990 on the cult label Zoth Ommog. The rest is history.

Noticeable is that the band has always taken it time to record and release new material. Their latest full album already dates from 2011 when they released “Untergrund”, also on Alfa Matrix. Read the review of ‘Dystopia’.

Untergrund (Bonus Tracks Version) by ARMAGEDDON DILDOS

Red Lokust – Whom The Gods Wish To Run, They First Drive Mad (Album – Distortion Productions)

Inferno Sound Diaries — Wed, 26 Aug 2020 20:00:07 +0000

Genre/Influences: Dark-electro, EBM.

Format: Digital, CD.

Background/Info: Four years have passed since the promising debut album “The Repercussions Of Shedding Your Skin”. Jim Semonik (label owner, creator of “Electronic Saviors”, member of /Rein[Forced]) and Lee Lauer (involved with Aslan Faction in a previous life) are back with a new opus inspired by paranoia, anxiety and insanity.

Content: The sources of inspiration clearly reflect the modern life of the Western world. The duo adapted these themes into a powerful electronic composition, where EBM and dark-electronics are constantly crossing each other. The vocals are rough and enraged, empowering the lyrical themes. The music is pumping from start till the end; the choruses are now carried by catchy tunes and then by harder, classical dark-electro leads. Some passages and even the production of the vocals are sometimes reminding me of Leather Strip. After the ten album track you’ll discover remixes by Inertia (Reza Udhin also did the mastering of the album) and 7^th Victim.

+ + + : The work takes off with the great “Lobotomy”, which is an absolute dancefloor killer. I especially like the EBM vibes running through this cut and the great chorus. Another essential song is “Point Of Healing (Antagonized)”. Globally speaking this work confirms the potential from the debut album and I must say that Red Lokust even improved most little details. This album is driven by power and would be the perfect club music.

– – – : In times of Covid-19 pandemic it must be very frustrating releasing such a danceable and powerful album while clubs are closed! About the content I just regret a few songs (like “Weep For Me” and “Madman”) which are driven by simplistic and ultra-cliché leads… while “Madman” has been released as a single! The remixes aren’t adding a real extra.

Conclusion: Red Lokust moves a step further with this new opus; this is a band to discover because it’s featuring two talented artists!

Best songs: “Lobotomy”, is “Point Of Healing (Antagonized)”, “The Way Back”, “I’m Not Here (Omnipresent)”.

Rate: (8).

Artist: www.facebook.com/Red-Lokust-734889406642643

Label: www.distortionprod.com / www.facebook.com/distortionproductions

Former Human League member Ian Burden launches new solo album on 25th May

Bernard - Side-Line Staff — Tue, 15 May 2018 18:30:26 +0000

Out on May 25th via the Rutland Artspace Limited label is the new solo album from Ian Burden, titled “Hey Hey Hom Hum”. The track will have 10 tracks.

Ian Charles Burden is an English musician who played keyboards and bass guitar with The Human League, initially as a session musician covering for Martyn Ware and Ian Craig Marsh’s keyboards after their departure. He later on joined full-time, between 1981 and 1987. Burden co-wrote “Do Or Die”, “The Sound Of The Crowd” and “Love Action” on the “Dare” album, as well as “Mirror Man” amongst others.

Burden already recorded a solo album, “Loot”, in 1990 and in 1995 released a CD through Inertia Records entitled “A Swim in the Ocean” which was a collaboration with Human League session player and contributor Russell Dennett. The band called themselves Deep Down Crazy, and consisted of Dan Boulton on vocals, Chris Broadhead on drums, Russell Dennett on guitar/keyboards/vocals and Burden on bass/keyboards.

For now, you can watch the video for “Let The Devil Drown” below:

You can order “Hey Hey Ho Hum” on Amazon UK as a download or on CD.

Inertia – Dream Machine (CD Album – Metropolis)

Inferno Sound Diaries — Wed, 24 Jan 2018 20:30:13 +0000

Genre/Influences: Electronics, industrial-pop, cinematographic.

Background/Info: Reza Udhin and his gang are back on track with a new Inertia album. Inertia is a band that went through several line-up changes, experimenting with different influences, but which always remains an exciting band to follow.

Content: Inertia is not exactly repeating themselves. If you remember the early period of the band and you now listen to “Dream Machine” you even get the impression that you are listening to another band. This band anno 2017/2018 reveals a mature production, built up with solid bass lines, beautiful synth lines, multiple cinematographic passages, great and often sexy vocals (featuring several male-female duos) and even a surprising cover version of Peter Gabriel’s “Games Without Frontiers”.

+ + + : “Dream Machine” is an open-minded piece of work featuring noticeable sound sculptures and always accomplished with superb synth lines supporting the songs with grace. The cinematographic style is something ‘new’ the band progressively developed during the past few years and maybe reaching its climax on “Dream Machine”. “Starlight” is a beautiful song illustrating the soundtrack skills of the band. There also is some ‘drama’ running through the work, which creates a delicious symbiosis with the bombastic arrangements at one side and the sensual vocal (duos) at the other side. “Dream Machine” is an album filled with emotion, musical reverie, but still has this original ‘naughty’ industrial sound approach.

– – – : I’m not totally convinced by the Peter Gabriel cover version. I think the main point with this new album, symbolizing the evolution of Inertia over the past years, which is no longer comparable with their hard-hitting electro-industrial EBM sound of the 90s.

Conclusion: “Dream Machine” has something refreshing and even a little bit visionary for its electro-cinematographic style filled with emotion and drama. Speaking for myself I think it’s their best album in years!

Best songs: “The Chill”, “Starlight”, “Afloat Above Abide”, “Thorns”, “Dream Machine”.

Rate: (8).

Band: www .inertia .rocks / www .facebook .com /inertiaband

Label: www .metropolis –records .com / www .facebook .com /MetropolisRecords

ImJudas – Tulpa (Digital EP – Alfa Matrix)

Inferno Sound Diaries — Sat, 30 Dec 2017 20:00:06 +0000

Genre/Influences: Body-pop, electro-pop. Background/Info: ImJudas is a solo-project set up and driven by Helalyn Flowers mastermind maXX. This is the first EP of the artist. Content: The title song is a powerful electro-pop creation, which has been accomplished with some EBM influences plus a very own touch on top. The song is carried by a solid chorus. Remixes were done by People Theatre, AD:Key and Inertia. There also is a kind of B-side cut. + + + : ImJudas is not a copy of Helalyn Flowers, but a band with a very own approach, which explores the wider fields of electro-pop. It also is an exit for maXX to walk on more explicit electronic fields and that’s a genre he already masterfully experienced with on Helalyn Flowers. I like the title song, which is a muscled pop cut driven by a solid kick, a carrying chorus and cool vocals. Another interesting aspect of the EP is the choice of the remixers, each adding a different touch to the work. People Theatre did an amazing job transforming the original version into a more retro-like style with explicit strings. Ad:Key transposed the electro-pop style into EBM while Inertia added guitars coming closer to the Helalyn Flowers format. – – – : The B-side cut is nothing more than a… B-side cut and didn’t really catch my attention. Conclusion: “Tulpa” stands for a cool title song, some hot and sexy remixes and also a poorly inspired B-side track. I’m really wondering what the debut album of ImJudas will sound like! Best songs: “Tulpa – People Theatre’s Tragedy Mix”, “Tulpa”, “Tulpa – AD:Key Mix”. Rate: (7½). Band: www .facebook .com /IMJUDASofficial Label: www .alfa –matrix .com / www .facebook .com /Alfa .Matrix

Read the news on ‘Tulpa’.

Electropop act ImJudas launches debut EP ‘Tulpa’

Bernard - Side-Line Staff — Thu, 02 Nov 2017 17:00:50 +0000

After a series of compilation appearances and a cover of Front 242’s “Don’t Crash” on the “Recovery >For You<” tribute sampler, ImJudas, the solo-project by Helalyn Flowers’ maXX launches the debut-EP “Tulpa” which is available now from Bandcamp and in the next days from other download stores. ImJudas brings dark electro-pop which is deeply rooted in the early 80’s New Wave movement and aesthetic and on the 5-track strong EP you’ll see People Theatre, INertia and AD:keY do a remake of the title track. Next to that there’s also the B-side “Without Us You Are Nothing”. The self-titled debut album “Imjudas” will be coming out in 2018. For now enjoy the tracks below, or download them immediately from Bandcamp. Tulpa EP by IMJUDAS

Read the review of ‘Tulpa’.

PIG sees new remix album ‘Swine & Punishment’ out by early May – check the Mortiis remix on Side-Line

Bernard - Side-Line Staff — Thu, 13 Apr 2017 18:00:25 +0000

PIG promoted the UK release of his current studio album ‘The Gospel’ with a recent UK tour where the band jointly headlined with Mortiis. PIG mainman Raymond Watts and Mortiis have also recently reworked one of each other’s songs for new remix records, Mortiis’ remix album being called “The Great Corrupter” (more info here).

Appropriately entitled “Swine & Punishment” (available right here), PIG’s latest record will contain reworks by Skold, Marc Heal, Android Lust, Kanga, London After Midnight, Indradevi, Mortiis, Chris Vrenna, Pull Out Kings, Inertia, Joe Haze. Even Watts himself joins in for a special remix.

The album also holds the track “Violence”, previously only obtainable on the vinyl format of “The Gospel”.

For now you can enjoy the Mortiis remix of “Viva Evil” by PIG.

Frozen Star EP by HELALYN FLOWERS

Helalyn Flowers return with 2nd single ‘Frozen Star’ from the hit album ‘Sonic Foundation’ – listen to all of the 9 tracks!

Bernard - Side-Line Staff — Tue, 07 Feb 2017 19:00:07 +0000

The Italian electro metal act Helalyn Flowers has had a strong 2016 with the release of their latest album “Sonic Foundation“. It ranked in the top 50 on the iTunes Rock Chart in the USA, reached the top 10 of best selling albums on Bandcamp and topped the Metal section of Amazon.

The female fronted act now returns with a second single (counting 9 tracks!) from that album, namely “Frozen Star” which can be downloaded right now from Bandcamp.

For the occasion, the duo totally reworked the song under the new ‘Byzantium version’ and had the track remixed by British electro legends Inertia featuring a vocal duet with Reza Udhin, as well as by Diffuzion, Massive Ego and Sin.Sin. Add to this bonus remixes of other album songs by label mates Simon Carter, Venal Flesh and Entrezelle.

Check out the tracks below!

Ayria & Inertia go on a joined US Tour in Fall/Winter 2016, the dates have now been announced!

Bernard - Side-Line Staff — Wed, 19 Oct 2016 18:54:19 +0000

UK dark electro act Inertia (signed to Metropolis Records) and Canada based darkpop act Ayria (signed to Alfa Matrix) have joined up for a real coup de force: a tour througouthe USA with no less than 25 gigs planned. The tour will start in Seattle on November 8th and will finish in San Francisco on December 11th.

During this tour both acts will present their most recent material, and since they have quite complimentary styles, you are in for a very good treat!

The dates confirmed so far are:

11/08 Seattle, WA – Highline Bar
11/09 Portland, OR – Analog Cafe
11/10 Boise, ID – Eclypse
11/11 Salt Lake City, UT – Club X
11/12 Denver, CO – 3 Kings Tavern
11/14 Minneapolis, MN – Nether Bar
11/16 Chicago, IL – Emporium
11/18 Cincinnati, OH – The Venue
11/19 Lakewood, OH – Phantasy
11/20 Pittsburgh, PA – Howlers
11/21 Rochester, NY – Montage Music Hall
11/22 Albany, NY – Fuze Box
11/23 Philadelphia, PA – The Trocadero
11/25 New York City, NY – Stimulate
11/26 Washington DC – Spellbound
11/28 Richmond, VA – Fallout
11/29 Raleigh, NC – TBC
11/30 Atlanta, GA – Famous Pub
12/01 New Orleans, LA – Siberia
12/03 Austin, TX – Elysium
12/04 Dallas, TX – Lizard Lounge
12/05 El Paso, TX – Rockhouse Live
12/06 Phoenix, AZ – Club Red
12/07 San Diego, CA – TBC
12/08 Los Angeles, CA – The Complex
12/11 San Francisco, CA – DNA Lounge

Ayria and Inertia have started their joint UK tour!

Bernard - Side-Line Staff — Mon, 06 Jun 2016 19:34:26 +0000

Canada’s popular female fronted electropop act Ayria and UK’s finest electro act Inertia have started their joint tour through the UK. Coming up are shows in Southampton (tonight), Cardiff, Newcastle, Glasgow, Sheffield, Nottingham, York, Bristol, Brighton and London. Inertia will also do a show in Southend and one in Estonia.

Here are the shows:

28.05 – Bearded Theory Festival, UK

03.06 – Images, Plymouth

04.06 – Alice’s Wicked Tea Party, Wimborne

05.06 – The Joiners, Southampton

07.06 – Fuel, Cardiff

09.06 – Think Tank, Newcastle

10.06 – Audio, Glasgow

11.06 – Corporation, Sheffield

12.06 – Chameleon Club, Nottingham

16.06 – The Louisiana, Bristol

17.06 – The Albert, Brighton

18.06 – Electrowerkz, London

30.07 – Cult 13, Southend, UK

10.12 – Darkland Fire VII Festival, Rakvere, Estonia

While Ayria is promoting her “Paper Dolls” album, which will soon also see a vinyl release, Inertia is on the road to let people hear more from their recently released “Existential” album.

Metroland launches remix contest for upcoming ‘Brothers’ single

Bernard - Side-Line Staff — Mon, 30 May 2016 17:50:02 +0000

Metroland recently released the single “Synthetic Sound” (in 2 versions), and now they suddenly launch a full blown remix contest for a brand new single: “Brothers”. The single will be last single to be taken of the “Things will never sound the same” album.

The bands who want to pay their own personal final homage to Louis Zachert can now remix the “Brother” song. The best remixes will be chosen for the official remix single. Interested? Then download the stemms, midi-file and conditions right here. Make sure to send your files back and this before June 30, 2016.

Here’s the original song:

Louis Zachert, also known as Metroland’s Passenger L, passed away in his sleep last August. We have known Louis Zachert for many years, especially since he was so close with our buddies Sven and Andy from Metroland and Ionic Vision fame.

Louis Zachert’s musical career spans many years, including a solo album “Vie!” (1992) under his own name, a lot of sound engineering work on Ionic Vision releases (“The End”, “Sweet Isolation”, “Complete Isolation”) and albums under the Cycloon name together with Axel Kleintjes (“Plasma Fusion”, “Head|Over|Now”, “Zeitseize “, …) and so on. Many of these releases are now impossible to find and have gotten a second life on eBay reaching incredibly high prices. Via his UnderTheRoof – Audio Mastering studio Louis Zachert kept himself very busy working with other artists like David Rey, Inertia, Digital Factor, Leo Nocta, Ortta, Bye Bye Leader, Amaury, Philine, Jean Delouvroy, Buenas Ondas, No Sunglasses, Darkmen, Teradélie and so on.

For more on Metroland, see Metroland selected by the official Swedish Stockholm underground to… on Side-Line.

She Spread Sorrow – Rumspringa (CD Albums – Cold Spring)

Inferno Sound Diaries — Sat, 28 Nov 2015 21:19:07 +0000

Genre/Influences: Industrial, noise, ritual-deathscape.

Content: Some of you will possibly know Alice Kundalini from her involvement in the heavy power-electronic project Deviated Sister TV. This Italian female artist also set up a solo-project called She Spread Sorrow and has joined the Cold Spring Records roster to unleash this debut album featuring 6 cuts.

The work takes off with dark vibrating sounds, which make me think of an ambient storm of noises and analogue-like manipulations. The work progressively evolves into harder passages, revealing the noise addiction of Kundalini. She’s one of the few female artists involved into this kind of sound. It’s an extreme, but fully enjoyable sensation if you’re into this kind of sound.

“Rumspringa” is a kind of imaginary sonic pot filled with boiling noises. The work is joined by echoing low tones and dark atmospheres plus the ghost-like vocals of Alice. The vocals are spooky and sometimes fragmented, which creates a nice twist with the sonic manipulations. It’s a disturbing sonic creation, which is reinforced by the artistic creation of the different pictures you’ll find in the digipak. It reflects feelings of loneliness and abandonment, but you also can feel some deeper and perverted themes as well.

She Spread Sorrow is not exactly a kind of ‘feel-good’ music, but that’s precisely what this kind of industrial & noise creation stands for. Kundalini calls it a ‘ritual deathscape’, which I think perfectly, symbolizes the sound she’s dealing with. This creation comes to climax and I dare to say a sonic orgasm at “Inertia Malaise”, and especially on “Chastity”. This last title feels a bit like the brutal intrusion of a young and innocent girl’s chastity. Bleeping signals have been lost in a fictive mouth of a sonic ogre while the spoken words accentuate the sensation of total despair.

The work comes to an end by one more spooky and noise-minded creation entitled “Seven Daughters”. The obscure atmosphere running throughout this song is quite representative of the global work.

Conclusion: “Rumspringa” is a fully accomplished debut work revealing the talent and I dare to say ‘noise-refinement’ of this Italian artist.

Best songs: “Chastity”, “Inertia Malaise”, “Spring Of Regret”.

Rate: (DP:8)DP.

Band: www.facebook.com/shespreadsorrow

Label: www.coldspring.co.uk / www.facebook.com/coldspringhq

Terrolokaust – Mix The Poison Up (Digital Album – Digital World Audio)

Inferno Sound Diaries — Fri, 02 Oct 2015 15:33:24 +0000

Genre/Influences: Dark-electro.

Content: Terrolokaust is a band I kept an eye on since their very first album (cf. “Gas”) released in their homeland by Mutant-E Records. They afterwards joined DWA releasing a few more albums and EP’s.

The digital edit of “Mix The Poison Up” and the CD-re-release of the album “Spit The Poison Out” (featuring the bonus CD “Mix The Poison Up”) got simultaneously released featuring 8 new remixes by iVardensphere, Phosgore, C-Lekktor, Retrogramme, Seraphim System, ESA, Ruinizer and Chainreactor.

The CD edit of “Mix The Poison Up” features 12 remixes while the digital version features a total amount of 15 remixes. It’s all a bit confusing when you realize that Vendetta Music released “Spit The Poison Out” for the American scene in 2013 with 3 remixes, but accomplished by other bands. The 3 extra remixes on the new digital edition originally appeared at the CD format of “Mix The Poison Up” released by Deathwatch Asia in 2013.

Terrolokaust got remixed by interesting names unleashing a quite diversified result. Rotersand remains a ‘Master’ when it comes to accomplish a remix and it’s one of the most noticeable bands. The remix of “Reversing In Circles” is a noticeable song.

My favorite remixes are those of Chainreactor, FGFC820, Phosgore, C-Lekktor, Modulate and ESA. “Pointless” was remixed by Chainreactor in a rather expected electro-industrial-rave featuring the harsh vocals of Javi Sasgittar on top. A somewhat similar remix is the one of “Two-Faced Leader” transposed by Phosgore into another great industrial-rave piece, which sounds hard and merciless.

FGFC820 remixed “The Way It Must Be” in a dark-EBM style, which is really boosting and reminding me a bit of early Inertia. C-Lekktor is once more convincing me that this project is slowly becoming one of the best dark-electro bands of the past few years. The remix of “Reversing In Circles” got a hard adrenaline injection, which is a real dancefloor killer.

Modulate did a great job as well remixing “The Way It Must Be” (a remix that was originally released as B-side of a 7″ vinyl single taken from the album) and I here especially want to mention the cool dark sequences running through the song.

Last, but not least there’s a more rough and industrial-orientated remix of “Addicted” by ESA.

Other remixes from bands like iVardensphere, Nitro/Noise, Sirus, Retrogramme, Ruinizer and Blackopz are not bad at all, but they can’t really compete with the aforementioned remixes.

Conclusion: This digital edition of “Mix The Poison Up” is interesting for all the fans of the band. There’s a great diversity in influences and an impressive selection of talented and established dark-electro acts.

Best songs: “Two-Faced Leader – Phosgore Remix”, “The Way It Must Be – Modulate Remix”, “Pointless – Chainreactor Remix”, “Reversing In Circles – C-Lekktor Remix”, “The Way It Must Be – FGFC820 Remix”.

Rate: (DP:8)DP.

Band: www.facebook.com/Terrolokaust

Label: http://dwa-digital.com / www.facebook.com/DigitalWorldAudio

Inertia – Existential (CD Album – Metropolis)

Inferno Sound Diaries — Thu, 20 Aug 2015 16:30:26 +0000

Genre/Influences: Cyber-rock.

Content: Inertia strikes back with their 12th full length album in 23 years. The line-up for this opus consisted of mastermind Reza Udhin, Andrew Lowlife (Swarf) on keyboards and Tim Stephens (EMF) on guitars.

The album opens by the familiar EP-song “Dark Valentine”, which sounds as the right debut track. I like the clip of this song, but I’ve some problems with the composition revealing a different –and probably due to evolution, side of the band. Inertia has lost their initial and familiar power-electronics style to move towards softer and somewhat cyber-rock orientated fields. The song is well-crafted, but without a real climax.

I got a similar feeling during the next few cuts. I’m missing the good-old spirit of the band and the lack of power emerging from the songs is a bit disappointing. On the other side I have to admit that Reza Udhin as a singer has seriously improved his vocals skills. I’m however missing Alexys B for her female and graceful input on vocals.

The sound of Inertia becomes a good match between electronics and guitar. The tracklist progressively evolves towards some harder passages although it never brings the good-old spirit to life. “Hang Around” features cool electronic parts, which remind me of the best years of this band, but I’m once more missing a climax. The compositions have been accomplished without this ‘dirty’ and somewhat ‘raw’ approach, which made this band famous.

The last cuts however bring some improvement. I like the electronic sequences running through “Hiding” while this song is carried by a great chorus. This is definitely my favorite song of the album.

“Legacy” is another attention grabber, which is characterized by a poppy-minded tune. Globally speaking this work remains in between elements of pop and cyber-rock music.

Conclusion: Inertia doesn’t repeat themselves and that’s rather positive, but speaking for myself, I’m not that fond of this evolution in sound, which is missing a true spirit. I’m afraid this is not the Inertia album we’ll keep in mind.

Best songs: “Hiding”, “Emeralds”, “Legacy”.

Rate: (DP:6½)DP.

Band: http://inertia.rocks / www.facebook.com/inertiaband

Label: www.metropolis-records.com / www.facebook.com/MetropolisRecords