iVardensphere &#8211; SIDE-LINE

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

Terminal collected on ‘The Hush of Cannons Cold’ – Out now

Bernard - Side-Line Staff — Mon, 15 Jul 2024 07:32:35 +0000

Out now is the brand new album from the South African industrial act Terminal: “The Hush of Cannons Cold”. The album title is taken from the song “Testify”, which appeared on the group’s most recent full-length release, “The New Republic” (2023).

“The Hush of Cannons Cold” is a collection of eight instrumental reworks released on Metropolis Records. The instrumental tracks appeared as seven brief interludes on the first two Terminal albums and were now remixed and developed into full-length instrumental pieces by different collaborators.

Contributing artists include Flesh Field, iVardensphere, Stahlschlag, Evestus, spankthenun, RailWRX and Searching For Survivors. “More than one artist expressed that this was a unique challenge for them,” states Terminal head Thomas Mark Anthony. “In many cases, the first thing a remixer does is delete everything but the vocal track. With no vocal track, they had to change their approach right out of the gate. They all rose to the challenge.”

Terminal themselves have also included an all-new track entitled “From The River To The Sea [Palestine Will Be Free]”.

Editor’s note: The phrase “From the river to the sea, Palestine will be free” is highly controversial due to its political and historical implications. This slogan refers to the geographic area between the Jordan River and the Mediterranean Sea, which encompasses both the State of Israel and the Palestinian territories. Its interpretation and the intent behind its usage are central to the controversy. For some Palestinians and their supporters, the phrase symbolizes the aspiration for an independent Palestinian state across the entire area currently comprising Israel and the Palestinian territories. It expresses a vision for Palestinian self-determination and national sovereignty. However, many Israelis and supporters of Israel perceive this phrase as a call for the elimination of the State of Israel. They interpret it as advocating for a future in which Israel does not exist, effectively replaced by a Palestinian state. This interpretation suggests that the phrase negates Israel’s right to exist, leading to accusations that it is inherently anti-Semitic and incites violence against Israelis. The phrase has been used by various groups, including political movements and activists during protests and rallies, particularly in contexts related to Israeli-Palestinian relations. Criticism of the phrase has come from numerous Jewish organizations and other groups who argue that it undermines efforts for a peaceful two-state solution. They contend that it dismisses the possibility of coexistence between an independent Palestinian state and the State of Israel, promoting a zero-sum scenario instead.

Terminal will be playing selected dates in the Summer and Fall of 2024.

Terminal is the work of singer, songwriter and multi-instrumentalist Thomas Mark Anthony, a lifelong anti-apartheid and civil rights activist over a life lived in South Africa, Canada and the USA. David Ross Phillips (drums) and Sonia Weimann (bass/keyboards/vocals) have recently join Antony (vocals/guitar) for upcoming live performances.

The Hush of Cannons Cold by TERMINAL

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!

Click Interview with Spankthenun: ‘This World We Live In Has Always Been An Adapt-Or-Die World’

Inferno Sound Diaries — Tue, 09 Apr 2024 17:00:00 +0000

Eric and Jeremy Hanes set up Spankthenun in 2019. The duo released an impressive number of top notch singles, albums and remixes. Dealing with a powerful mix of EBM and Dark-Electro the Hanes-brothers never stopped improving their work. The last year self-released album “The Bunker Tapes Vol.III” was a new masterpiece driven by solid bass lines, icy sound treatments, danceable rhythms and harsh vocals. I asked a few questions to Eric Hanes to get a bit more details about Spankthenun.

(Courtesy by Inferno Sound Diaries)

Q: Let’s traditionally start by asking you about the background of Spankthenun? How did the project saw the daylight and what brought you together?

Eric: Spankthenun began as an idea between my brother and I. We knew we wanted to do something with music but the original idea was more of a Love And Rockets meets Joy Division, with a full band. We experimented with that format for a while and had fun with it. We had trouble holding onto the guitar player and the drummer and stopped playing but kept writing. A number of years later I started experimenting with drum machines, DAWs and synths and started putting a new concept together. Writing a bunch of tracks, but with no plan for release. In 2019, I sent a few demos out to different producers looking for help with mixing and mastering… we ended up with a bunch of tracks, including a collab with Claus Larsen; he really helped us see the potential of what we had. He helped explain a few things to us that really set us on our journey. We worked with Scott Fox (iVardensphere) on mixing the album; he taught me the basics, and we pulled together the first album, which we released as Spankthenun.

Q: I think you set up Spankthenun in 2019 and already released an impressive number of works featuring three albums. How comes you’re that prolific and what means music vs. Spankthenun to you?

Eric:The first artist that agreed to work with us on a remix or production was Zoog Von Rock, he really gave us the confidence to push things forward and do it for real. Next, Claus Larsen agreed to work on “Rotting Meat” and took the time to help us understand songwriting better. We knew how to get what sounded good to us, but we didn’t really understand the concepts of melody and choruses and repeating what worked. Claus helped us understand that in a way that never made sense to us. The original “Rotting Meat” track we sent him did not have a chorus, he identified a hook in a random bridge we did and turned that into a chorus with a very strong hook that is powerful in the live shows and the club.

I also believe in being creative every day. As soon as I wake up I go into the studio and work for an hour on something new. I also like to end the day in the studio, especially if I am dead tired. I find that time to be a super creative time. I often create a complete track in an hour if I start on it at 2 am and in bed by 3 am. Other times, I get two or three good sketches down, and I forget about them until a few days or weeks later when I discover them again. There is something about being tired and being creative. I rarely get ‘writer’s block’. I subscribe to the David Lynch way of combating it. Keep your space you work in conducive to creativity and ideas. Have different things to work on when something isn’t working out. So, if I get stuck on a track or can’t come up with a good hook to get started. I’ll switch over to another artist’s track and remix, or I’ll switch over to the graphic side of things and design an album cover.

Q: Can you give us details about your perception of sound? Do you’ve a specific way of working together and references plus sources of inspiration when writing your music?

Eric: I have to have a hook in our songs; I put a hook in every song. Usually, it’s a bassline. Our basslines are often the melody of the track, too. I start with the bassline and kick and get a hook that works. if it works on that basic level, I keep working on it. I spend about 10 minutes doing that; if it doesn’t work in 10 minutes, I dump it and move on to a new one. Industrial music gives you some liberties to use more noise and unconventional sounds, so sometimes I like to take the bassline and transpose to a weird glitch or white noise or machine sample and bury the hook in there.

My brother and I write many of the tracks independently; he will send me the tracks he is working on, and I will finish them. We can write separately but write tracks that still work together. I will create a set of sounds that we both use. I create a template with a kick and percussion, snares, a bass, and a lead sound. So we are working with the same template many times.

Q: Your newest album “The Bunker Tapes Vol.III” is the last part to a trilogy dealing about ‘a fictitious 30 year career of a band that never really existed, covering influences from 1994 – 2024.’ What is it all about and how did you transpose the concept of this trilogy into music?

Eric: I have a strong affinity for the 1994 Industrial club music, something about that era really speaks to me, but I also am really hooked on modern new music and pushing the boundaries on what is labeled Industrial or Dark-Electro music. We came up with the concept at the beginning of Covid in early 2020 right after we released our first album. My brother sent my 8 tracks in less than a week that nailed that 1994 sound. We had about 20 songs within a month and realized we needed to split these up. That is when it occurred to us not just to focus on 1994 but to make something that transcended eras and moved us into the modern world of Industrial-Bass, Cyber-Punk, and EDM.

Q: All songs from the new album have been first released as singles. What’s the idea behind it and how important is it today to releases singles versus albums? Do you’ve favorite songs and remixes from the new album?

Eric: In the scheme of things the ‘music industry’ has been around for the blink of an eye. Less than 100 years and even those 100 years we have seen it dramatically shift; the last big shift was with smartphones and putting any music we want to listen to at our fingertips. When our kids group up, they will never know about record stores and physical media; it won’t make sense why you would have those. In reality, those existed for a very short amount of time. But many people grew up with that and still want that, and it’s nostalgic, and it’s how they know things work. Streaming is here to stay, anyone can upload music. The reality is that 60% of uploaded music is never listened to. You still have to put in the work to get your music heard. We have opportunities to reach more people than ever before. Right now, releasing one track at a time makes the most sense. More people want a single bite than the whole album. Fewer people want 12 songs than 1 or 2 songs at a time. I am fascinated by the marketing side of things and enjoy solving that challenge.

When we switched from an album release strategy to a single release strategy, we went from less than 500 to 20,000 streams a month within three months. With singles, we get added to new playlists and saves every week; with an album, it’s one and done. The old release strategy doesn’t make sense to most new artists. We still do make physical media for the fans who really want it. With this album, we added some exclusive tracks to the physical media that are not on the digital stuff. This world we live in has always been an adapt-or-die world.

Q: I think the artwork must be very important as well. Tell us a bit more about this aspect and what did you want to express?

Eric: The artwork is also important to me; I like seeing that cool, dark, weird image pop up on the phone or the display in the car when listening to something new; it adds to the atmosphere of the track. Early on we worked with different artists on art concepts. We worked with a now very popular fantasy artist known for his work on Magic: The Gathering and D&D. Then we started seeking out more obscure artists that were just getting started. But the reality is we are finishing a new track every week, and we need so much art that it is just easier for me to do it most of the time. I do enjoy doing it and it gives me another way to explore the vibe of a track while I am working on it. Many artists I do remixes for will tell you I also do a remix of the artwork.

Q: I noticed you already announced new live dates in the US. What kind of live band is Spankthenun and how does a live performance looks like?

Eric: We did some shows earlier this year and are locking in dates for the summer. We just played a show with LEATHER STRIP, which was something we have wanted to do for a long time. Bring things full circle for us. The crowd at that show was great and energetic. Our goal is to have fun, get the crowd shouting the lyrics back at us, jumping up and down, and going crazy. We are very interactive with the crowd. We bring a very high-energy show. We played a show with Piggy D (Rob Zombie, Manson Fame), and his crowd was made up of ROB ZOMBIE fans. When we walked out on stage, people were yelling, ‘Where are the guitars?!’ within 10 seconds of starting the show with our track “Dominate”, the crowd was moshing and dancing and completely forgot about us not having guitars.

Most of the crowds we play for have never heard of us, yet we get them chanting along the whole time. We pride ourselves on a high-quality professional show that sounds as best as it can at any venue.

Brien Hindman – Symbiosis (Album – Ant-Zen)

Inferno Sound Diaries — Fri, 01 Mar 2024 08:00:00 +0000

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

Format: Digital.

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

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

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

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

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

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

Rate: 7.

Artist: www.facebook.com/brienhindman

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

Mari Kattman releases ‘URGOD.AI’ 2-track single – Out now

Bernard - Side-Line Staff — Mon, 06 Nov 2023 13:05:46 +0000

Out now is the new single from Cop International signee Mari Kattman called “URGOD.AI”. “URGOD.AI” comes backed by the B-side “Lower Yourself”.

Mari Kattman has been self-recording, writing, composing, and live performing music since 2012. Currently, she operates under the Mari Kattman name as a solo artist and worked with Tom Shear, of Assemblage 23, on a project called Helix.

She has been collaborating with such artists as Mesh, Ivardensphere, Jean-Marc Lederman, Psy’Aviah, Aesthetiche, Neuroticfish BlackCarBurning, Cassetter, This Morn Omina, Solitary Experiments, Mephisto Walz, Aiboforcen, Interface and Comaduster. She also has worked on many other label releases including ones for Metropolis Records, Alfa Matrix, FiXT and will release her solo work on COP International.

You can check out the new 2-track single below.

URGOD.AI by Mari Kattman

UPDATE: Sean Payne of Cyanotic involved in car crash – Crowdfunding campaign launched

Bernard - Side-Line Staff — Sat, 06 May 2023 10:19:11 +0000

Update: In the past days and week, this article surfaced as one of the most visited on Side-Line. As a result we have updated it with the latest news on Payne. All ended well for Sean Payne (Cyanotic) who ended up with four broken ribs and a fractured dominant hand, but “all intact otherwise.” By September 9, 2023, he released a new Cyanotic album, “The After Effect,” dedicated to Staci – who lost her life in the car crash – and his brother, and described the record as part of his recovery process. Through 2024–2025 he resumed producing and collaborating with other acts like Derision Cult.

Payne, the frontman of the Chicago based industrial rock collective Cyanotic, was involved in a car crash on Tuesday night. The incident occurred as Payne and his wife, Anastasia, were returning home from the Skinny Puppy show in Minneapolis.

The collision resulted in severe injuries for Sean, who is currently in the Intensive Care Unit (ICU), while tragically claiming the life of his wife. As the news spread, a crowdfunding campaign has been launched to support the mounting medical bills and provide solace to the grieving family.

The news of the accident began circulating when a concerned friend reached out online seeking confirmation. Subsequently, a link to an article from KAAL TV, a Minnesota news outlet, was provided as evidence of the incident.

According to the Minnesota State Patrol, the accident transpired at 6:25 p.m. when Payne, 40 years old, lost control of the vehicle, causing it to roll several times. Tragically, Anastasia Payne, 51 years old, succumbed to her injuries at the scene, while Sean suffered life-threatening injuries.

Side-Line extends its deepest condolences to the family and friends of the couple affected by this tragic event. Our thoughts are with them during this difficult time. Additionally, we send our well wishes to Sean Payne for a complete and swift recovery.

About Sean Payne

Cyanotic was formed by Sean Payne in 2002, the next year they released their debut demo EP, “Mutual Bonding Through Violation” under their independent label, Glitch Mode Recordings. The band’s first full-length album, “Transhuman” ,was released in mid-2005 and featured collaborations with Jason Novak of Acumen Nation / DJ Acucrack. It was followed by the release of a deluxe edition titled “Transhuman 2.0” and the ‘Hail the Glitch 2k6’ summer tour.

“The Medication Generation”, Cyanotic’s second full-length album, was released in 2010 featuring Jamie Duffy of Acumen Nation. The band embarked on multiple tours across the United States to support the album. The band’s foray into industrial and hip-hop fusion resulted in the release of “Robohop”.

Tragically, the release of “Worst Case Scenario” in 2014 marked the final album with guitarist Chris H and co-producer Jamie Duffy, who passed away in July 2012. Despite this Cyanotic persevered, continuing to perform live while rotating band members.

In 2016, Cyanotic’s guitarist Chris H. Left the band. Adapting their live act, the band incorporated synthesizers and drums by Jordan Davis (Relic) and Dan Dickerscheid (Relic) respectively, omitting guitars from their performances. They embarked on a North American tour with iVardensphere and collaborated with Tim Skold (KMFDM, Marilyn Manson) as a four-piece. This period of evolution led to the creation of their fourth studio album, “Tech Noir”. The album was later re-released as “T2” in 2018, featuring additional tracks.

In 2019, Cyanotic welcomed CONFORMCO drummer Jesse Hunt and Nuclear*Sun’s Tal Kliger on guitar and synths, joining Sean Payne in the studio and on stage resulting in the “Trigger Effect” album.

By September 9, 2023, he released a new Cyanotic album, “The After Effect,” dedicated to Staci and his brother, and described the record as part of his recovery process. Through 2024–2025 he resumed producing and collaborating with other acts like Derision Cult.

The After Effect by Cyanotic

Click Interview with Neuroklast: ‘We Do Not Want To Limit Ourselves To A Certain Genre Of Music’

Inferno Sound Diaries — Sat, 01 Apr 2023 17:00:00 +0000

Kay Schäfer (former Chainreactor) and Markus Horschig (former ReAdjust/Fractal Age) released two albums under the Neuroklast moniker in a very short lapse of time. Both albums released by ProNoize / Dark Dimensions reveal an ultra, hard, danceable, sound mixing influences like Industrial-Trance and Techno-Body music. The debut album “Beyond The Blackwall” (2021) was a solid debut while “Streetkid” (2022) revealed a serious progression in all aspects of the production. Time to get a bit more familiar with this German project.

(Courtesy by Inferno Sound Diaries)

Q: Both of you have been already involved in other projects so how do you look back at past experiences? And how did you come to set up Neuroklast?

Markus: We have been acquainted for many years and have always wanted to collaborate on a musical project. On a personal level, we worked well together, but both had commitments to other bands and projects, and didn’t seem to have the time to start something new.

Kay: However, when “Cyberpunk 2077” was released, we were both inspired by the atmosphere and also music of this game and decided to launch Neuroklast.

Q: Did you follow explicit musical ideas and influences when setting up Neuroklast? How did the first songs take shape and who’s doing what in the project?

Kay: I am responsible for the technical aspects of the production and take on a producer role, while Markus is the composer, contributing to the arrangements, melodies, and development of the music.

Markus: We don’t focus on quantity of work, instead believing that without the input of each of us, the result would not be as great.

Q: Two albums have been released in a rather short lapse of time. How do you look back on the debut album “Beyond The Blackwall” and how did the transition happened from this album to “Streetkid”?

Markus: We are as confident in our new album “Beyond The Blackwall” as we were in our last one, “Streetkid”. We believe that “Streetkid” was a positive step forward and we hope to continue this progress in the next album.

Kay: But we do not want to limit ourselves to a certain genre of music, so the productions can range from ‘floor to the floor’ tracks to those filled with breakbeats. This is why we enjoy working together so much.

Q: What is “Streetkid” all about? What kind of album did you want to compose?

Kay: “Streetkid” tells the story of a poor and insignificant citizen living in a dystopian cyberpunk megacity, who is determined to become a legend. The album explores different facets of this narrative, such as mercenary jobs, overcoming inner demons, and making the most of a short life expectancy..

Markus: It’s basically a short cyberpunk story.

Q: Just as for the debut album you again worked on one track with female singer Annina Melissa (Razorchild) while another song has been composed together with Scott Fox (iVardensphere). Tell us a bit more about both collaborations and especially the way how “Urban Tribes” together with Scott Fox got achieved?

Kay: Annina and I have been friends for a long time, and we started Razorchild together. Neuroklast was then my second project, and we thought it would be great to do a collaboration. Scott and I first met at the Resistanz Festival 2013, and after he released his song “Ragemaker”, I told him how his track had inspired me. I showed him my raw material, and asked if he wanted to do a collaboration. And then we created this amazing track together.

Q: I noticed you’ll play live at Wave Gotic Treffen. What might we expect from Neuroklast on stage and do you’ve other ‘big things’ in the pipeline for the rest of the year?

Markus: We are really looking forward to our first festival performance and are still working on what to do on stage. Other big things like a new album are already in the works, but we don’t want to tell too much just yet.

Negative Gain Productions and Gothic Cruise Present: ‘Destination: New Orleans’

Bernard - Side-Line Staff — Fri, 10 Feb 2023 17:54:58 +0000

Negative Gain Productions has partnered with Gothic Cruise to celebrate their 25th anniversary with the “Destination: New Orleans” event. The festival will take place on August 25 – 26. There will be two nights of live music and entertainment and up to four days of organized daytime activities, hang outs and after-parties. Tickets can be bought here.

Friday, August 25th at Santos (Doors at 8:00, Bands at 9:30)

Astari Nite
Wire Spine
Carrellee
Total Chroma

Saturday, August 26th at House Of Blues (Doors at 5:00, Bands from 5:45 – 1am)

Ivardensphere
DSTR
ESA
Bestial Mouths
Curse Mackey
Josie Pace
Order Of The Static Temple
Panic Priest
Aeon Rings

Weekend packages are available through the Gothic Cruise and include: hotel, both NGP showcases and fun New Orleans activities (cemetery walk, riverboat lunch, meet and greet dinner). Gothic Cruise will also be giving away a free cabin on the 2024 Gothic Cruise at the House of Blues showcase.

Neuroklast – Streetkid (album – ProNoize / Dark Dimensions)

Inferno Sound Diaries — Thu, 09 Feb 2023 08:00:00 +0000

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

Format: Digital, CD.

Background/Info: One year after the promising debut album “Beyond The Blackwall” German Neuroklast duo released their new album by the end of 2022. This project is driven by Kay S. (previously involved in Chainreactor) and Markus H. (previously involved in Readjust and Fractal Age).

Content: “Streetkid” is the continuation to “Beyond The Blackwall”. The production is a heavy, danceable, melting pot featuring industrialized sound treatments on top of dark Techno/Trance influences. There are no real vocals but only sampled passages. I also noticed a harder Industrial-Tribal cut reminding to iVardensphere because it’s featuring iVardensphere. Another song is featuring Razorchild. Globally speaking this work will appeal for lovers of Noisuf-X, Chainreactor and related bands.

+ + + : I liked the debut album but I prefer the new work which sounds more constant. This is a powerful production carried by solid bass lines, terrific kicks and irresistible Industrial-like sound manipulations. There are numerous irresistible cuts featured but “Netrun”, “Streetkid” and “Synthesize” are my personal favorites for their blasting effect.

– – – : Neuroklast brings nothing new although a new sonic jewel in the world of Terror-Techno-Industrial music.

Conclusion: Neuroklast confirms their potential and has accomplished a true masterpiece to bring Industrial dancefloors on fire.

Best songs: “Netrun”, “Synthesize”, “Streetkid”, “Forlorn”, “Urban Tribes feat. iVardensphere”, “Never Sleep”.

Rate: 8½.

Artist: www.facebook.com/Neuroklast

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

Top 25 albums of the year 2022

Inferno Sound Diaries — Sat, 31 Dec 2022 18:08:55 +0000

(By Stéphane Froidcoeur for Inferno Sound Diaries/Side-Line Reviews) 2022 has been once again a sad, bloody and terrible year. Living in a mad world music once more remains a true therapy to appease pain and frustration. Concerts and festivals came back; the perfect place to meet friends again. Artists remain prolific releasing great studio work. So I’m once more closing the year by a personal selection of my very own ‘best of’-albums of the year.

Over 700 productions have been selected while 540 reviews have been made all over the year. Some productions have been refused because the style of music didn’t fit, while other reviews will be postponed to 2023. I’m really grateful to all labels, bands and promoters considering my work and efforts and I hope you’ll go on providing me new promos next year.

I one again have to express my deepest gratitude to Rich Bova (NEIKKA RPM) who for years and years now is reading, correcting and improving my reviews. Without Rich there would be no reviews. I also want to thank Bernard Van Isacker – chief redactor Side-Line Music Magazine – for the successful collaboration.

Up now to 2023. I already reduced my activities this year and will move on reducing it in 2023. I made my first reviews and interviews back in 1991 (!). Some of the readers and artists weren’t even born when I wrote my first review for Side-Line. So after more than 30 years non-stop activities I think it’s not that strange to move on slowly.

I also want to express a big ‘F*** you’ to so-called ‘artists’ and label owners who don’t realise and appreciate the work I’m doing by making reviews and preparing interviews to get them in the spotlights. The attitude and less of respect shown by those people – luckily a very few number – is just unacceptable… but I’m afraid it reflects the world we’re living in… Behind a genius artist is not always hiding a great person… It’s quite strange to realise the ’biggest’- and long-time established artists from this scene often are the most accessible ones.

Writing reviews remains very ‘subjective’ and always a source of discussion, but keep in mind it will be always the perception of the reviewer. I can assure you I’m always trying to argue my reviews the best as possible. A review will be never objective, but has to be honest!

Like every year I’ve made a selection from the best albums of the year. This ‘TOP 25’ covers different styles like EBM, Dark-Electro, IDM, Synth-Pop, Ethereal, Dark-Ambient, Industrial, Cinematographic, Gothic, Post-Punk, Cold/Dark-Wave, Dark-Techno and a few related genres. It remains an exciting but tough exercise.

This ‘TOP 25’ is taken from the promotional material I got while compilations, ‘best of’-productions, EP’s and singles were not considered.

So, here’s my ‘TOP 25’ from 2022 and don’t forget to share it with your friends….

Top 25 albums 2022

IVARDENSPHERE: “Ragemaker” – Metropolis Records
DIE ROBO SAPIENS : “Robo Sapien Race” – Alfa Matrix
EBE04 : “Inrush – Give/Take
CALDON GLOVER: “Labyrintia” – Cyclic Law
ROME: “Hegemonikon” – Trisol
NEIKKA RPM: “Scorpio In The Hourglass – Alfa Matrix
VANGUARD: “Spectrum” – Infacted Recordings
SUICIDE COMMANDO: “Goddestructor” – Out Of Line
ELM: “Penetrator” – Alfa Matrix
OBERER TOTPUNKT: “Totentanz” – Danse Macabre Records
THE BIRTHDAY MASSACRE: “Fascination” – Metropolis Records
BLACKBOOK: “Confessions Of The Innocent” – DarkTunes Music Group
BEYOND THE GHOST: “Sundown” – Cryo Chamber
THEN COMES SILENCE: “Hunger” – Metropolis Records
PRINCIPE VALLIENTE: “Barricades” – Metropolis Records
DAWN OF ASHES: “Scars Of The Broken” – Artoffact Records
MONSTERGOD: “Ozymandias” – Space Race Records
STATIQBLOOM: “Threat” – Sonic Groove Records
AXIOME: “Field Guide To Alien Planets And Other Disco Balls – Audiophob
REICHSFEIND: “Darken” – Alfa Matrix
FIRST AID 4 SOULS: “I Am The Night” – Alfa Matrix
ORDO ROSARIUS EQUILIBRIO: “Nihilist Notes And The Perputual Quest 4 Meaning In Nothing” – Out Of Line
KILL SHELTER: “Asylum” – Manic Depression Records / Metropolis Records
JAGATH: “Svapna” – Cold Spring Records
KILL YOUR BOYFRIEND: “Voodoo” – Shyrec

Avarice In Audio – Our Idols Are Filth (album – Alfa Matrix)

Inferno Sound Diaries — Sat, 03 Dec 2022 08:00:00 +0000

Genre/Influences: Dark-Electro.

Format: Digital.

Background/Info: Album number five for the Australian formation Avarice In Audio. The band is again reduced to a duo driven by core members Gerry Hawkins and Lawrie Bayldon.

Content: “Our Idols Are Filth” sounds like an enraged Dark-Electronic production driven by Aggrotech leads. The work is powerful and yet accomplished with a catchy touch on top. There’s a song featuring iVardfensphere and another one featuring T_Error Machinez.

+ + + : The best way to define this album is ‘melodic violence’! I’m impressed by the way Avarice In Audio are striking back, definitely unleashing their most accomplished work to date. The songs are well-crafted and all made to make you dance. The darker “War Tanz” is a great piece of music but I also have to mention the instrumental and somewhat mystic like “The Never Never” featuring iVardensphere. “Hate Your Blood” is another impressive, dark and aggressive cut.

– – – : The single aspect that could be improved is the production of the vocals on a few songs.

Conclusion: A great piece of ‘modern’ Dark-Electronic music.

Best songs: “War Tanz”, “The Never Never”, “Hate Your Blood”, “The Sky Is Falling”.

Rate: 8.

Artist: www.facebook.com/avariceinaudioaus

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

Dark electro act Avarice In Audio back with all new album ‘Our Idols Are Filth’ in October

Eldrina Mich — Fri, 16 Sep 2022 13:45:15 +0000

Reduced to its core duo after the release of “From The Rib Of Adam”, Gerry and Lawrie have worked on new material for the past 2 years. You may expect a mix of strong basslines, hard percussion and garage band guitars mixed with catchy synth work on the new album which will be out via Alfa Matrix next month, October.

The new album features collaborations with Ivardensphere and Italian industrial EBM project T-Error Machinez. You can pre-order the new album on CD via the Alfa Matrix webstore and as a download album via Bandcamp.

A first video is already available for “The Language Of Violence”, which is also the title of the first single preceding this upcoming full length.

And here is the album available via Bandcamp.

Our Idols Are Filth by AVARICE IN AUDIO

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.

‘Click Interview’ with iVardensphere: ‘Building “Ragemaker” Was Freeing’

Inferno Sound Diaries — Sat, 02 Apr 2022 17:00:00 +0000

It was worth waiting for the new iVardensphere-album. “Ragemaker” is the first album in five years on which Scott Fox accentuated the Cinematic influence of his work. The Canadian artist still deals with strong Tribal rhythms and Electronic sound treatments but the global atmosphere hanging over “Ragemaker” is pure Cinematic like. “Ragemaker” has been released by Metropolis Records and is a true reference in its genre;; a fully accomplished and ultra-professional production. I asked a few questions to Scott Fox.

(Courtesy by Inferno Sound Diaries)

Q: What have been the sources of inspiration, triggers and challenges to compose “Ragemaker”?

Scott: The principal source of inspiration for “Ragemaker” is cinema. I wanted “Ragemaker” to have a well-defined Cinematic quality. It was important to separate this release from standard club/electronic releases so, to that end, there are only 2 tracks on this album that have any sort of club beat or indulge in the use of synthesizers beyond a textural capacity. “Ragemaker” is all about orchestration and percussion. A good portion of the release is meant to capture some of the vibe as seen in Tom Holdenborg’s score for “Mad Max Fury Road”. Being free of conventional songwriting restrictions had the benefit of allowing me to truly explore the directions of the music wherever I wanted without concern for the usual build/verse/chorus/breakdown/chorus architecture of contemporary music. Building “Ragemaker” was freeing.

Q: “Ragemaker” is an impressive and overwhelming production which I guess must have taken time to achieve. What kind of album did you’ve in mind? What have been the different stages you’d to go through and what has been the input of all members and guest singers?

Scott: The timeline for building “Ragemaker” was a new one for me. I built the entire album on camera, in real time, for patron supporters. Building the album this way presented a few interesting challenges. As people were more/less paying for time, I had to be very decisive with my production. There was no time for tinkering with a bassline for 3 hours to get it ‘just right’. Every action from dialing in a compressor to doing the final mix was recorded for consumption and this made the time in the studio incredibly efficient. I found I was able to punch out a lot of material in a very short amount of time and then harvest my favorite parts… but the dedication to fast decision making meant the songs sometimes took unexpected directions and that was amazing.

So much of this album was built as though it had a mind of its own. Had I had an unlimited amount of time to do everything, it wouldn’t have been built this way. “Ragemaker” is raw in many ways in terms of songwriting and that is perfect for what I wanted.

The singers, for the most part, were brought in towards the end of production. Jesse, Brittany, Andy, Alex and Cosette were all amazing on so many levels. They bring so much to the table and the songs they worked on are made so much better by their efforts. I can’t thank them enough.

Q: The orchestral/epic arrangements have never been that present and explicit in your work. How did you prepare this album (and especially the drum sections) and did you handle specific criteria about instruments and production work?

Scott: The preparation rested primarily in making sure I had all the tools I needed to make this happen. I have lots of synthesizers but, as I mentioned, synths really took a back seat on this album. I spent a lot of time curating and organizing orchestral and percussion sound libraries. I drew heavily upon those while I worked. Beyond that it was all about developing a new workflow to accomodate a more orchestrated vibe.

After listening to the album (and the drums in particular) it’s easy to guess that, without mindful attention, everything could end up sounding like drum soup. I organized drums by ethnicity, frequency, tonal characteristics, reverb tails, dynamics, ring out time and so on so that I would always be able to create a separation in the sounds. Separation of the sounds, especially if they are layered or in quick succession, is critical. All these arrangements ahead of time meant I had the right tools on hand when needed and the understanding of what I needed from them.

Q: When listening to this album I can’t get away from the idea you must be a true perfectionist taking care of every single detail. How do you see yourself as musician/producer and when do you know a song/album is finished?

Scott: Thank you so very much for the kind words! I think you said it best with the term ‘every single detail’. Every single sound on this album has a strong handed EQ attached to it. A good EQ is the best tool in the toolbox and I love to abuse mine.

How do I know a song is finished? When I’m not sick of listening to it anymore. haha. Honestly, this is something every producer struggles with. You write something and then listen so that you can hear what you don’t like or want to change so you go back and change it. Rinse. Repeat.

The objective on this album was to not stop when I thought it was good enough but to stop when I was horrified at how much what going on. There are a couple songs on “Ragemaker” that have nearly 100 channels of just drums/percussion. The idea of mixing all that is quite daunting but I knew I wanted something utterly over the top so I went with a more is more approach this time out. It was a hell of a lot of fun.

Q: The ‘cinematic’ side of the album has been illustrated by the clip “The Shattering Queen”, which according to me is one of the most professional and accomplished clips ever produced in this music scene. Tell us a bit more about the realization, concept, director and actors behind the clip? And what’s the importance and impact of a clip today?

Scott: Oh wow… that really hits deep. Again, thank you. Filming “The Shattering Queen” was an experiment of me moving into uncharted territory. I had never done a proper iVardensphere video and, to be honest, the process of doing one was equally mysterious and intimidating. BUT… I had decided it was something I wanted to do so I started watching all sorts of media on how to film things. After I had done enough research, I bought a camera and supplies for it. Then came the idea of the shoot.

I assembled a wonderful group of close friends to which I am incredibly indebted to for all the hell we went through. After going through everyone’s schedules, I developed a shooting schedule which took place over two weekends in some wonderfully remote locations. Filming the video was the very first time I had anyone in front of the camera. Up until that point, I had only done research on how I ‘should’ be doing it and now it was the trial by fire. Some aspects of the shoot were a complete failure but some worked out so much better than I had anticipated. Everyone put a lot of effort into their costumes which really sells it. I learned a LOT on that shoot.

Once the shoot was done, I had to research a video editing program to use and then learn how to edit and treat a video. As you can see… It was very much a ‘learn while doing’ experience. After getting all that under my belt, I’m really looking forward to the next video shoot we will do. The team is ready and so am I!

Q: How will you bring “Ragemaker” to the stage? What are your further plans for iVardensphere and what about This Morn’Omina?

Scott: “Ragemaker” to the stage…. I have absolutely NO IDEA but I better figure it out quickly as we have a number of shows lining up for this summer. I’m sure my live crew is up to the task. They’re all amazing musicians and have historically handled whatever I’ve thrown at them with zeal. Expect…. drum soup. 😉

Regarding This Morn’Omina, this year we have a few shows lined up between Europe and North America. It’s going to be a lot of fun cutting loose with Mika, Jelle and Peter on stage soon.

Mari Kattman signs with COP International

Bernard - Side-Line Staff — Tue, 15 Mar 2022 18:33:47 +0000

Mari Kattman has joined COP International. “Is It Really That Bad” will be the first EP on COP International and will be released on the 13th of May and will feature remixes by Neuroticfish, Rotersand and John Fryer.

Christian Petke / Founder COP International: “Mari brings incredible talent and drive to the table. I absolutely adore the fact that she is not just the singer but the principal songwriter and visionary in this project. She is a force to be reckoned with!”

Mari Kattman has been self-recording, writing, composing, and live performing music since 2012. Currently, she operates under the Mari Kattman name as a solo artist and works with Tom Shear, of Assemblage 23, on a project called Helix. In the past she has collaborated with many artists, including Assemblage 23, Mesh, Ivardensphere, Jean-Marc Lederman, Psy’Aviah, Aesthetiche, Neuroticfish BlackCarBurning, Cassetter, This Morn Omina, Solitary Experiments, Mephisto Walz, Aiboforcen, Interface and Comaduster.

She has worked on many label releases including ones for Metropolis Records, Alfa Matrix, FiXT and now she will call COP International her new home for her solo work.

Here’s the track “Objectified”.

iVardensphere – Ragemaker (Album – Metropolis Records)

Inferno Sound Diaries — Mon, 07 Mar 2022 08:00:00 +0000

Genre/Influences: Cinematic, Industrial, Tribal.

Format: Digital, CD.

Background/Info: Scott Fox and his sonic brainchild iVardensphere are back on track, unleashing the Canadian project’s first new studio album in five years. “Ragemaker” features thirteen songs.

Content: iVardensphere has accomplished its most Cinematic work to date. This work is driven by overwhelming drum layers -mainly performed by different kinds of authentic drums, and solid, orchestral arrangements. It’s a bombastic and powerful production. The album also features guest vocals by Jesse Thom, Brittany Bindrim (I:Scintilla), The Rain Within, Seeming and Brien Hindman. Except the song by Brien Hindman, all other vocals have been produced as chants and a kind of vocal effect.

+ + + : I already heard great works by iVardensphere, but this album is going far beyond my expectations. The production left me breathless. I can’t remember ever hearing a project active in this scene with such an overwhelming, bombastic and powerful drum production. It has a transcendental effect, which together with the Epic electronic arrangements creates the perfect Soundtrack for an imaginary sci/fi or fantasy movie. The clip they made for “The Shattering Queen” (previously released as a single) is showing this ritual/fantasy like approach. The clip is a true masterpiece by the way. Every single detail of this album is touched by perfectionism. It’s a powerful Soundtrack, mixing rhythmic and orchestral electronic arrangements. The addition of the vocals adds a heavenly and also mysterious touch. Brittany Bindrim did an amazing job, but there’s definitely something to say about each singer. “The Shattering Queen” remains a brilliant song, but I even prefer the title track for its phenomenal and elevating bombast. Scott Fox and his gang have accomplished a unique piece of music; an album deserving to be used as Soundtrack for a great movie like “The Matrix”.

– – – : The opening- and last song aren’t essential pieces, but let’s consider them as an ‘intro’ and ‘outro’. No reason to complain.

Conclusion: iVardensphere has accomplished a masterpiece. This album might serve as a reference for other musicians. Respect!

Best songs: “Ragemaker”, “The Shattering Queen”, “Varunastra”, “The Age Of Angels Is Over”, “The Maw”, “Draconian”.

Rate: 9.

Artist: www.facebook.com/ivardensphere

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

New single for iVardensphere: ‘Ragemaker’ – watch the video

Bernard - Side-Line Staff — Thu, 16 Dec 2021 18:02:54 +0000

Out tomorrow on Metropolis Records is the brand new single by iVardensphere, “Ragemaker”. The track is also the title of the new album by Canadian electro-percussive act which will be out on February 4th.

On this track you’ll find traditional percussion from all corners of the globe, including Taiko, Surdo, djembe and timpani next to all manner of sampled sounds: hammers, anvils, slamming doors and even the sound of a waste bin being kicked.

The extended video for the track also incorporates the project’s next single, “The Shattering Queen” (out in mid-January), which brings the total duration of the clip to almost ten minutes.

iVardensphere began as the ambition of Canadian musician Scott Fox to fuse heavy electronics with his love of percussion from all over the world. Since releasing his debut album in 2009, his group has at times been a solo endeavor and at others a fully fledged collaborative effort.

This Morn’Omina – The Roots Of Saraswati (Album – Dependent Records)

Inferno Sound Diaries — Wed, 09 Jun 2021 18:00:00 +0000

Genre/Influences: Tribal, Industrial, Trance, Cinematographic.

Format: Digital, CD.

Background/Info: Four years after the “Kundalini Rising”-album, This Morn’Omina strikes back with a new opus and a new line-up. Karolus Leroq left the band he was involved with since the album “L’Unification Des Forces Opposantes” (2011). Core member Mika Goedrijk welcomed Scott Fox (Ivardensphere) to complete the quartet. Mika Goedrijk and Scott Fox last year already worked together unleashing the self-titled debut album of And Void.

“The Roots Of Saraswati” is –once again, inspired from Hinduism and has different meanings; it’s a Goddess, but also the name of a River with some mysterious power, but also a term used for scholars and seekers of truth. The common thread between it all is an element of flowing and profound transcendence, which has been transposed into this work. Notice by the way the album is also available as a double disc –limited edition, featuring extra tracks.

Content: The sound of the Belgian Tribal formation –now reinforced by a Canadian member, is quite easy to recognize because there’s not many projects composing this kind of music. It sounds more Tribal than ever before, this essential aspect of the production being reinforced by the power and magic of different real percussions. This element never has been that explicit. The main difference and I dare to say innovation is the impressive orchestral arrangements revealing a Cinematographic style, which comes pretty through in different tracks. While This Morn’Omina added vocals on its previous work, they now got back to spoken samplings adding an extra mysterious touch to the work. If you’re familiar with the band’s work, you for sure will recognize the Trance, rousing passages, blasting sound treatments and boosting kicks.

+ + + : This Morn’Omina has already released an impressive discography, but it’s unbelievable to realize this project can still take me by surprise. From a pure technical point of view this album deserves more than simply a mention; the production excels in perfection while I can imagine it’s not that easy when recording real percussion. But This Morn’Omina –probably because of Scott Fow’ addition, also renewed some elements of its sound, the heavy orchestral arrangements being very present and revealing a new path to explore. I’m also impressed by some blasting sound treatments, remaining the band’s trademark.

– – – : I don’t see major minus points about such a ‘tour de force’ although I can’t say it’s the album featuring the most potential hits.

Conclusion: This work stands for a top notch production; an absolute must have for lovers of Tribal-Trance-Industrial music.

Best songs: “People Of The Serpent”, “Nadisti Sukta”, “The Nothing Space”, “The Mangoose King”, “Naous”.

Rate: (9).

Artist: www.facebook.com/thismornomina

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

And Void – And Void (album – Distortion Productions)

Inferno Sound Diaries — Thu, 27 Aug 2020 18:30:06 +0000

Genre/Influences: Experimental-pop, industrial.

Format: Digital, CD.

Background/Info: And Void is a new project featuring some very famous names from the industrial scene. This is the meeting between Scott Fox (iVardensphere, This Morn ‘Omina), Mika Goedrijk (This’Morn Omina, Pow[d]er Pussy, Sygo Cries, Nebula-H…) and singer Mari Kattman (Helix, Mari And The Ghost).

Content: This self-titled album is characterized by the grace of Mari Katmann’s vocals, now injecting sensuality and later on an ethereal touch to the work. Sound-wise the tracks have been mainly written by Scott Fox, but Mika Goedrijk wrote a few songs as well. You can’t really recognize both artist’s trademarks on this album, which has something pretty experimental, driven by down tempo and sometimes moving on the path of cinematographic music. But there also is something pop-like supporting the production, becoming a sort of industrial- or experimental-pop music. Notice that Jamie Blacker (iVardensphere) and Andy Deane have been invited to do some guest vocals on one song each.

+ + + : And Void appears to be a truly challenge! The songs have something avant-garde like, mixing different elements and styles together with on top the graceful vocals of Mari Kattman. The song “Ideal Prey” appears to be the most accessible one and eventually a kind of potential hit. I especially like the slow rhythm mixed with the sensual, somewhat whispering vocals. Mari Kattman definitely remains a great singer, but the duo Scott Fox – Mika Goedrijk has something visionary like. You don’t exactly expect both artists composing this kind of stuff, but they did it!

– – – : The experimental approach of the album is for sure the biggest challenge to catch the attention of a wider audience. This is not the most accessible production and is not something for ‘classical’ electro-pop lovers.

Conclusion: I’ve always liked bands thinking out of the box and this trio definitely belongs to that category; this could be the future sound of electro-pop music!

Best songs: “Ideal Prey”, “Midnight Blac”, “October Lullaby”, “Unsung”.

Rate: (7½).

Artist: www.facebook.com/andvoid

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

Voster – VSTR (Digital EP – Voster)

Inferno Sound Diaries — Tue, 29 Oct 2019 21:00:37 +0000

Genre/Influences: Techno-body.

Background/Info: Voster can be easily introduced as a side-project between iVardensphere members Scott Fox, Jamie Blacker and Yann Faussurier. They already released an EP entitled ”World War V” in 2013 and are now back on track with this new EP, which ‘follows the survivors in the rubble in a world dominated by VSTR’.

Content: After an intro cut, the trio reveals a powerful techno-body sound mixed with harsh vocals. This is the sound of modern EBM. The production is powerful and revealing impressive sound treatments and –manipulations. Filtered sequences and heavy dance kicks will incite the audience to dance.

+ + + : Behind this project is hiding an infernal sonic trio, which no longer has anything to prove. Their experience has definitely helped them to create this efficient techno-body approach. I like the global sound treatments, the powerful production and the harsh vocals. “Atomic V” appears to be a real solid track.

– – – : The intro and the last song, which doesn’t really reach a climax are the only minus points about this work, but there’s no reason to complain when you’ll discover both other cuts.

Conclusion: This is a powerful and alluring EBM format and I can only wish Voster to strike back with new work!

Best songs: “Atomic V”, “The Second Voming”.

Rate: (8).

Artist: www .facebook .com /Vostermusic

Scott Fox – The Rime Of The Ancient Mariner (Digital Album – Ant-Zen)

Inferno Sound Diaries — Fri, 15 Mar 2019 19:00:24 +0000

Genre/Influences: Experimental, industrial, ambient.

Background/Info: We all know Scott Fox for his involvement with iVardensphere and more recently This Morn’Omina. Last year he released this solo-work, which is a kind of adaptation from a poem of the British poet Samuel Taylor Coleridge. “The Rime Of The Ancient Mariner” has been written in the end of the 18^th Century and deals about the adventures of a mariner on his way back to home.

Content: Forget iVardensphere, this work is totally different. It has something pretty experimental-like and can be the best described as watching a film without images… The work is made of one long duration track going over the 43 minutes, but features 7 distinguishable parts. While the poem of Coleridge has been narrated, Scott Fox composed a sort of soundscape made of industrial sounds, multiple effects and noises, guitar play, drones and ambient atmospheres.

+ + + : I think it’s an original idea to bring a classical poem to life or to make it discoverable to others by putting it on music. The sound is pretty cinematographic, which is a perfect poem to bring the poem in the spotlights. Both, poem and music, can stand on their own, but their fusion has something deeply artistic. Sound-wise I like the darkest passages from the work and the kind of drones. The best part of the poem remains: ‘Water, water, every where, And all the boards did shrink; Water, water, every where, Nor any drop to drink’.

– – – : This work remains a pretty experimental try-out so I can imagine it will be not accessible for a wider audience.

Conclusion: Scott Fox took me by surprise as this is the kind of work you don’t exactly expect from this artist. I can’t say it’s a ‘must have’-album although an interesting listening featuring a genius poem.

Best songs: “The Rime Of The Ancient Mariner”.

Rate: (7).

Artist: www .facebook .com /scott .foxivardensphere

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

ESA interview: ‘I Love To Pick Up Instruments And Use Them As An Extension To Myself’

Inferno Sound Diaries — Tue, 30 Oct 2018 18:00:11 +0000

Set up by Jamie Blacker in 2002 Electronic Substance Abuse (ESA) rapidly became a noticeable project dealing with multiple influences such as rhythmic-noise, industrial and electro-ambient. Different productions have been released on defunct labels such as Hive Records and Tympanik Audio. After having accomplished the last part of the “Themes Of Carnal Empowerment”-trilogy on WTII Records, ESA this year stroke back with the impressive “That Beast”-album released on Negative Gain Productions. I asked a few questions to Jamie Blacker while he was busy touring with iVardensphere (a band he’s also involved with).

(Courtesy by Inferno Sound Diaries)

Q: Your latest official album “That Beast” has been released a few months ago now. I think it became the most sophisticated ESA-album ever, but how do you look back at this opus?

Jamie: Honestly, I personally would not see it as the most sophisticated ESA release. I would probably hand that title to the last of the “Themes”-trilogy albums (“Penance”), just due to its many moods and disciplined focus on concept.

What I would say about “That Beast” is that it is a result of increased production skills knowledge and directs attention more to the beauty of ‘hooks’ in tracks.

My aim was to create a really solid standalone product with “That Beast”. Something that was memorable, not just due to the actual music, but also the really focused artwork and the music videos that have been released and will be released. It’s a package that I’m really proud of and so far it’s been received far more strongly than any other ESA release. I feel like ESA is finally getting the attention that it deserves from lots of different sub-genres within the scene, which I’m massively thankful for.

Q: You just mentioned the trilogy “Themes Of Carnal Empowerment”. Artists seem to like trilogies, but how did it feel working on a ‘conceptual’ theme and moving on with a more ‘classical’ album?

Jamie: It felt massively liberating if I’m completely honest. I’d been so tied down with previous releases. I’m really proud of those albums, but I almost felt like I’d created a bit of a prison for myself with the “Themes”-trilogies.

What also came with the alternative direction to writing with “That Beast” was an opportunity to create a much more personal link to the album. The listener will have a massive flag as to just how personal this album is within the first 15 seconds of the album. It felt like a weight had been lifted from my shoulders if I’m honest.

Q: E.S.A. has been always linked to industrial-music and rhythmic-noise, but quite progressively you injected trance elements, which I think have been never that explicit as on the new work. That’s an interesting evolution to analyze don’t you think?

Jamie: I agree. I love rhythmic noise. I still get excited by the power of that style. I like how oppressive and hypnotic it can be, but I also feel that can be applied with the 4/4 techno style. I think the genres can be merged together quite easily, whilst still remaining very dark and powerful.

It also provides more of an invitation to a wider audience, with techno being more accessible, though I wouldn’t say it was a conscious decision to create a wider fan base by introducing this style. It just feels right.

Q: Industrial music productions are often characterized by this typical ‘harsh’ and ‘distorted’ effect. Since a couple of years now I noticed artists are more taking care about how to get a high-tech and professional production. I think you’re definitely concerned about this item, but can you reveal a few details about how you get this sound?

Jamie: Yes absolutely. I’m an extremely non-technical person. First and foremost I am a musician, I love to pick up instruments and use them as an extension to myself. To allow them to be my personal sounding boards.

So the quick answer is I’ve learnt how to work with frequencies better. I’ve learnt that a wall of distortion will not allow for a punchy kick to cut through and holes have to be made in that wall of sound for everything to breathe correctly.

I’ve also stripped back on layers. I’m much more disciplined about what I throw in a track. The more layers you add… the messier it can get. That’s definitely something I’ve learnt along the way.

Q: There’s an interesting and here again very ‘professional’ clip of the song “Bad Blood Will Out”. What did you try to express with this clip and what’s the importance of making clips today?

Jamie: So myself and a gentleman called Myles Fearnley have been increasingly becoming involved in video making.

Myles himself has taken this on as his next career step now and I am also devoting as much time to it as possible along with him.

So far we have filmed two music videos together, those being “The Hold” and “Bad Blood Will Out” the latter being a huge leap in professionalism and result in comparison to the former. We’re really enjoying making these and are currently in the middle of filming the next music video for the track “I Want it Now”, but I don’t want to give too much away on that just now.

I think video is massively important. You’re only able to give away a small amount of a message in just audio. For me (being a massive film fan), narrative and story is so important. So what we are doing right now is merging film-making with the ESA music and I’m super happy on how this is turning out.

Q: I noticed you were into metal music before dealing with industrial music. Do you see some links and similarities between both genres and especially when you’re composing music?

Jamie: Yes. My style is very influenced in metal. More nodding toward the ‘feel’ and ‘tone’ of metal. It’s really all the I listen to still and I think there’s still a hell of a lot of life in that genre.

I think that a lot of metal fans would get something out of an ESA album. The first track on “That Beast” – “I Have Clarity” to me is massively leaning towards the feel of a heavy metal track. It’s heavy, mid paced and very groovy. The vocals are also straight up doom / death-metal. I’m really happy that this track is a lot of people’s favourite on the album.

ESA – That Beast (CD Album – Negative Gain Productions)

Inferno Sound Diaries — Mon, 17 Sep 2018 19:30:54 +0000

Genre/Influences: Rhythmic-noise, industrial-trance.

Background/Info: Jamie Blacker (still involved with iVardensphere) strikes back with his solo-project Electronic Substance Abuse (ESA). Set up in 2002 this harsh industrial project has released an impressive number of albums on different labels such as Hive Records, Tympanik Records, WTII Records and now Negative Gain Productions.

Content: ESA is a project I always have supported for its very unique approach in industrial music. “That Beast” moves a step further and feels like a laboratory experiment mixing rhythmic-noise and trance music. It’s harsh and merciless, but also constructed with terrific sound treatments and noticeable samplings. Several songs are featuring (guest) vocals, which are now cavernous-like and next rather sterile.

Notice by the iVardensphere mate Scott Fox contributed to one of the tracks.

+ + + : I’ve already heard several great works by ESA, but this new opus is without a shadow of a doubt my favorite. It has something visionary for the fusion of traditional rhythmic-noise together with pure trance passages. Some of the spoken samplings feel like accentuating the trance touch. But the most noticeable aspect of the work is there where most of the industrial artists are simply producing harsh sounds; Jamie Blacker manipulates and transforms them into a kind of high-tech industrial dimension. Just pay attention for “Then Follow Me” (feat. Scott Fox) and you’ll understand what I mean. This is an impressive sound production on, which power and outstanding sound treatments are joining hands.

– – – : I don’t see any major negative point about this album although I’m not a huge admirer of the front cover, which says more about the artwork than the music.

Conclusion: “That Beast” will take no prisoners, and leave the dancefloors filled with victims. This album is truly a masterpiece!

Best songs: “Then Follow Me”, “I Have Clarity”, “Carry The Noose”, “I Know”, “Bad Blood Will Out”.

Rate: (9).

Artist: www .electronicsubstanceabuse .com / www .facebook .com /ElectronicSubstanceAbuse

Label: www .negativegain .com / www .facebook .com /pages /Negative –Gain /212061438836984

iVardensphere – Hesitation (CD Album – Metropolis)

Inferno Sound Diaries — Thu, 25 Jan 2018 19:30:23 +0000

Genre/Influences: Tribal-electro, dark-electro, industrial.

Background/Info: American, ‘collective’ iVardensphere has now been active for several years, remaining a very unique music entity active in the paths of electronic underground music. Still driven by the creative spirit of Scott Fox the band was joined throughout the years by talented members like Jamie Blacker (ESA) and Yann Faussurier (Iszoloscope). The band has already released seven studio albums and multiple remixes.

Content: iVardensphere remains pretty faithful to their open-minded spectrum of creation and composition. This band clearly doesn’t care about fashion trends, but simply composes music with a very single approach. It’s hard to define the work and easier to catch all influences running through this opus. It remains tribal and trance-like, but also reveals a kind of industrial-body music built up with blasting sound treatments. iVardensphere likes to experiment and use analogue equipment and I think it still is the only way to create something different from ‘average’ music bands.

+ + + : iVardensphere has already accomplished many ‘major’ releases in their discography, but “Hesitation” is without a shadow of a doubt one of their best pieces ever. There’s a fascinating diversity mixing different styles and influences, but also with a perfect balance between sung- and instrumental cuts. The songs have been composed with brilliant sound treatments and driven by great, tribal rhythms. Every single track sounds a bit different, revealing a different focus. This work is a succession of masterpieces getting you into trance during the final part. “Hesitation” has been definitely one of the best albums from 2017!

– – – : When an album moves on the path of perfection, there clearly is nothing you could imagine that needs to be improved!

Conclusion: I think every single music style has bands exploring and creating new paths for other musicians. That’s what we commonly call pioneers or visionary artists. iVardensphere definitely belong to those kinds of sonic scientists!

Best songs: “Rapture”, “Red Sun Black”, “You Didn’t Hear Me”, “Surface Tension”, “The dark Deed”, “Pray For The Day”, “Shroud”.

Rate: (9).

Band: www .facebook .com /pg /ivardensphere

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

iVardensphere – Exile (CD Album – Metropolis Records)

Inferno Sound Diaries — Fri, 22 Sep 2017 18:30:30 +0000

Genre/Influences: Industrial, tribal, trance.

Background/Info: Canadian iVardensphere is one of those ‘phenomenon’ active at the underground scene. The band became a kind of collective featuring Scott Fox, Jamie Blacker,
Yann Faussurier, Sean Malley and Chuck Murphy. They’ve already released a huge number of productions and are now back on track with this new opus featuring 9 songs.

Content: iVardensphere moves on experimenting with harsh industrial bombast, tribal percussion and dark electronic sound sculptures. The opening cut features ethereal-like vocals by Mari Kattman. Quite progressively iVardensphere moves towards their familiar sound, which is also carried by a mind-blowing production. They here and then experiments with some funny ideas such as “Kagu-Tsuchi” featuring a kind of Asian-like tune. But the best part of the work comes at the end with astonishing cuts where the industrial-tribal element of the band comes really through.

+ + + : The main strength of this band is their sound, which is rather unique. iVardensphere has been linked with This Morn’Omina, which is a link I totally understand for their originality and industrial-tribal approach although they’re numerous differences as well between both bands. It just illustrates their creative approach and all the work they put in the percussions, and also in the global writing.

The experiment with Mari Kattman also is a real interesting and successful song. But the best cuts are at the end. I refer to the blasting “War Dirge” and “Seven Gates”.

– – – : “Exile” is quite diversified and that’s maybe why a few cuts are less convincing. I especially think to the previously mentioned “Kagu-Tsuchi”, which is maybe original, but still missing an apotheosis. “Thin Veil” is another cut, which can’t fully convince me. I’m not a huge fan of the furious and somewhat metal-sounding vocals running through this song. I definitely prefer the instrumental tracks of iVardensphere.

Conclusion: iVardensphere became a recognized and praised name belonging to the wider fields of industrial music, but less related with most of the projects active in this scene. This new opus confirms their efficiency to compose something unique, which first of all remains a creative sonic osmosis between multiple influences.

Best songs: “War Dirge”, “Seven Gates”, “Grounder”, “Icarus feat. Mari Kattman”, “Thin Veil”.

Rate: (8½).

Band: www .ivardensphere .com / www .facebook .com /ivardensphere

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

ESA – The Hold (Digital EP – Negative Gain Productions)

Inferno Sound Diaries — Wed, 02 Aug 2017 19:00:07 +0000

Genre/Influences: Industrial, tribal, industrial-trance.

Background/Info: Jamie Blacker aka ESA (Electronic Substance Abuse) is now active for 15 years and has released many noticeable works on Hive Records (right in the beginning) and mainly on Tympanik Audio. He next joined hands together with WTII Records and has now signed to Negative Gain Productions. Female vocals were accomplished by Valeriia Moon while Ivan Popov played some cello and piano plus did some additional production.

Content: Right at the moment I thought to have already discovered the entire sonic spectrum of Jamie Blacker, this EP took me by surprise. The title song is a little sound jewel mixing elements of industrial- and tribal music while featuring the bewitching vocals of guest singer Valeriia Moon. The song has been meticulously built up, progressively reaching a truly sound orgasm.

The song has been remixes by iVardensphere and Tight Grip. The B-side song is much more than simply a filler. This track could have been the title song. It moves again into bombast and has been composed with icy sound treatments.

+ + + : “The Hold” is an impressive track mixing different influences with intelligence and efficiency. The female vocals add a touch of magic to the bombastic sound universe created by ESA. Both remixes are absolutely magnificent. Both remixes are more trance-minded and sounding like the perfect offspring between tribal-, industrial- and ethereal music.

“In Good Faith” is a hot dancefloor track for industrial souls. There’s no real B-side on this EP, which clearly sounds like a strong appetizer for the next ESA production(s).

– – – : This is the kind of record appealing for more! I don’t have any points to critique here!

Conclusion: I’m not saying that ESA has reinvented its own sound, but this EP sounds like a hard and sexy record appealing for more! Definitely one of the best EP’s I’ve heard this year!

Best songs: “The Hold”, “The Hold – iVardensphere Remix”, “The Hold – Tight Grip Remix”, “In good Faith”.

Rate: (9).

Band: http ://www .electronicsubstanceabuse .com / www .facebook .com /ElectronicSubstanceAbuse

Label: www .negativegain .com / www .facebook .com /pages /Negative –Gain /212061438836984

You can order the CD right here.

Snog celebrates 25th anniversary of breakthrough hit ‘Corporate Slave’ with a brand new megamaxi-single CD

Bernard - Side-Line Staff — Mon, 17 Jul 2017 18:30:21 +0000

Celebrating the 25th Anniversary of the breakthrough club hit “Corporate Slave”, Snog now presents “Corporate Slave 2525”, a super charged single CD. The CD offers 16 new takes including reworks by Angelspit, Null Device and more.

Here’s the original version of the track, below the complete tracklist.

Corporate Slave (Sirus RMX)
Corporate Slave (Angelspit RMX)
Corporate Slave (iVardensphere RMX)
Corporate Slave (Divider RMX)
Corporate Slave (Tragic Impulse RMX)
Corporate Slave (Steven OLaf RMX)
Corporate Slave (Nick Woolfson RMX)
Corporate Slave (Shinjuku Thief RMX)
Corporate Slave (Monster Zoku Onsomb RMX)
Corporate Slave (Ross Healy RMX)
Corporate Slave (Solid State RMX)
Corporate Slave (About Yesterday RMX)
Corporate Slave (Null Device RMX)
Corporate Slave (Scrotal Tear RMX)
Corporate Slave (2017 Remaster)
Corporate Slave (I+T=R Remaster)

Servitor – The Forest Crept Back Into The City… (CD Album – Servitor)

Inferno Sound Diaries — Fri, 24 Jun 2016 20:56:56 +0000

Genre/Influences: Tribal, industrial.

Background/Info: Behind Servitor is hiding Sean Malley, who is a percussionist, previously involved in iVardensphere. He’s already active as solo-artist for a couple of years now and I remember him from the album “The Marriage Of Earth And Iron”, which was released under the Servitor Sanctum 7 moniker (2010). Sean Malley strikes back with a new opus revealing 16 cuts.

Content: Servitor is a mainly inspired by tribal music inspired from very different places and cultures on earth. Percussions have been performed by multiple authentic instruments like djembes, snares, toms, tambourines, monkey drum ao. Next to the impressive arsenal of percussion Servitor also uses electronics and vocals. Sean Malley got the help of a few contributors to accomplish his work.

The electronic passages are often dealing with industrial influences while you also will notice ghost-like atmospheres. The vocals reinforce the ghost-like approach and are quite characteristic for this work. It makes me think to a kind of zombie growls awakened by the cadence of the percussion.

Another important aspect is the use of chants and choir fragments. I also have to mention the many kinds of Indian shouts, which are omnipresent. There sometimes is a kind of duality running through the work and that’s only accentuated by weird fragments of radio broadcasting in the background.

+ + + : Servitor clearly deals with a rather unique style and that was already a noticeable element on the previous work. The tribal element is absolutely great and we can affirm to hear a talented percussionist in action. The multiple and sometimes totally different cadences lead the listener into trance.

– – – : This is a weird production and I especially refer to the kind of Indian shouts emerging from nowhere. Some influences are not totally matching with oneother, but it for sure makes the originality of this project.

Conclusion: Sevitor will be for sure nominated to get an award for most creative underground formation, but it first of all is one of the most authentic tribal formations active at this scene. I can imagine this is the kind of band you’ve to see on stage.

Best songs: “Kuzama”, “Dönüstümek”, “Bassor Foomp”.

Rate: (7).

Band: www .facebook .com /Servitor -344543773871

Avarice In Audio – Apollo & Dionysus – Deluxe Edition (DCD Album – Alfa Matrix)

Inferno Sound Diaries — Wed, 15 Jun 2016 21:57:57 +0000

Genre/Influences: Industrial-dance, techno-body music, industrial-techno.

Background/Info: Lawrie Bayldon (Studio-X, Cryogenic Echelon), Ayax (Ascension Ex, Cryogenic Echelon) and Gerry Hawkins are back on track unleashing the 2^nd full length of Avarice In Audio. Two years ago now this Australian combo took the electro scene by surprise releasing their promising debut album “Shine & Burn”.

Content: “Apollo & Dionysus” sounds more open-minded than their debut full length, but still appears to be very challenging. Avarice In Audio experiments with solid techno blasts mixed with harder and industrial-minded sound treatments. The songs are powerful and reveal multiple sound manipulations. There’s a perfect balance between the different influences, but in the end I would say it clearly sounds more into techno and dance music instead of industrial.

The harder industrial treatments make it all more underground-like and darker while the beating kick will bring dancefloors on fire. There’s certain bombast running through the songs while a few other cuts are softer and more into a kind of reverie. Most of the vocals are rather powerful and passionate.

One of the main particularities of the work is the contribution of guest artists like Damasius Venys (Mondträume) and Mr. Kitty performing guest vocals, Chris Anderson and Mixe1. The last song of the regular album is an interesting new version of “The Cassandra Complex”, which was originally released on their debut album.

The 2^nd disc features 13 remixes by an interesting list of artists. Studio-X, iVardensphere, Nitro/Noise, Alter Der Ruine, Panic Lift, Ludovico Technique, Biomechanical, Freakangel, Terrolokaust, Die Sektor, Sirus and less familiar [Snuff] and Kult Of Red Pyramid clearly are a nice selection of promising remixes. Speaking for myself I have a preference for the remixing skills of iVardensphere, Alter Der Ruine and Sirus.

+ + + : This album reveals a great progression in sound and global production featuring impressive sound manipulations. The industrial-dance style is powerful and carried by passionate vocals. The extra disc features a nice cocktail of cool remixes.

– – – : The techno input is cool, but I regret some cheaper techno blasts, which are a bit cliché. The softer tracks aren’t the most convincing ones. I’m also missing a real great hit.

Conclusion: “Apollo & Dionysus” is an accessible and well-crafted work although not exactly the most evident release to please a darker audience, which is not always that wild of techno experiments. This work is not for purists, but for open-minded souls in search of great, danceable vibes.

Best songs: “World Without Song feat. Chris Anderson”, “Anthracite Nights”, “Juvenile Desires feat. Mr. Kitty” + “Her Fire – iVardensphere Remix”, “
Crystal Tears – Alter Der Ruine Remix”, “The Cassandra Complex – Sirus Remix”.

Rate: (7½).

Band: www .facebook .com /avariceinaudioaus

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

Mari Kattman prepares to release ‘Hover’ album

Bernard - Side-Line Staff — Thu, 26 May 2016 17:37:53 +0000

Out on July 19th 2016 is Mari Kattman’s “Hover”. Hailing from Providence, Rhode Island Mari Kattman is the newly formed trip hop duo consisting of members Mari Kattman and Matt Echo.

The duo’s first full length release “Hover” will hold 9 original tracks of which a few are already available (“Reanimator”, “Hunter” and “Hearts on Fire”) for you to view, see the videos below. You might know Mari Kattman from her work with Psy’Aviah, Aesthetische, Ivardensphere, or yet the great Mari & The Ghost.

There is also a follow-up remix album planned which is expected to be released this fall. More news when the new album hits the road.

Apollo & Dionysus (Bonus Tracks Version) by AVARICE IN AUDIO

2nd album Avarice In Audio, ‘Apollo & Dionysus’, out now as download and as 2CD set – preview the album here

Bernard - Side-Line Staff — Fri, 18 Mar 2016 23:39:34 +0000

In 2014 the Australian act Avarice In Audio released the “Shine & Burn” album showcasing the band’s mix of dark electronics and EDM infused influences combined with frontwoman Jade’s and Gerry’s vocals. Side-Line was already quite charmed by the band, hence why they also feature on our “Face The Beat : Session 3” free download compilation.

Out now is the band’s second album “Apollo & Dionysus”, this time also featuring guest vocals by Mondträume and Mr Kitty adding both a synth pop and techno touch to the Avarice In Audio material.

The album is released now as a CD and 2CD boxset (available here for ordering) next to the download via Bandcamp (and other download stores).

The deluxe carton box edition holds a second disc which is actually a full track by track remix album called “Dreamers Never Prosper” featuring reworks by such fine artists as Freakangel, Die Sector, Ludovico Technique, Panic Lift, Alter Der Ruine, Ivardensphere, Kult Of Red Pyramid, Studio-X (of course!), Nitro/Noise, Snuff, Terrolokaust and Biomechanimal. The list is topped by a bonus remix by fellow Australian act Sirus.

Anno 2016 the project features founding members Gerry Hawkins and frontwoman Jade Pegg next to Lawrie Bayldon (Studio-X, Cryogenic Echelon) and Ayax (Ascension Ex, Cryogenic Echelon) who have joined most recently.

Apollo & Dionysus (Bonus Tracks Version) by AVARICE IN AUDIO

Avarice In Audio announce 2nd album ‘Apollo & Dionysus’ – including 2CD set – listen to the first 3 tracks!

Bernard - Side-Line Staff — Wed, 20 Jan 2016 16:21:08 +0000

But out by mid-March will be the band’s second album “Apollo & Dionysus”, this time also featuring guest vocals by Mondträume and Mr Kitty adding both a synth pop and techno touch to the Avarice In Audio material.

Alfa Matrix already made 3 tracks available from the new album on their Bandcamp page, where you can also pre-order the HQ download of the album including a lot of bonus versions. You can stream those 3 tracks below too.

The album will be released as a CD and 2CD boxset (available here for ordering) next to the download via Bandcamp (and other download stores in the future).

Sirus – Satellite Empire (Digital Album – Digital World Audio)

Inferno Sound Diaries — Mon, 07 Dec 2015 10:55:09 +0000

Genre/Influences: Dark-technoid-electronics, body-techno.

Content: Two years after their official debut work “Broken Hearts Corporate Minds” the Australian Sirus combo strikes back with a new, noticeable production. This band set up and driven by the creative mind of Josh Rombout (aka DJ Sirus) deals with a fascinating and modern format of underground electro, which is hard to grasp as one particular genre.

In comparison to their debut album, Sirus hold on to similar influences, which clearly move from EBM to dark-technoid elements, but the global production became more sophisticated. The main characteristic and strength of this band is their taste to manipulate sounds while experimenting with multiple influences, which are going further than EBM and techno-minded formats.

“Satellite Empire” is a progressive-electro work on, which you will notice beautiful ethereal passages featuring the heavenly vocals of Danielle McKay, but also songs revealing elements of d’n’b (cf. “Loic”, “PRISM”), groovy passages (cf. “Neon Dominion”) and a rather cinematographic final cut (cf. “Surfacing”). The work is complex and like in constant movement, revisiting familiar electro elements and mixing different influences with each other.

Today it’s hard and nearly impossible to speak about an ‘innovating’ band, but I like the way Sirus tries to strive for something different. I rather dare to speak about a progressive electro release, but the most important aspect is for sure that there are great songs featured on it.

I’m referring to a kind of sound intelligence emerging from “Surveillance State”, which appears to be the ultimate offspring between EBM, dark-electro and trance-techno music. I already mentioned the somewhat d’n’b driven “PRISM”, which also reminds me of the complexity and genius of Frontline Assembly. But the most surprising song and still my absolute favorite is called “We Have The Technology”. This track is a heavenly fusion between terrific, progressive electro-body structures and the heavenly ethereal female vocals. It’s not exactly a dreamy song, but a hard and transcendental piece of music. The dreamy side is featured on the opening cut “Ministries Of Truth”, which is a kind of magic intro cut.

A last cut I want to mention is the groovy-like “Neon Dominion” where I especially enjoyed the complementary male- and female vocals, which sound a bit like ‘the beauty and the beast’.

Last, but not least I have to mention that the CD format features 3 extra songs, which are remixes by iVardensphere, Grendel and Aesthetic Perfection.

Conclusion: Sirus definitely belongs to this restricted category of ‘progressive’ electro-underground bands trying to innovate and explore new paths. “Satellite Empire” is a work with real big potential!

Best songs: “We Have The Technology”, “The People We’ve Lost”, “Neon Dominion”, “Surveillance State”, “LOIC”, “PRISM”.

Rate: (DP:8½)DP.

Band: www.sirusofficial.com / www.facebook.com/sirusofficial

Label: www.digitalworld.audio / www.facebook.com/DigitalWorldAudio

ESA – Themes Of Carnal Empowerment Pt.3: Penance (CD Album – WTII Records)

Inferno Sound Diaries — Mon, 30 Nov 2015 00:23:29 +0000

Genre/Influences: Industrial, industrial-trance, rhythmic electro-industrial.

Content: It seems that Jamie Blacker considered this new album as the most accomplished work to date. The least I can say is that the 3rd part of “Themes Of Carnal Empowerment” left me rather breathless. I’ve known of Electronic Substance Abuse since their early work and I remember this band for its solid electro-industrial approach.

“Penance” features 10 songs, which are built up in a real progressive way, but always reaching a kind of sonic climax created by a twist of heavy, trance-industrial rhythms and dark electro-industrial arrangements. ESA has never been that hard-hitting and merciless, however the work is still elaborate and professional when it comes to speaking about the global production process. ESA is not exactly the kind of band you can compare with another, but I’m sure it will appeal to fans of This Morn’Omina and iVardensphere.

Most of the songs are quite elaborate and show a terrific progression in sound and cadence. The opening song is a good representation for the rest of the work. It takes off in a rather mysterious and somewhat ambient way, but slowly reaches a pure sonic outburst where it all becomes quite trance. “Be Still And I Shall Tell You Why” and “Master, No Servant” both are brilliant exposures of the shamanic industrial work of “Penance”. Blacker has accomplished an opus magnum where he excels in intelligent sound treatments and great artistic creation. Right at the point where you think he has reached the ultimate point he simply moves injecting some extra dynamic into his work.

The 2nd part reveals a few ‘softer’ tracks on which he collaborated with a few guest singers. Most of the songs remain instrumentals where you can only hear the addition of a few sampled words. The vocals and samplings are mainly used in a way to create an extra sound effect. It sometimes pretty bewitching (cf. “Threnody For You”). “My Church” features a nice twist between male growling passages and spoken female words.

The title song featuring Magenta S. is different and probably the single cut where we can speak about ‘classical’ vocals. The song however remains pretty industrial, but more into a dark atmospheric creation.

A last element I have to mention about this work, is ESA’s move from Tympanik Audio to WTII Records.

Conclusion: This album definitely is one of the most poignant releases of the year in the wider fields of industrial music. This is a fully accomplished and genius creation.

Best songs: “Master, No Servant”, “Be Still And I Shall Tell You Why”, “My Church”, “Men Will Only Break Themselves”, “Penance”.

Rate: (DP:8½)DP.

Band: www.electronicsubstanceabuse.com / www.facebook.com/ElectronicSubstanceAbuse

Label: www.wtiirecords.com / www.facebook.com/WTIIRecords

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

CD and vinyl in one format? Yup, that’s what happened to ‘Is Apollo Still Alive?’, the new single from Rave The Reqviem

Bernard - Side-Line Staff — Wed, 30 Sep 2015 14:46:14 +0000

Here’s something really rare that turned up. For the 3rd and final single (“Is Apollo Still Alive?”) to be taken from Swedish industrial metal-step crossover act Rave The Reqviem’s self-titled debut album, DWA has taken full advantage of both the song’s length and the length of the 3 remixes presented alongside it to squeeze both 4 tracks of CD-audio and – on the first 100 copies only – to lathe-cut the title track for vinyl playback.

Yes – you read that correctly. The first 100 copies of the “Is Apollo Still Alive?” CD (available here) are in fact ‘a hybrid CD/vinyl’ – a format so rare that it doesn’t even really have a name and is only produced by one company on the planet.

Below you can see how that looks like as DWA provided us a picture of the final product.

The CD comes with a special plastic adaptor already inserted, in order to facilitate playback on a record deck. The vinyl track is lathe-cut around the outer-most part of the CD (see also the picture), with the regular CD-audio data occupying the remaining space inside creating a highly unusual and unique artefact.

“Is Apollo Still Alive?” is released on October 9th, and can be pre-ordered now. Be fast if you want to be sure of picking up one of the lathe-cut CD-vinyl hybrid disc versions.

Track listing:

Is Apollo Still Alive? (first 100 copies ONLY)
Is Apollo Still Alive?
Is Apollo Still Alive? (W.A.S.T.E. Remix)
Is Apollo Still Alive? (IVARDENSPHERE Remix)
Is Apollo Still Alive? (VPROJEKT Version 2)

Quite a nice stunt from DWA!

iVardensphere – Stygian (Digital EP – Metropolis)

Inferno Sound Diaries — Sat, 04 Jul 2015 16:11:27 +0000

Genre/Influences: Industrial, crossover.

Content: “Stygian” is the next EP taken from the last full length album (cf. “Fable”) of iVardensphere. To be honest I didn’t exactly expect “Stygian” as title song of an EP as I think it’s not exactly the most representative song of the Canadians.

But on the other side “Fable” still was one of their most diversified opuses ever, which might explain this choice. “Stygian” also was one of the heaviest cuts of the album because of its unusual Ministry-load.

Next to the ‘original’ version, which remains a terrific exposure of power and industrial-rock-body music -carried by furious guitar sounds and driven through a possessed singer, we get 3 remixes. I like the remix by Wumpscut, which is more into the intimate and somewhat atmospheric style of Rudy R.

Iszoloscope transformed the song into a harder outburst characterized by remarkable sound treatments. I like the balance between the harsh electronics and guitar sounds on this remix. Cyanotic tried to remix it a more electronic way and here again I can speak about a rather accomplished version.

We next get a pure B-side song (cf. “Infinite Beauty”), which is more a kind of ambient and somewhat cinematographic try-out and a cover version of Sepultura’s “Roots Bloody Roots”. As I’m not exactly a fan of Sepultura I will not try to compare both versions, but the cover remains pretty metal-addicted, which once more confirm the growing eclecticism of iVardensphere.

Conclusion: “Stygian” definitely is one of the hardest and most crossover songs of iVardensphere ever. I’m still preferring a lot of other songs from the “Fable”-album, but this EP might catch the attention of a wider audience.

Best songs: “Stygian – Wumpscut Remix”, “Stygian – Iszoloscope Remix”. Stygian – Cyanotic Remix”.

Rate: (DP:7)DP.

Band: www.ivardensphere.com / www.facebook.com/ivardensphere

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