The Midgardsblot festival, held at Borrehaugene (old viking grave mounds), outside the city of Horten, Norway, is mostly known for hosting acts within the metal genre in addition to some folk and viking inspired music.

This year, the festival first caught our attention with the announcement of Bel Canto as one of the headliners, followed by Gåte, Seigmen, Karin Park, Ledfoot, and others—definitely worth reporting on for Side-Line Magazine. And who knows, we might even discover some new bands. We headed there in mid-August to check it out!

(By our Norwegian correspondent, Jan Ronald Stange. Photos by Einar Låker and Jan Ronald Stange. Additional Dwaal photos by Jon Julius Sandal @ helvetesindrekretser and Birgit Fostervold @ knipselyst)

Side-Line’s chief editor, Bernard Van Isacker, was supposed to join me for the festival, but couldn’t make it due to a family emergency. His replacement, Einar Låker, brought his cameras and joined me instead. Since we had to attend meetings and handle some work during the day, we skipped the tenting area and set up base at a nearby campsite in a mobile home borrowed from my parents (thanks, Sigrid and Carl Edvard!).

After settling in, it was time to head to the festival grounds, which required a short hike through historic Viking graves. We collected our passes and entered the blót, an ancient Norwegian/Norse sacrificial feast.

The first act we saw was Kalandra, a UK/Norwegian band blending Celtic and Norse folk with modern arrangements. They’ve been around for over a decade, gaining recognition with their cover of Wardruna’s “Helvegen”. Since then, they’ve released several albums and composed scores for TV shows and video games.

After Kalandra, we explored the rest of the area, visiting the trade section Kaupanger, the Viking tent area Folkvangr, and the indoor stage Gildehallen (the “Feast Hall”). It was a sight to see people fully embracing the chance to step back in time.

We wrapped up the first day by watching the Swedish Viking rockers Amon Amarth, who had their fans completely enthralled—even getting hundreds to sit down and row in the middle of a song! 😊

Thursday was a rainy day, so boots and jackets were a must. We caught a bit of the Norwegian thrash band Inculter and the Polish death metal band Vader before heading inside Gildehallen for something entirely different: Trio Oro, a Norwegian world-folk fusion group featuring flutes, guitars, and percussion. They delivered a diverse set with tunes from Irish, Bulgarian, Norwegian, and other traditions. It was original and unexpectedly entertaining!

One of the main attractions, Gåte, had to cancel due to a band member’s illness and was quickly replaced by Hindarfjäll & Peter Franzen, a Swedish project that uses modern instruments to recreate the ancient sounds and atmospheres of Scandinavian/Nordic folk music.

Next, we escaped the rain by heading back into Gildehallen, catching the last few songs from local thrash band Mortal Fear—three teenagers with the drummer’s father on vocals. It was very entertaining!

The day ended with thrash metal titans Testament from California, USA, closing out the main stage at Heiheim.

Day 3 was special, with two bands from my hometown, Tønsberg, performing. Seigmen headlined the Helheim stage, while newcomers Fabbrica 82 were about to play their first-ever show in Gildehallen. We spent an hour there beforehand, chatting with the band members, Knut Ove Hansen and Lars Anders Berg, before their soundcheck and concert.

S-L: How did you come up with the band name?

Knut Ove Hansen: We started high school in 1982, and we chose Fabbrica because we wanted a name that could be associated with new wave. We went with the Italian version because “factory” was already overused in English, and I have a personal connection to Italy.

S-L: What were your first attempts at releasing music?

KOH: One of my early bands made our first demo tape at the local radio station in Tønsberg in 1985—it was actually the first synth-related demo recorded in Tønsberg! We played three gigs the following year as the band Some Bizzare, named after the famous compilation album where Depeche Mode, among others, had their first track on vinyl. We also had a third member, Bjørn Arnesen, who now lives in Peru. Lars reached out to me several times, in 2020 and again in 2023, asking if we should give it another try. I was hesitant at first, but then we made “Darkness,” and we were back at it.

Lars Anders Berg: Over the years, I’ve composed hundreds of songs, and I always wanted someone to sing to my tunes. After years of talking about it, we finally made it happen. It’s been a lot of fun, and we’ve quickly released several singles!

S-L: Any album in the making?

KOH: Yes, it’s what we’re working on. We also got another gig in October in Tønsberg. This is not where we thought we would be just six months after our first release – feels quite surreal! All because of the word of mouth in Tønsberg’s small “synth underground”, and it also spread to Oslo where we’ve gotten good feedback.

S-L: What’s your inspiration?

Lars Anders Berg: I listen to a lot of music, not just old synth, but many electronic genres. So, the process of creating themes, melodies, and tweaking knobs is an inspiration in itself.

As the hall filled with people, we noticed at least a dozen audience members already wearing fan T-shirts, and the band was thrilled after their first show.

As we left Gildehallen, we caught a few songs from Nytt Land on the Valhalla stage—a Siberian shamanic act that blends the vocal traditions of Northern Europe with traditional Siberian throat singing. It was a stark contrast after a synth gig and truly highlighted the diversity of the festival!

The last show we attended on Thursday was Seigmen at the Helheim stage. It was a fantastic performance, featuring a new song with guest Espen Winther from the medieval/folk band Eldrim, playing his harp. It was magical—a gig that later received well-deserved praise in reviews!

The last day of the festival started off relaxed, with a stroll around, soaking in the sights and atmosphere under the sun. Then Ledfoot (Tim Scott McConnell) took the Valhalla stage. This goth-blues phenomenon was someone I’d been wanting to see live for a while, and he didn’t disappoint. He delivered a set full of raw emotion—soreness, anger, longing—and impressive guitar playing.

I had been in touch with him before the festival, and we agreed to try for an interview. However, due to his soundman’s tight schedule, they had to leave the area minutes after the show, so we exchanged a few words via Messenger a few days later instead.

S-L: How was your gig at Midgardsblot?

Ledfoot: The audience was great, and there was such a good vibe there 🙏

S-L: Did the show or audience differ much from your solo gigs?

Ledfoot: No, it’s the same everywhere—I do my best and hope the audience appreciates it.

S-L: More music in the works?

Ledfoot: I’ve started on my new record, and hopefully it’ll be out by the end of the year.
And I’d like to say a big thank you to the audience and all the people working behind the scenes.
Hugs!

Next, we went to see Bel Canto, the pioneering Norwegian electronica band, performing a set that spanned their entire career, including a few new tracks from their latest album Radiant Green. As always, they delivered a top-notch performance, and Anneli’s voice remains as impressive as ever!

Making Bernard envious by sending him live photos was an obligatory part of attending Bel Canto 😉

I also managed to spend a few minutes in Gildehallen to check out another band with a Tønsberg connection, though mostly from Oslo—the doom-sludge-ultra-heavy Dwaal. The hall was packed, with a queue outside, clearly hitting their target audience perfectly. I later caught up with lead singer Bjørnar Kristansen to ask about their experience.

S-L: How did Midgardsblot treat you?

Bjørnar Kristansen: Midgardsblot was amazing. Right after the show, we said it was one of our favorite gigs, if not our favorite. The crowd’s energy from the first riff to the last deeply affected us. I asked for a ritual, and we got a ritual for sure. A true catharsis, both on and off stage.

S-L: How does playing at a festival like this compare to club gigs?

BK: Festivals are different from club gigs because the crowd is a more varied mix of people—those who already know Dwaal and those giving us a chance for the first time. Not to say anything bad about the Norwegian audience, but it seems like international music lovers are more open to discovering new music. They come from far away and want to engage with as much as they can, even if they’ve never heard us before. It makes for an intense experience in the best way.

S-L: Did you explore the festival area, try the Viking activities or food?

BK: Our drummer Anders went on Friday and had a great time at the Blot. The rest of Dwaal arrived on Saturday, and we had some time to explore the festival. It’s an incredible event. Everyone makes you feel so welcome and included. A huge recommendation from Dwaal!

S-L: Any upcoming releases, albums, gigs, or other news?

BK: As 2024 winds down, we’re hard at work on new music, with some exciting projects that push us out of our comfort zone, which we love. Our last regular concert of the year will be at Apollon Tønsberg on October 11th, with Uaar as support. On December 14th, we’re playing the Caliban Sessions, a yearly mini-festival hosted by Ole Petter Andreassen of Black Debbath, Thulsa Doom, and Cumshots fame. It will be a fantastic end to a great year for Dwaal, marking our tenth year as a band. There are plans for a gig in Oslo in 2025, so stay tuned for that announcement.

We’re also in talks for more live shows in Europe, though nothing we can confirm just yet. And of course, if Midgardsblot invites us back, we’d love to play again!

The last show in Gildehallen this time around was the one that probably impressed me the most—Karin Park from Sweden. Alone on stage, standing between two tables covered with synths, computers, and modular gear, she sounded and performed like a full band, delivering an incredibly energetic set. Crown her the Queen of Synth already! (go to https://www.facebook.com/748210539/videos/1540166493571503/ for videos, several in the comments!)

The Norwegian band Emperor, regarded as pioneers of extreme black metal, closed the festival on the main stage, Helheim, in front of a devoted audience.

To sum it all up: a festival well worth visiting! As they’ve expanded the musical genres in their lineup, there’s now something for everyone without losing their core purpose or audience. This approach also increases the chance to discover something new, which is always a plus!

A big shoutout to Runa Strindin, the driving force behind the festival, and her entire crew for making it such a success! Hopefully, they’ll continue for years to come, and perhaps the 10th anniversary next year will be even more special?!

PS: As a food enthusiast, I must mention the excellent variety of food, ranging from handmade hot dogs to Thai, Mexican, elk burgers, and elk kebabs! Most impressive was the food from the Norwegian Chefs National Association, Vestfold branch (Norske kokkers Landsforening, avdeling Vestfold)—their hot-smoked halibut dish was to die for! 😊

jrstange

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

www.facebook.com/jrstange

(Photo by Roger op den Camp) COP International Records and Strict Tempo announce the USA leg of the CX40 World Tour by the legendary Anglo-Irish post-punk group The Cassandra Complex. The band has been celebrating their 40 year anniversary in 2024 with an extensive world tour spanning Europe and the Americas.

As part of the tour they will be making a rare visit to play in the USA in September – October, starting with an appearance at the Cold Waves festival in Chicago, and continuing through the West Coast of the USA. The last time The Cassandra Complex played in America was almost 20 years ago, so this will be a unique chance to see their live show. The second leg of the tour will commence with shows in the USA and Latin America in the Fall, followed by more shows in the UK and EU later in the year.

The band will be supported on USA shows by DJ Vox Sinistra and on European shows by the Swedish post-punk duo Sjöblom. Tickets can be order now.

• 29 Sep 24 Chicago IL, Cold Waves Festival
• 30 Sep 24 Portland OR, Dante’s
• 02 Oct 24 Seattle WA, Central Saloon
• 04 Oct 24 San Diego CA, Corazón del Barrio *
• 05 Oct 24 Long Beach CA, Que Sera *
• 06 Oct 24 Albany CA, The Ivy Room (SF Bay Area) *
• 12 Oct 24 Ciudad de México, Foro 28
• 15 Oc t24 San José Costa Rica, Amon Solar
• 18 Oct 24 Santiago Chile, RBX
• 19 Oct 24 Sao Paulo Brazil, Madame
• 23 Nov 24 Leeds UK, The Old Woolen
• 24 Nov 24 London UK, The Black Heart
• 26 Nov 24 Reading UK, The Facebar
• 28 Nov 24 Bochum Germany, Matrix **
• 29 Nov 24 Bielefeld Germany, Movie **
• 30 Nov 24 Cologne Germany, Blue Shell **
• 04 Dec 24 Berlin Germany, Urban Spree **
• 05 Dec 24 Copenhagen Denmark, Lygten Station **

* with Vox Sinistra
** with Sjöblom

About The Cassandra Complex

The Cassandra Complex was formed in 1984 by Rodney Orpheus (vocals, synths, drums machine), Paul Dillon (electronics), and Andy Booth (guitar, keyboards). Musically they bring a synthesis of post-punk, goth, EBM, and industrial music, coupled with Rodney Orpheus’ voice.

After a long hiatus, The Cassandra Complex recently returned with the album “The Plague”, recorded during the COVID lockdown. In March 2024 they released “Death & Sex”. Both albums are available from COP International Records on CD and on all streaming services.

Rodney Orpheus has also worked as a producer, remixer, and music technologist, working with artists such as The Sisters of Mercy, Kraftwerk, Beborn Beton, The Future Sound of London, Girls Under Glass, Faith & the Muse, Within Temptation, and many more.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Irish musician and artist Gavin Friday (Virgin Prunes) is back with his first solo album in over a decade, “Ecce Homo”, set for release on October 25 via BMG. Produced by Dave Ball of Soft Cell and Michael Heffernan, this marks Friday’s first album since 2011’s “Catholic”. Along with the announcement, the title track is now available as a digital EP featuring two remixes and an instrumental version.

Friday, known for his role as the frontman of Virgin Prunes, has a career spanning four decades, collaborating with artists like U2, Sinead O’Connor, and Scott Walker. His work extends beyond music into visual arts and composing for films, earning Ivor Novello and Golden Globe nominations for “In The Name of The Father“.

“Ecce Homo” blends electronics and acoustic sounds, exploring themes of anger, independence, love, and loss. Friday describes the album as his “most honest, reflecting on personal and collective struggles.”

The album’s first single, the title track “Ecce Homo”, is a track confronting societal challenges. Accompanied by a video created entirely with AI, Friday calls it “a personal kick in the head and kiss on the cheek to a world gone very wrong.”

The album will be available digitally, on limited-edition vinyl, and as a deluxe CD featuring bonus tracks and remixes.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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(Photo by Roger op den Camp) COP International Records, International Booking Department, and Resistencia Booking have announce the second leg of the CX40 tour of the Anglo-Irish post-punk group The Cassandra Complex. This second leg will take the band, which celebrates its 40 year anniversary, to Germany, Belgium, USA, Mexico, Costa Rica, Chile, Brazil, UK, the Netherlands, and Denmark.

The second leg will commence this summer with festivals in Germany and Belgium, followed by dates in the USA and Latin America in the Fall. The tour continues then with more shows in the UK and EU later in the year. The band will also be supported on select European shows by special guests and labelmates Sjöblom.

You can order your tickets here.

• 11/08/24 Hildesheim Germany, Mera Luna Festival
• 24/08/24 Ostend Belgium, W-Festival
• 25/08/24 Sint-Niklaas Belgium, De Rembrandt Festival
• 29/09/24 Chicago USA, Cold Waves Festival
• 12/10/24 Ciudad de México, Foro 28
• 15/10/24 San José Costa Rica, Amon Solar
• 18/10/24 Santiago Chile, RBX
• 19/10/24 Sao Paulo Brazil, Madame
• 23/11/24 Leeds UK, The Old Woolen
• 24/11/24 London UK, The Black Heart
• 26/11/24 Reading UK, The Facebar
• 29/11/24 Bielefeld Germany, Movie
• 30/11/24 Cologne Germany, Blue Shell
• 01/12/24 Bochum Germany, Rockpalast
• 04/12/24 Berlin Germany, Urban Spree
• 05/11/24 Copenhagen Denmark, Lygten Station
• (More dates to be confirmed)

About The Cassandra Complex

The Cassandra Complex was formed in 1984 by Rodney Orpheus (vocals, synths, drums machine), Paul Dillon (electronics), and Andy Booth (guitar, keyboards). Musically they bring a synthesis of post-punk, goth, EBM, and industrial music, coupled with Rodney Orpheus’ voice.

After a long hiatus, The Cassandra Complex recently returned with the album “The Plague”, recorded during the COVID lockdown. In March 2024 they released “Death & Sex”. Both albums are available from COP International Records on CD and on all streaming services.

Rodney Orpheus has also worked as a producer, remixer, and music technologist, working with artists such as The Sisters of Mercy, Kraftwerk, Beborn Beton, The Future Sound of London, Girls Under Glass, Faith & the Muse, Within Temptation, and many more.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Out now is a joint single from Blutengel and Solar Fake: “Nothing Left”, see the video below. Released through Out of Line Music the collaboration features Chris Pohl of Blutengel and Sven Friedrich of Solar Fake. Chris composed the music, while Sven penned the lyrics.

The EP includes five additional remixes by JanRevolution, Pseudokrupp Project, Scheuber, Wisborg, and Neuroticfish. This release is available in both physical CD format and a limited edition golden vinyl.

On July 20, Blutengel and Solar Fake will perform live at the Dark Summer Open Air at Wasserschloss Klaffenbach in Chemnitz, offering fans a chance to experience their new collaboration live.

About Blutengel and Solar Fake

Blutengel, formed in 1998 by Chris Pohl in Berlin, Germany, is known for its dark pop sound that combines electronic beats, gothic rock, and dark lyrics. The band’s themes often explore love, betrayal, heartbreak, vampirism, and immortality. Over the years, Blutengel has seen several lineup changes but remains led by Chris Pohl and current member Ulrike Goldmann.

Solar Fake, founded by Sven Friedrich in 2007, is a German electronic music project. The band quickly gained popularity with its debut album “Broken Grid” and is known for its energetic synthpop and electro-industrial sound. Sven Friedrich is also known for his work with bands Zeraphine and Dreadful Shadows.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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(Photo by Jack Carr) Out today is the brand new 4-track EP by the leeds-based synthpop act Lucky Iris, “Maybe I’m Too Much”.

The band aka Maeve and Jasper have been featured on Side-Line before with their very catchy synthpop style. The duo formed during lockdown and started performing live in September 2021, which has seen them touring cities such as Leeds, London, Liverpool and so on, as well as appearing on festival lineups including Live At Leeds, Long Division, 110 Above and most recently The Great Escape.

The new EP was written and produced by the duo, and mixed by Richard Wilkinson (Adele, Kaiser Chiefs) and mastered by Antony Ryan (Oh Wonder).

Maeve explaisn the deeper meaning of the title track as follows: “This song is for anyone who’s ever been made feel like they’re ‘too much’. And particularly for those who’ve been made feel like they’re ‘too much’ by someone they love. Because there really is no need to minimise yourself to fit into a neat little box packaged by someone else. But it’s taken me far too long to realise that…”

Jasper adds: “‘Maybe I’m Too Much’ is actually one of the first songs I wrote for Lucky Iris. And the initial version was so sad. But something clicked in my brain after being let down…again! And I realised that me being perceived as ‘too much’ really isn’t a me problem after all. In the main hook I sing, ‘Maybe I’m Too Much’, but don’t you ever think that maybe you are not enough’. And of course, I’m not actually trying to imply that anyone isn’t enough. Instead, I made ‘maybe i’m too much’ a reminder not to let other people tell you how you should feel about yourself. And maybe… after all is said and done… it’s not me… it’s you.”

Upcoming Live Dates:

• 11/08/23 – EP Launch Party @ The Vinyl Whistle, Leeds
• 23/08/23 – Sofar Sounds, Leeds
• 19/09/23 The Polar Bear, Hull

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

Out now is the first Iris Capricorn album “Decades”. The release comes after the release of 3 singles, the first being the April 2020 single “The Pilgrim”.

The Strasbourg, France-based artist Iris Capricorn began her career in 2000 by joining the band Dark Sanctuary (dark atmospheric, neoclassical) as a vocalist. After years of composing and studio experiences, the band made a comeback in 2021.

The album consists of 8 songs in English, French, and Russian (including a cover of the song “Dream” by the folk artist Rada i Ternovnik). The album was recorded and mixed in Strasbourg and at Kitchen Studios by Milos Asian in Bordeaux, and mastered by Peter Deimel at Black Box Studio in Angers.

You can check out the album below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Leeds based synthpop duo Lucky Iris return with the “Blowing Kisses” single, which is the last single before releasing their upcoming EP “Maybe I’m too much”, which will be out on August 11th.

The single was written and produced by the duo, mixed by Richard Wilkinson (Adele, Kaiser Chiefs) and mastered by Antony Ryan (Oh Wonder).

There are three tracks on the EP, the 2 previous singles from the band plus the new track “Blowing Kisses”.

Speaking on the track frontwoman Maeve says: “I overheard someone say; ‘a crush is just a lack of information’, and I just couldn’t get that out of my head – but I refuse to see a crush as just that because it just takes all the fun out of it, doesn’t it?! ‘blowing kisses’ is about having a crush. It’s about that point where it turns into something more, because unlike that stranger implied, the more information you learn about your crush, the more you end up falling for them. It’s about hanging on every word they say, being out and only being able to see them. And when they say your name, that feeling you get each time, it’s like the first time anyone has ever said your name… I guess it’s an ‘if you know you know’ feeling… if you do you’ll understand and if not, know it’s a precious song about being desperate to know what that other person is thinking.”

Jasper (music) and Maeve (vocalist and lyrics) formed Lucky Iris during the lockdown period and since them have released several singles.

Below is the newest single.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

A while back we wrote about the debut single, “Alive”, by the electro indie pop act Phoeno. Out now is the band’s newest single, “Follower”, it is available on all streaming platforms from today on and comes accompanied by a brand new video.

The video itself was shot by Luca Truffarelli, features Lloyd Cooney who you might have seen recently in RTE’s “Kin”.

Phoeno is the Dublin based duo Adam Matthews and Liam Corbett which formed in late 2019. The band offers a kind of synthpop which sounds like a blend between Mesh and Iris. The band itself says that their music “tends to blend genres as our influences range from 80’s synth to pop and rock, we think our music is very reflective of this influence while always endeavouring to bring something new to the table.”

We asked the band about their influences. Corbo: “I’m usually quite open-minded when it comes to musical genres – inspiration can come from anywhere if it’s a well written and produced track. The bands I always find myself going back to are Wild Beasts, Tame Impala, Radiohead, Local Natives, NIN, and Jaguar Ma.” Adam adds: “My inspirations are Kate Bush, Matthew Good, Joni Mitchell, Trent Reznor, and Depeche Mode.”

Check the new single “Follower” below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

Phoeno is the indie electro project of Adam Matthews and Liam Corbett which only appeared on our radar just now. The band brings a sound that sounds like a blend of Electro Spectre, Iris and Mesh.

The duo released their debut single last year, called “Alive” produced by the duo Richie Kennedy and Liam Corbett. The single release went hand in hand with a video directed and produced by by Luca Truffarelli and Philip Connaughton.

Although the band formed already in 2019, Adam and Liam so far only released this single (and a radio edit). Let’s see what is coming up next.

Here’s the video of the single. Warmly recommended.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

(Photo by Courteney Frisby) Here’s a discovery which will please the electro pop fans, Lucky Iris. This Leeds based electropop act consists of the duo Jasper (music) and Maeve (vocalist and lyrics) and the duo has now released the track “(I’m not good at writing) love songs” on the occasion of Valentine’s Day. Mixed by Lee Smith (Holly Humberstone, Easy Life, Sfven) and mastered by Tom Woodhead the track amassed a whopping 34.000 streams on Spotify, not bad in such a short time.

Despite the bubblegum title, the band offers a really attractive electro pop here mixed with more commercial elements. About the song Maeve has this to say: “To say I’ve been unlucky in love is probably putting it nicely… I used to give all of my time and energy to a series of relationships, but I got nothing in return. At the time I was honestly perplexed as to where I kept going wrong… in retrospect, it was more a matter of putting my time into the wrong people… but that’s a song in itself.”

It was March 2020 that saw the pair self-release their concept EP “Turns Out We Should Have Stayed At Home”, featuring “Get Ready With Me” which saw them gain a multitude of fans and
opportunities. In 2021 the pair really began to pick up momentum with their debut single “Coffee Shop” shortly followed by “Speak Soon”.

Embraced by commercial radios there is surely enough electro pop fun to be discovered. Check the single below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

Electropop is a hybrid music genre combining elements of electronic and pop genres. During the late 1970s bands such as the Human League, Kraftwerk, and later on Gary Numan, Soft Cell and John Foxx helped pioneer a new synth-pop style that drew more heavily from electronic music and emphasized primary usage of synthesizers. Developed in the late 1970s it has seen several revival periods up until now.

We picked out the best synthpop albums from the past 4 decades (!!!). Here’s our list.

The Human League – “Dare” (1981)

The Human League are ‘oldies’ when it comes to synthpop. Formed in Sheffield in 1977 and initially an experimental electronic outfit, the group attained widespread commercial success with their third album “Dare” in 1981. The album contained four hit singles, including the UK/US number one hit “Don’t You Want Me”. The band’s third studio album, it was recorded between March and September 1981 following the departure of founding members Martyn Ware and Ian Craig Marsh, and saw the band shift direction from their prior avant-garde electronic style toward a more pop-friendly, commercial sound led by frontman Philip Oakey. A remix album based on “Dare”, “Love and Dancing”, was released in 1982.

Talk Talk – “It’s My Life” (1984)

Talk Talk were an English band formed in 1981, led by Mark Hollis (vocals, guitar, piano), Lee Harris (drums), and Paul Webb (bass). The group achieved early chart success with the synth-pop singles “Talk Talk” (1982), “It’s My Life”, and “Such a Shame” (both 1984) before moving towards a more experimental approach in the mid-1980s. Not surprisingly that our next pick is “It’s My Life”, the second studio album by Talk Talk, released in 1984. The album enjoyed an enormous succes thanks to the big international success of its singles (notably “Such a Shame”). We have a soft spot for the tracks “Dum Dum Girl”, “Such a Shame”, “Renée”, “It’s My Life” and “It’s You” although the entire album is just extremely enjoyable.

Alphaville – “Forever Young” (1984)

The German synth-pop band Alphaville, which formed in Münster in 1982, achieved chart success with the singles “Forever Young”, “Big in Japan”, “Sounds Like a Melody”. All these were taken from their 1984 debut album “Forever Young” which was produced by Colin Pearson, Wolfgang Loos and Andreas Budde. Despite the success of the album and its singles, the band did not tour as they felt more like ‘studio rats’. It remains the band’s best output to date.

a-ha – “Scoundrel Days” (1986)

The Norwegian synth-pop band a-ha was formed in Oslo in 1982 by Paul Waaktaar-Savoy (guitars), Magne Furuholmen (keyboards and guitars), and Morten Harket (vocals). “Scoundrel Days” is the second studio album by the trio and offered a more mature sound compared to their debut “Hunting High and Low” (1985). “Scoundrel Days”, recorded in England in early 1986 and produced by Alan Tarney, sported such singles as “I’ve Been Losing You”, “Cry Wolf” and “Maybe, Maybe” which was released solely in Bolivia. “Manhattan Skyline” was the forth and final single released from the long-player.

Erasure – “Wonderland” (1986)

“Wonderland” is the debut studio album by the English synth-pop duo Erasure and was released in 1986. Although it was not an immediate success, the three singles released from it did become cult tracks overtime: “Who Needs Love Like That”, “Oh L’amour” and “Heavenly Action”. Although “Wonderland” was considered a failure, especially when comparing it to Clarke’s prior successes with Depeche Mode and Yazoo, the album became an all time favourite that laid the fundament of what was to follow in 1987 with the release of “The Circus”. The album was produced by Flood who would become a long-time collaborator.

Pet Shop Boys – “Actually” (1987)

Pet Shop Boys, the English synth-pop duo formed in London in 1981, broke all records when they released “Actually”, their second studio album, in 1987. It was pushed forward by such great tracks as “One More Chance”, “What Have I Done to Deserve This?” (with Dusty Springfield), “Shopping”, “Rent”, “It Couldn’t Happen Here”, “It’s a Sin”, “Heart” and the majestic “King’s Cross”. In short an album filled with hits.

New Order – “Technique” (1989)

New Order was formed in 1980 by vocalist and guitarist Bernard Sumner, bassist Peter Hook and drummer Stephen Morris. The band formed after the demise of Joy Division, following the suicide of lead singer Ian Curtis and were joined by Gillian Gilbert on keyboards later that year. Their experience of the early 1980s New York club scene saw them increasingly incorporate dance rhythms and electronic instrumentation into their work which resulted in their 1983 hit “Blue Monday” becoming and absolute monster hit. However, we picked out “Technique”, their fifth studio album. Released in 1989 by Factory Records, the album incorporates Balearic beat and acid house influences into the group’s dance-rock sound. “Technique” was the first New Order album to reach the number one spot on the UK charts and had such excellent singles as “Fine Time”, “Round and Round” and “Run 2”.

Depeche Mode – “Violator” (1990)

“Violator” is the seventh studio album by England’s Depeche Mode. It was first released on 19 March 1990 through Mute Records internationally, and through Sire and Reprise Records in the United States. Preceded by the singles “Personal Jesus” and “Enjoy the Silence” (a top-10 entry in both the United Kingdom and the United States), the album propelled the band into international stardom, and also yielded the singles “Policy of Truth” and “World in My Eyes”. The album is generally considered as their most accomplisched electropop album before they encorporated more rock elements in the next album, “Songs of Faith and Devotion”. The role of Alan Wilder was crucial in “Violator”, you only have to compare the first and final version of “Enjoy The Silence” to notice the huge difference.

Bel Canto – “Birds of Passage” (1990)

Bel Canto is a Norwegian music duo, originally a trio, fronted by vocalist Anneli Drecker and musically powered by Geir Jenssen and Nils Johansen. Signed originally to Crammed Discs, their second album “Birds of Passage” is considered as an absolute pearl holding an excellent production (aided by Giles Martin) and a long list of guest musicians who added acoustic elements to the cold nordic synths Jenssen and multi-instrumentalist Johansen. It was also the last album featuring Geir Jenssen. It holds the hits “Intravenous”, “Birds of Passage”, “A Shoulder to the Wheel”, “Time Without End”, “Continuum” and “The Suffering”. The band remains an often well-hidden pearl in electropopland.

De/Vision – “Fairyland?” (1996)

De/Vision, a German synthpop act formed in 1988, was at the peak of its electropop stardom around the mid-nineties culiminating in the outstanding “Fairyland?” album which had such great tracks as “I Regret”, “Sweet Life”, “Today’s Life” or “Bleed Me White”. The band was fronting a new wave of electropop bands in Germany but was generally considered to be the most consistent one as far as quality and output. Sadly enough the release, and also the band’s earlier material, are no longer available on Spotify.

Wolfsheim – “Spectators” (1999)

Wolfsheim was a synthpop duo from Hamburg, Germany, that consisted of Markus Reinhardt and Peter Heppner. Their fourth studio album was “Spectators” (1999) preceeded by two ‘pre-release’ singles from the album. “Once in a Lifetime” was released on October 16, 1998 and “It’s Hurting For The First Time” followed on November 30th. The LP was produced by Wolfsheim and José Alvarez-Brill and held 11 new songs. To this day, “Spectators” is the best-selling album by Wolfsheim with over 250,000 copies sold. The third single, “Künstliche Welten”, was released in 1999.

Iris – “Disconnect” (2000)

“Disconnect” is the debut album by the electropop group Iris. Released in 2000 via the US label A Different Drum, the synthpop label by excellence, its success was guaranteed by the now cult synthpop jewels “Annie, Would I Lie to You?”, “Lose In Wanting” and “Danger Is The Shame”. Originally formed by Reagan Jones and Mat Morris in 1993, after the release of their first album “Disconnect”, Matthew Morris was replaced with Andrew Sega, who pushed the band’s sound in a more experimental electronic direction. Sadly enough the release, and also the band’s earlier material, are no longer available on Spotify.

Elegant Machinery – “A Soft Exchange” (2008)

The Swedish synthpop band Elegant Machinery defined the Swedish synthpop movement along with such bands as Page, S.P.O.C.K, Sista Mannen På Jorden and Kiethevez. Heavily influenced by acts like Yazoo, The Human League, Depeche Mode and Rational Youth, the trio Robert Enforsen, Richard Jomshof and Leslie Bayne started the band in 1988 under the name Pole Position. The band was very successful in Sweden, with a number of successful singles and various awards. But it is their 2008 album “A Soft Exchange” that earned them a place in our list. The album was extremely mature yet very melodic and features such pearls a “With Grace”, “Do You Know”, “Feel The Silence”, “Bleeding Words” and “Is This The Way”.

Electro Spectre – “Dangerous Game” (2012)

The Norwegian electronic music duo Electro Spectre fronts the 3rd electropop wave. Isak Rypdal (writer-producer) and Alexander Björneboe (writer-singer) debuted in 2009 with the album “Watch It All Turn” (which was later reproduced and re-released in 2010). The duo has secured us from a steady and consistent output ever since. In our list we picked the band’s 2012 release, which is their second studio album entitled “Dangerous Game”. Included are such pearls as “Love Thief”, “Dancing Girl”, “World Keeps Turning” and “Tokyo Shuffle”.

Mondträume – “Empty” (2014)

Mondträume is the creative outlet of 2 Spanish talented artists Pikotto Vond Mond and Damasius Venys. In only a few years, the duo rapidly caught the attention of concert organizers, released several songs on compilations, and secured a label contract with Belgium’s electronic label Alfa Matrix where they debuted with the album “Empty”. The hits “Life Is Short”, “Parasite” and especially the synth pop pearl “Far From Pain” showcase why this band became one of the strongholders in the 3rd electropop wave together with such bands as Electro Spectre, and more.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

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On November 5th, Helix will self-release a brand new digital-only EP entitled “Bad Dream”, featuring 4 brand new tracks and remixes from Mark Hockings (Mesh) and Andrew Sega (ex-Iris, Hallowed Hearts). The EP will be available on Bandcamp and the usual digital and streaming platforms.

Helix is the brand new collaboration between Tom Shear (Assemblage 23) and vocalist Mari Kattman (known for her work with Psy’Aviah and Mari & The Ghost). The debut album for the duo was released on August 24 2018, called “Twin”.

Here’s already a trailer.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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The American synthpop band Iris, one of the best synthpop acts to emerge in the past 25 years, is no more. The rumour mill had already started 10 days ago when Reagan Jones changed his workplace status on Facebook as “Worked at Iris”. The news was then confirmed by Andrew Sega.

The reason for the split is possibly linked to the COVID-19 pandemic as the duo discussed their disagreement about the vaccine’s safety publicly. Good to know, Reagan Jones is unvaccinated and is recovering from a COVID infection. The press release that we received today kinda confirms this as they cite ‘personal differences’.

From now on Reagan Jones and Andrew Sega will each focus on their own, individual projects in the future.

In the meantime the band’s back catalogue material will finally be re-released containing extra commentary and bonus material. It will also mean that the older material will hit streaming and download platforms for the very first time.

Good luck to both, it was a good ride!

About Iris

The band – a favourite from the former and current Side-Line team – formed in 1993 as Forgiving Iris. The original members were Reagan Jones and Matthew Morris. After shortening their name to Iris the duo released their debut album, “Disconnect”, on A Different Drum (and October for the Scandinavian market) in 1999. It was a bull’s eye as the singles “Annie, Would I Lie to You”, “Danger Is the Shame” and “Lose in Wanting” became instant classics.

Nevertheless, Morris left the band soon after and he was replaced by Andrew Sega after which the work on the band’s second album, “Awakening”, was started. It would be released in 2002. The duo would continue to produce 4 more albums and a string of singles.

The band’s final album was the 2019 release “Six”.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Genre/Influences: Electro, Ambient-Electro.

Format: Digital, CD.

Background/Info: “Memoirs” is the third album by Greek artist Manos Zafirakis. The album comes three years after “Kilonova”.

Content: Iris Manta hasn’t really changed the sound formula from previous albums. It remains a sound influenced by early Electronic pioneers, reminding me of JM Jarre, Tangerine Dream and co. The songs feature an astral sound dimension created by the typical old-styled Psychedelic leads. The album features 6 songs, which all are instrumental edits. 

+ + + : The compositions of Iris Manta remain well-crafted and elaborated with subtle sonic details. Melody lines are more accentuated than on the previous work. I get the impression of listening to a refreshed version of Tangerine Dream. The analogue sound treatments and –effects have this unique touch of magic.  

– – – : I personally experienced this work as a bit more ‘cliché’ than its predecessor. It’s a sound we’re familiar with for years so the songs become a bit predictable after a while.

Conclusion: If you like the early pioneers of Electronic music, you definitely are going to like this work.

Best songs: “Misguided”, “Tiny Distractions”.

Rate: 7.

Artist: www.facebook.com/Iris-Manta-767551936654269

Inferno Sound Diaries

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

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Genre/Influences: Cold-Wave, Dark-Wave.

Format: Digital, CD.

Background/Info: After having released last year albums on Unknown Pleasures Records and ScentAir Records, Italian artist Marco Cattani (Halo Effect, The Mark) strikes back with a new opus on Wave Records. Chemical Waves have again invited numerous guest singers. Vocalists from Bedless Bones, The Arch, The Purge, Death Loves Veronica, Sara Stuttgart, Then Came The Rain, Velvet Kills, Iris Capricorn, XTR Human and Social Station contributed to the work.

Content: The sound formula hasn’t really changed. Chemical Waves remains driven by the dark legacy of 80s Cold/Dark-Wave music. The singers again each inject a very personal touch to the work, which creates an interesting diversity. From sensual vocals to low, resonating vocals there’s a lot to experience while you’ll also notice two instrumental cuts.

+ + + : Chemical Waves holds on the true spirit of Dark/Cold-Wave music, which is mainly created by the magic of the guitar playing. I heard some good matches with the singers of The Arch, The Purge and especially Su Eko/Velvet Kills, reminding me a bit of Placebo.

– – – : The global approach of this project remains interesting and sometimes exciting although I’m missing ‘the’ singer of this band. I also preferred previous productions, the sound becoming a bit too predictable while the songs are less efficient. Being too prolific is sometimes undermining quality…

Conclusion: This is not the album from Chemical Waves I would recommend listening to first.

Best songs: “Rangers On The Road”, “Demon In Me”.

Rate: (6 ½).

Artist: www.facebook.com/chemicalwaves

Label: www.waverecordsmusic.com / www.facebook.com/waverecords

Inferno Sound Diaries

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

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The Rome (IT) based post-punk act Chemical Waves returns with an all new album on April 30th via Wave Records. “Stories From The World Before” is the next chapter for the solo project of Marco Cattani (Halo Effect, The Mark) in collaborations with several international artists.

This time Cattani worked with Bedless Bones, Gerd Van Geel/The Arch, The Purge, Death Loves Veronica, Sara Stuttgart, Then Came The Rain, Su Eko/Velvet Kills, Iris Capricorn, Xtr Human and Social Station.

The result is a 12-track release for which a first video has just been released, namely one for “Kiss The Ring” featuring Bedless Bones. Note that the album will also be out as a CD ecopack limited to 200 copies.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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The debut album of the Los Angeles based female-fronted synthpop act Able Machines is out now: “Pathological”. Able Machines is the new project of Los Angeles artist Tay Côlieé and producer/songwriter Linus Dotson. After years behind the scenes writing and producing for many other diverse artists (everyone from Ariana Grande to Charlatans UK to 5 Seconds of Summer), the duo has joined forces to release material under their own name.

Back in December we already received the band’s latest single and video for “Narcissist” and now the band releases a new single and video “Can You Keep a Secret” to go hand in hand with the release of their debut album. What you can expect: female fronted synthpop with an excellent production. Especially Iris, Technoir and Diffuzion fans will dig this.

The majority of “Pathological” was mixed by Seth Earnest (Tessa Violet) and mastered by Paul Logus (Notorious B.I.G.). The duo plans to release an acoustic version of “Pathological” later this year and start work on their next record.

And here’s the video for “Can You Keep a Secret”.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Out now is Enhok’s newest single “The Night” which follows “Black Waters” and “Gone”, both were released in 2020. The single showcases yet another facet of Enhok’s sound by delivering a nostalgic dark ’80s vibe with pulsing beats and catchy synth-laden melodies. The vocals are quite reminiscent of those of Iris’ frontman Reagan Jones and at least as attractive.

The title track is accompanied by a rather fine club remix from Enhok’s label mate, the Russian darkwave act Elezoria.

Enhok was originally founded by Diego Gutierrez, a Venezuelan musician, singer and producer, currently based in Spain. If you want some decent electropop, then this is a band to check out for sure. The single can be streamed/downloaded now, check here for all the links.

There is also a video available.

It’s not the first time we cover Enhok, the band was also selected for our “Face The Beat 6” compilation with another great track “Gone”. Warmly recommended to check out this very promising band.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Iris Manta has recently completed its third album and is now in search of a record company for a possible release, in contrast to the previous two albums which had been self-released through various platforms online.

Iris Manta is the project of Manos Zafirakis. The project’s debut album “Mental equations” was released in 2014. The follow-up album “Kilonova” was released 4 years later. In both albums you’ll see a mix of influences, from ambient, space ambient, dark ambient, synthwave, dreampop, but also darkwave.

The project was featured on our most recent “Face The Beat 6” compilation with the track “Inverted Aeons” as you can hear below.

Previous releases from Iris Manta

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

side-line.com

Genre/Influences: Dark-Electro, EBM.

Format: Digital, CD.

Background/Info: God Module last year unleashed the successful opus “The Unsound”, which has been now revisited by an impressive list of artists remixing most of the songs from the album. “The Unsound” was God Module’s eighth official album.

Content: From the 10 original songs of the album only 2 (cf. “Behind The Curtain” and “One Last Wish”) haven’t been remixed. We get a total of seventeen (!) remixes by Iris, Amnestic, ESA, Baby Magick, Ruined Conflict, ES23, System Syn, Wolftron, Reichsfeind, Absynthe Of Faith, “Finite Automata, Ghostfeeder, Invalid, Velvet Acid Christ, Funker Vogt, Aircrash Bureau and Rodney Anonymous.

The selection of remixers is pretty diversified resulting in a true sonic cocktail. It’s pretty surprising to hear God Module being remixed by Iris for example. But I can also mention the heavier and industrial work by Amnestic and the melancholic Pop of System Syn. The album ends with heavy dance cuts by Funker Vogt and Aircrash Bureau.

+ + + : It’s cool to nearly get all songs from the album being remixed. It creates a cool diversity and I’m sure we all will find some favorite cuts. I have to mention ES23 transforming “Cross My Heart” into a powerful, melodic edit. Funker Vogt did a great job remixing “Unconscious” while I also have to mention “Déjà vu” remixed by Aircrash Bureau. Ruined conflict is another great name and the remix of “Display” definitely belongs to the best of this opus. So in the end it’s quite interesting to see that some of the best songs from the original album didn’t become my favorites now.

– – – : When you get 17 remixes you for sure will always have a few forgettable ones; some of the less famous artists unfortunately also deliver the less inspired remixes.

Conclusion: This album is a perfect item for die-hard fans and DJ’s, but I still prefer the original album.

Best songs: “Cross My Heart – ES23 Remix”, “Unconscious – Funker Vogt Remix”, “Display – Ruined Conflict Remix”, “Déjà Vu – Aircrash Bureau Remix”;

Rate: (7½).

Artist: www.godmodule.org / www.facebook.com/godmodule

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

Inferno Sound Diaries

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

www.side-line.com

Twenty years after their debut album “Disconnect” released by the now defunct A Different Drum, Reagan Jones and Andrew Sega unleashed their sixth album simply entitled “Six”. It also is the American’s duo second full length album released by Dependent. Fans and other electro-pop lovers had to wait for five years to welcome “Six”, which appears to be the most accomplished work of the band today. “Six” has the magic to now make you dance and then make you cry. It’s a mix between bombast and refinement with on top of the production the captivating vocals of Reagan Jones. I got in touch with both members to get more info about the new Iris opus.

(Courtesy by Inferno Sound Diaries)

Q: I noticed your new album “Six” has been released twenty years after the debut full length “Disconnect”. How do you look back at this debut work and how did you see Iris evolving throughout the years? 

Reagan: Our evolution is maybe more about what it hasn’t been. We don’t divert a great deal from our natural tendencies, so the evolution has been glued more to the desire to improve what we do, without heading in directions that don’t make sense for the band. Electronic music can be very trendy, very seductive as trends change. In a way, it makes me want to write folks songs or something where there’s a consistent expectation. I’ve gotten more confident in some ways, while at the same time, maybe more provincial and closed off as a writer. Chasing trends doesn’t work well for us, whereas doing what’s natural, that seems the right course. Andrew is always able to bring newer elements and production values to each album, so he gives me coverage in that way, but in the end we have this thing we do and just try to make it better with each album.. 

Q: You’re not the kind of formation releasing a new album at regular basis so I can imagine you need these breaks to focus on other things –and maybe not necessary related to music. Tell us a bit more about these ‘breaks’ and how do you finally start back writing new music? 

Reagan: Up to now, the breaks haven’t been orchestrated for time away, so much as they’ve been a natural component to the process. Oftentimes I’d start writing as soon as a new album came out. That was sometimes the most enjoyable, because you can get back to the creative process, which is always my favorite part of the process; more so than live shows for example.

In retrospect, had I forcibly removed myself from writing each time, maybe a year, I probably would have completed new songs a lot quicker, since you get that inspiration refresh. It’s amazing how much easier and inspired things are after a break, but I was addicted to the creative process and would keep on writing. By the time I started sending ideas to Andrew, and certainly by the time he was sending ideas back, I would begin to get fatigued. So we’d end up with multiple parts of tracks which would go unfinished for a while. We’d end up with all these pieces of ‘what could be’ tracks, then we’d have to find the discipline to really get after it and finish them into full songs for an album. Strategically, not the best way to go about it, but I usually work impulsively, according to my emotions, and this is partly to blame for the duration.

Q: “Six” is the sixth full length album in the band’s history. Didn’t you feel inspired to find another title or has this “Six” a particular meaning?

Andrew: Well, it needed to be one word (to keep with the Iris album naming theme lol). And we tossed around a number of other ideas, but we kept coming back to “Six” for some reason –it wasn’t laziness, it just felt right. 

Q: What I like in your sound and especially since the previous album “Radiant”, is a kind of proper sound-DNA! I don’t want to compare your sound to Mesh, but just as your label mates it’s possible to immediately recognize the Iris-sound formula. So what makes this sound that ‘particular’ and especially different from other electro-pop bands? 

Andrew: I think our sound is a bit unusual in that we focus more on the ambience, orchestrations, and layering than trying to make the hardest beats or best synth basslines. I think it’s good to have a signature sound, even if you didn’t strictly intend it. We didn’t have a master plan going in, Iris is instead the sum of our personal influences, and the result of things that unconsciously happen at the studio. Part of it is my approach to chords and harmonies, but that’s a long answer for another interview. I also think a big piece is Reagan’s unmistakable vocals –if you were to listen to just the instrumentals, I’m not sure the signature sound would entirely be there.

Q: “Six” is probably my favorite Iris-album, but it for sure is the album reflecting the highest level of maturity and writing skills. Tell us a bit more the writing and items such as –sound creation, -arrangements and the production of the vocals? 

Andrew: I worked on the record at first in my old apartment in NYC, and then later I bought a house and put a brand new studio downstairs. I think this process allowed me to reflect on the sound a bit and try to get the mixes as tight as I possibly could. We don’t work with outside producers, so everything on the album comes directly from us, for better or worse. Reagan submits demos, and I try to give them new life with production while keeping the spirit of the original.

From a technology perspective, everything is done digitally except guitars and vocals, and I use a lot of plugins from Native Instruments, Arturia, and SoundToys. I also sprinkle guitars in where appropriate, sometimes they’re a bass thickener, other times a more melodic element. 

Q: “Six” is available in different formats and edits. Do you as artists have a favorite format and what’s your perception of the music business considering items such as image, social media, streaming? 

Andrew: The music business is still alive, somehow. We have done really well recently with high-end limited editions, such as vinyl, art books, and similar. Fans want to contribute beyond just purchasing an album download or CD, and so you need to give them the opportunity to express their support financially.  We’ve never been a very image-focused band, and so perhaps that makes us the odd ones out in a darker scene where everyone is so meticulous about their visual presentation. Social media is important, although what I like most about it is hearing directly from fans –it creates a community of direct feedback that didn’t exist 10-15 years ago. We’ve met quite a few people through the band that have become true friends, and that is priceless.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro-pop.

Background/Info: American duo Reagan Jones (vocals), and Andrew Sega (music & production) have achieved their sixth full length album, which comes twenty year after “Disconnect” (1999). It also is their first new work since 2014 and the “Radiant Complete Edition”. Notice by the way the album is also available in a vinyl edition and limited edition featuring a bonus disc with new songs and remixes plus a booklet.

Content: “Six” sounds pretty Iris-like, which stands for a unique blend between dark, melancholic pop music and some harder arrangements with on top the sexy vocals of Reagan Jones. Some passages reveal a kind of bombast while other pieces feature astral bleeps. The songs have something romantic-wave like and the melancholic touch is definitely running throughout the entire production.

+ + + : “Six” takes off with the alluring “Third Strike”, which is a brilliant piece of dark electro-pop with outstanding vocals. This band has always had something unique, which means they’re not really comparable to other formations. I don’t want to compare them to Mesh, but both formations have a very proper sound DNA and I guess it’s not a coincidence they’re both signed at Dependent. It’s hard to say if “Six” is the best Iris album so far, but it’s without a shadow of a doubt the most mature one. This album can make you dance, but still has to power to make you cry. There’s a perfect balance between danceable tunes and melancholia.

– – – : You don’t hear me complaining about “Six”, but I think there’s maybe even more potential in this album than what came out. It feels like some songs could have reached a higher climax. I’m really curious what it would sound like when working together with a renowned producer.

Conclusion: Iris is a band that has seriously evolved throughout the years, but “Six” has gained such a high degree of maturity it’s all the question how the next album would sound like. Iris sounds like the sonic alchemists of electro-pop!

Best songs: “Third Strike, “Take The Pain”, “Pure White Snow”, “Feeder”, “One Kind”.

Rate: (8½).

Artist: www.facebook.com/iris.radiant

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

Inferno Sound Diaries

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

www.side-line.com

After a long hiatus (also on social media channels), Iris returns with a brand new (6th) album, “Six”. You can already check a first track, “Third Strike” – the opening track of their new album, right below.

On their 6th full-length album, the North American duo consisting of Reagan Jones (vocals), and Andrew Sega (keyboards, production) offers a somewhat harder sound (similar to that of Mondträume) shaped around good song writing skills, something the band became famous for.

Next to the regular CD, the band will also see a vinyl version of the album (which is available for ordering right here) released and an artbook (all details available here including ordering info) holding a bonus CD with 7 bonus tracks, incl. remixes by Mesh, Solar Fake, Neuroticfish and so on.

Below is the tracklist of that bonus album.

• Right before My Eyes
• Back to Life
• I wanna be adored
• Take the Pain (Mesh Mix)
• Third Strike (Neuroticfish Mix)
• Take the Pain (Solar Fake Mix)
• Price I have to pay

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

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Genre/Influences: Electro-ambient, electro-pop, minimal-electro.

Background/Info: “Kilonova” is the second full length album by Greek artist Manos Zafirakis. Iris Manta is inspired by astral-ambient music and this new work is meant as ‘an attempt to decode astronomical events into music’.

Content: The concept is intriguing and also rather sophisticated. It totally fits with the music of this artist, which is clearly inspired by some electronic ‘space-ambient’ pioneers such as Van Gelis, J.M Jarre and related artists, but also by Kraftwerk (especially at the beginning of this album). A few robotic vocals can be heard on the beginning track, but Iris Manta first of all remains an instrumental project.

+ + + : Manos Zafirakis clearly appears to be a truly sound genius and his analogue sound treatments are simply phenomenal. It’s a great ‘retro’-style evoking the early years of electronic music, but it also stands for a creative process in the global sound production. Definitely space-like and sometimes a bit psychedelic-minded, this album reveals 8 fascinating cuts.

– – – : I regret there are no more vocals and/or choirs featured on the album. I was surprised by the track “Nucleosynthesis”, which sounds totally different from the other cuts. It’s more into modernism and flat sound treatments, but not really matching with the rest of the tracklist.

Conclusion: If you like the good-old synth music and some of its pioneers, you for sure gone like Iris Manta, which on “Kilonova” bring those artists alive.

 Best songs: “Stellar Sculptures”, “Canvas Electron”, “Inverted Aeons”.

Rate: (8).

Artist: www.facebook.com/Iris–Manta-767551936654269

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Goth-rock, dark-rock.

Background/Info: Set up in 2003, Chicago (USA) based I:Scintilla gained recognition through their works released on Alfa Matrix. “Swayed” is their first new full length in eight years and the thirds official album so far. It seems that time and different events (like the political evolution in their homeland) have inspired the band to compose new songs finally resulting in “Swayed”. Notice by the way that next to Brittany Bindrim (vocals), Jim Cookas (guitar) and Vince Grech (drums) the line-up has been completed by Dean Dunakin (bass guitar) and Myles Arwine (guitar).

Content: I:Scintalla remains easily recognizable through the now sensual and then enraged vocals of Brittany. Sound-wise the new work seems to enlarge the music horizon of the band. There where I:Scintilla was mainly driven by goth-rock influence, “Swayed” is more diversified. Moving from goth-rock to evasive tracks to heavier, bombastic pieces to the title-song, which is long and complex the band has reinvented their sonic path. You also will hear electronic arrangements.

The limited edition features a bonus disc with one extra new songs and 8 remixes by Angelspit, Iris, Doganov, Bounte, Al1ce, Diamond Eye, S7 and Greg Panciera.

+ + + : This new album also opens a new perspective for I:Scintilla, which will for sure bring new fans to the band. The dark-rock style is not exactly a new element in their work, but it has been for sure more worked out. I like bands avoiding repeating themselves and that’s precisely the flavor hanging over this work. The vocals remain an essential aspect of the work. I also have to say a word about the great choruses, which are often creating a feeling of elevation and apotheosis. “DFTD (Between The Devils)” and “Pieces” both are perfect examples of this accomplishment. But I also have to mention “Carmena Saturna”, which reminds me of earlier work of the band and, which might appeal for fans of The Birthday Massacre.

The bonus disc is also worthy of examination and I here have to point out the remixes by Iris (for the pop bonus) and Greg Panciera (a Chicago producer) transforming the title song into a mysterious- and transcendental piece of reverie.

– – – : Speaking for myself the “Dying & Falling”-album remains the absolute reference when it comes to I:Scintilla. I’m missing the power –and some hits on this work.

Conclusion: “Swayed” is an ultra professional production revealing styled songs and also an evolution in sound towards explicit dark-rock music. You also can feel that I:Scintilla became a real band!

Best songs: “Mercy Screams”, “Nothing But Recordings”, “DFTD (Between The Devils)” + “Swayed – Greg Panciera Mix”, “Boxing Glove – Iris Mix”.

Rate: (8).

Artist: www.iscintilla.com / www.facebook.com/iscintilla

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Shoegaze, dream-pop.

Background/Info: Italian formation Stella Diana has been set in 1998.  The trio is back on track unleashing their third full length opus to date.

Content: Stella Diana confirms on this album what they stand for: pure shoegaze influences mixed with some dream-pop elements. The opening cut might remind to The Cocteau Twins, but quite rapidly the album moves into the fuzzy guitar playing, which is typical for this kind of music. The songs are switching from sweet melancholia into harder guitar passages finally resulting in a few elevating moments.

+ + + : This work reveals great guitar playing, but I especially like the emotional input emerging from the songs. You feel like floating throughout a dark and melancholic universe till reaching harder passages. The most noticeable cuts are moving into heavy outbursts, creating a truly hypnotic sensation. Songs such as “Iris” and “Elaine” reveals the talent of this formation. Sadness can be that beautiful!

– – – : The songs are however a but similar so the work becomes pretty predictable after a while.

Conclusion: “57” is the perfect symbiosis between dream-pop and shoegaze music. There’s no trace of innovation, but just a cool and honest release in its genre so the fans will be not disappointed.

Best songs: “Elaine”, “Iris”, “Naos”, “Ludwig”.

Rate: (7).

Artist: www.stelladiana.com / www.facebook.com/StellaDianaBand

Label: www.vipchoyo.it / www.facebook.com/vipchoyo

Inferno Sound Diaries

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

www.side-line.com

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

Background/Info: It all started in 2013 as a solo-project, but New-York (USA) based Blue Images finally became a duo. They signed a label deal with Scanner to release this first official work featuring 12 songs.

Content: “Her Light” is a pure electro-pop oriented work with a wink to the 80s new-wave music. The songs are inspired by retro-like synth lines. Some of the songs are carried by a harder and danceable kick, but there also is a softer side running through the production, which is more into melancholia.

Two from the harder –and best cuts, feature noticeable guest singers. First there’s Reagan Jones (Iris) and next Jürgen Engler (Die Krupps) singing each on one cut.

+ + + : Blue Images first of all stands for beautiful synth-pop music. Mainly inspired by 80s reminiscences, the tracklist is switching from danceable songs to sweeter, easy listening cuts. I especially like the refreshing effect from songs like “Irrational Thoughts” and the harder “False Illusion” featuring Jürgen Engler. The last mentioned song is also carried by a solid bass line.

– – – : The album is fully enjoyable, but doesn’t bring that much innovation in a music genre, which unfortunately already features a countless list of bands sharing the same passion for synth-pop music.

Conclusion: If you’re a synth-pop die-hard fan you for sure are going to like this album, which is fully entertaining, featuring noticeable guest singers and a few cool songs.

Best songs: “False Illusion feat. Jürgen Engler”, “Irrational Thoughts”, “Don’t Forget Me feat. Reagan Jones”, “Forgotten”.

Rate: (7).

Artist: www.facebook.com/BlueImagesMusic

Label: www.darkdimensions.de /  www.facebook.com/pages/Dark–Dimensions–Label–Group/486014725206

Inferno Sound Diaries

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

www.side-line.com

Belgian solo-project Kilmarth is driven by Cédric Wattergniaux. I know Cédric for quite a long time. We both got involved with Side-Line magazine. We met at festivals and always had great moments talking about music. I know him as a passionate music lover with an eclectic choice. Throughout the years he started composing music on his own and this way he set up Kilmarth. A first self-released EP “Catharsis” saw the daylight. It might be defined as an electronic mix between multiple influences, but in the end it comes close to IDM and experimental electronics. This interview is an opportunity to get more familiar with this new project.

(Courtesy by Inferno Sound Diaries)

Q: It seems you’re already composing music for several years now. How did it all started and how did you finally come to deal with this kind of music?

Cédric: As long as I can remember, music has always been an important part of my life. I listened to it, analyzed it, I wrote about it … but my biggest dream has always been to compose it. This dream was buried deep within me, but my ego told me that I was not able to do it. I once made the very late decision to finally take music theory lessons at the local music academy to better understand what music was from a theoretical point of view. Then I tried the classical guitar, which I abandoned by acquiring my first synth, a Korg Triton. As for the musical style, I did not try to get into a current one, it’s naturally the sounds that I liked the most that I chose to compose the music that related to a genre already present that I of course, liked a lot already.

Q: The name Kilmarth is directly linked to the great Daphne du Maurier, but what inspired you in this project name and the work plus life of this author?

Cédric: “The House Of The Strand” is a book I literally devoured when I read it, about 15 years ago. I am passionate about history, it is also my job (I am a history teacher) and the idea of time travelling has always been a child’s dream. The idea also to ask the question… Is it the reality of this trip or was it solely based on the absorption of a drug was a very interesting idea. So, I like to say that music is that drug that can be taken to help us penetrate other worlds, to penetrate the brain mysteries of some great composers of our time or earlier. It also makes me think of this excellent movie, that is for me, “Strange Days” by Kathryn Bigelow and James Cameron (1995) where the hero penetrates the recorded thoughts of people by means of an apparatus connected to the brain. Music is a legal drug that has the immense power to make us escape and to paraphrase Dave Gahan, that unites people who are so different.

Q: You recently self-released your debut work “Catharsis”. What is it all about? What did you try to accomplish (sound-wise) and what has been your working method?

Cédric: I fell into a big depression almost two years ago. I could not do my job anymore. Finding myself in front of my DAW and my synth has become gradually a habit and also a therapy to get out of this problem. For 6 months, I almost never left my studio and “Catharsis” was born from that. Fortunately, I was able to count on my family and a handful of friends who have always supported me.

Q: “Catharsis” is the kind of work I instantly linked to productions released on labels such as Ad Noiseam, Tympanik Audio, Ant-Zen, Mindtrick Records, M-Tronic… Do you feel related with these labels? Would you like to get signed by a label or do you prefer the DIY attitude?

Cédric: These are magnificent labels that have written the most beautiful pages in the history of our scene. It would be an extraordinary honor to be part of these record companies. I think that the power of a label to distribute music is a major asset in a society where it is now necessary to put music almost in the ear of an auditor so that he can listen to new things. I do not have the time or the gift to be able to handle all parts of the music business as I should while living a normal life with my family. On the other hand, it is also important, for an artist, to have a free hand in the creative process. It is therefore necessary that everyone can have his own territory for the partnership to be effective. It must also be said that the world of music has experienced an incredible upheaval in recent years. Will these labels still exist in five years? The future will tell.

Q: “Catharsis” is a sonic crossover between numerous genres and influences, but how would you analyze the sound of Kilmarth and how do you see yourself as an artist?

Cédric: I, like many other people before me, served as a sponge to several artistic movements (literary, pictorial, …). The daily life that I could absorb for years and reject in the form of “Catharsis”. It is difficult for me to highlight, for example, a musical genre that I particularly like to achieve this result, although it is obvious that electronic music, in general, remains the one that has the most marked throughout my life. For the rest, I like to control what I do; like composition, production, artwork or even videos. Kilmarth is a personal project, although I like the influences of outside musicians like the help of a friend for one track on “Catharsis”. I would like to see more collaborations like that on future productions.

Q: You’ve been involved with Side-Line magazine for numerous years. What did you learn from this experience as a journalist and does it appear to be a precious experience now that you’re composing music yourself?  

Cédric: My Side-Line years were an extraordinary experience.  First of all because I was able to meet people who belong to our scene and that I respect a lot: you, Séba Dolimont who remains one of my best friends, Bernard, Benoît… I could also ‘meet’ people who I admire a lot musically like Klaus Kruse (PNE), NoyceTM, Mesh, Das Ich, De/Vision, Iris… It was a wonderful school to discover how the world of music is from the inside. From these different elements, I was able to build my project by being influenced by countless elements that have appeared throughout my life. Composing my music has also brought me even more respect for these artists that I met since the first demo to flamboyant careers. Each piece sometimes hides many efforts and often an incredible job that most people who listen to music or criticism cannot imagine. So I would say that the influence exists in both directions. I cannot criticize an album like I did in the past…

Inferno Sound Diaries

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

www.side-line.com

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

Background/Info: Red This ever is an electro-pop driven formation hailing from Baltimore (USA). “Attack” is their sixth full length album to date.

Content: “Attack!” clearly sounds as traditional electro-pop music. It’s a clean and polished production driven by cool melody lines and some vintage elements. Red This Ever appears to be great melody makers and I can recommend several songs illustrating these essential skills in electro-pop music. It’s the kind of record reminding me of bands such as De/Vision, Iris and co.

+ + + : You rapidly can hear this band already gained experience and maturity. The songs are well-crafted and mainly carried by great melody lines. I especially recommend discovering the tracks “True Story” and “Ixnay”. Some of the songs have been empowered by guitar sounds (although I can’t find back any mention of guitar play…), creating a cool and somewhat ‘electro-wave’ touch.

– – – : “Attack!” is a rather ‘classical’ piece of electro-pop so there are no real surprises featured on this work. I’m mainly missing a hit although I heard multiple great tracks.

Conclusion: If you don’t know Red This Ever, this album is a nice discovery for electro-pop lovers.

Best songs: “True Story”, “Ixnay”, “Demagogues Of Fear”, “Breathe Underwater”.

Rate: (7½).

Band: www.redthisever.net / www.facebook.com/redthisever

Label: www.nevitablerecords.com

Inferno Sound Diaries

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

www.side-line.com