Red Lokust have released a new album, “Hope is the Last Refuge of the Dying!”. “Hope is the Last Refuge of the Dying!” is Red Lokust‘s third studio album and is released by Distortion Productions as a limited edition CD and through all digital and streaming platforms.

Lyrically the album deals with themes of loss, cancer survival, war, infidelity and a doomed future. Also featured on this album is a cover of Dramarama’s “Anything, Anything”.

Since their last studio material, the band has played shows all over North America with performances at the Mechanismus Festival (Seattle), Dark Side of the Con (New Jersey) as well as shows in Madison, Brooklyn, Tampa, Pittsburgh, Washington, DC and Philadelphia.

About Red Lokust

Red Lokust is an American electronic music project founded by Jim Semonik in 2015. The band’s music blends elements of industrial, EBM (electronic body music), and synthpop, creating a unique sound that draws inspiration from the electronic music scene of the 1980s and 1990s.

Jim Semonik, known for his work as a musician, promoter, and organizer within the industrial music community, formed Red Lokust as a solo project to explore his creative vision in electronic music. Prior to Red Lokust, Semonik was involved in various musical endeavors, including serving as a member of the industrial rock band Rein[Forced].

Red Lokust made their debut with the release of their self-titled EP in 2015. Following the EP, Red Lokust released their debut full-length album, “The Repercussions of Shedding Your Skin”, in 2016.

Bernard - Side-Line Staff

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

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Genre/Influences: Cinematic, Experimental, Electro.

Format: Digital, CD.

Background/Info: Jean-Marc Lederman (The Weathermen, Ghost & Writer, Gene Loves Jezebel ao)is back on track with a new and already conceptual work. The album title speaks for itself. The Belgian Electro pioneer has been assisted by Tom Shear (Assemblage 23), Christina Z, Jim Semonik (Red Lokust), Mari Kattman, Emileigh Rohn (Chiasm), Ken Magerman, Daz Sharp, Julianne Regan, Jim Marcus (Die Warzau) and Sapphira Vee.

Content: Lederman composed the music for the impressive list of guest singers. The music is filled with explicit astral sound treatments and -atmospheres. The slow rhythms together with the different singers make it more accessible while a few passages are more into Electro-Pop and danceable passages. The main characteristic of the work is the narrating format of the singers interpreting extracts of sci-fi stories.

+ + + : Jean-Marc Lederman moves on exorcizing his endless creative thoughts and concepts with one of his most creative and ambitious works ever. It’s not only about music -which totally stands for the concept of the album revealing a ‘space’-like dimension but also the accomplishment of a wider- and higher artistic goal. There’s a kind of cyber-puzzle wherein the listener/visitor has to unlock every single track.You really have to experience it on your own to realize what it’s all about.

– – – : The importance of the concept is maybe undermining a tiny bit the music itself.

Conclusion: Jean-Marc Lederman revisited sci-fi themes which must have been a piece of cake as he’s for sure the one and only sci-fi musician from the Electronic scene.

Best songs: “The Eyes Have It​!​ Feat. Ken Magerman”, “Titanium Aegis feat. Christina Z”.

Rate: 7½. 

Artist: www.jmlederman.com / www.facebook.com/profile.php?id=100056370733178

Label: www.facebook.com/copint

Inferno Sound Diaries

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

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Jean-Marc Lederman, known for his work with Fad Gadget, The The, Gene Loves Jezebel, The Weathermen, Ghost & Writer (with Frank Spinath from Seabound), and Rohn-Lederman with Emileigh from Chiasm, presents an audiobook of short sci-fi tales, “Sci-Fi Revisited”. The book is narrated by various singers and musicians, and it is accompanied by a computer puzzle game. The package also includes a 12-page micro book with 11 pulp covers.

Released under the The Jean-Marc Lederman Experience moniker, “Sci-Fi Revisited” features Tom Shear (Assemblage 23), Christina Z, Jim Semonik (Red Lokust), Mari Kattman, Emileigh Rohn (Chiasm), Ken Magerman, Daz Sharp, Julianne Regan, Jim Marcus (Die Warzau), and Sapphira Vee.

This release is a co-production between Les Disques De La Pantoufle and COP International. It was produced, arranged, and played by Jean-Marc Lederman. The images for the website and cover were prompted by Kevin B. Lederman. The lab/vault website and video game were developed by Kevin B. Lederman, courtesy of https://blackfoot.io/.

The album is available through COP International and on their Bandcamp page. Note that the CD version comes in a limited edition of just 100 hand numbered copies. It holds a 12-page micro book on 230 gram paper. You also get access to a puzzle game to unlock the tracks.

Bernard - Side-Line Staff

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

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Distortion Productions has announced the signing of Vermont/NYC goth pop band, Metamorph. The label will release the brand new full length album, “HEX” on March 8th, 2024 with a remix from Grendel.

Label owner, Jim Semonik first recalls meeting Metamorph’s Margot Day at The Unconvention in 2022: “I immediately got a friendly vibe from her and knew there was something special going on. My interest was peaked. Her collaboration with Erik Gustafson makes this a no-brainer. You guys are gonna love this project!”

“HEX” will be available on CD and also on all major digital platforms on March 8th.

Here’s the video for “Woo Woo”.

Margot Day, who was an integral part of the 80’s NYC goth scene while fronting The Plague with drummers Nick Ferrell (Spahn Ranch) and Damian (Misfits). She was actually also bandmates with Adam Yauch of the Beastie Boys in her first band, Slow Walk 13 and later with Joey Smur Kryzwonski (Motograter) in her project, Sacred. In Metamorph she is joined by Kurtis Knight and Thaliana.

Bernard - Side-Line Staff

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

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In a remarkable celebration of its 100th release, Distortion Productions has unveiled a unique homage to the 1987 cult classic film, “The Lost Boys”. The project, inspired by the film’s soundtrack, is a tribute by label owner Jim Semonik, who harbors a deep appreciation for the movie’s musical landscape.

Titled “Be One of Us: 1987 Revisited”, the album is a compilation of covers from various artists, each adding their unique spin to the iconic tracks. The album opens with a rendition of INXS’s “Good Times” by Chicago-based band Go Fight. The tribute includes other notable covers such as God Module’s “Lost in the Shadows”, Eva X’s take on Elton John’s “Don’t Let the Sun Go Down on Me”, and The Battlefront’s version of INXS’s “Laying Down the Law”. Additionally, Adoration Destroyed X NØIR has revisited a The Doors classic, while Sapphira Vee has put a new spin on the Eddie & the Tide track “Power Play”.

The album also features Ashbury Heights’ cover of “Cry Little Sister”, Glass Apple Bonzai’s “I Still Believe”, Null Device’s interpretation of “Beauty Has Her Way”, and Red Lokust’s rendition of “To the Shock of Ms Louise”.

“Be One of Us: 1987 Revisited” is available on CD and across all digital streaming platforms including Bandcamp.

About ‘The Lost Boys’

Directed by Joel Schumacher, ‘The Lost Boys’ is a 1987 American film that blends supernatural elements with comedy and horror. The film, which was produced by Harvey Bernhard, features a screenplay penned by Jeffrey Boam, Janice Fischer, and James Jeremias, based on a story by Fischer and Jeremias. Its ensemble cast boasts notable names such as Corey Feldman, Jami Gertz, Corey Haim, Edward Herrmann, Barnard Hughes, Jason Patric, Kiefer Sutherland, and Dianne Wiest.

Set in the fictional Californian town of Santa Carla, the plot centers around two teenage brothers who, along with their divorced mother, relocate to the town. They soon uncover a startling truth – Santa Carla is overrun by vampires. The film’s title draws inspiration from J.M. Barrie’s iconic characters in his Peter Pan and Neverland tales – the Lost Boys, who are eternally youthful, much like the vampires in the movie. The majority of ‘The Lost Boys’ was filmed in Santa Cruz, California.

Bernard - Side-Line Staff

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

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The dark electro act Third Realm is back with an all new album, entitled “Into Oblivion”. Out via Distortion Productions it is available now as a limited edition CD and through all digital and streaming platforms.

The prolific Buffalo, New York-based project first began in 2000. Third Realm first signed with Distortion to release both “The Suffering Angel” (2017) and “Dystopian Society” (2018).

After reconnecting with label owner, Jim Semonik, the two decided to partner up again for the new album. Third Realm mastermind, Nathan Reiner explains: “We got to chatting, and it was a no-brainer to return to the Distortion family. The loyalty, transparency and dedication Jim demonstrates is unmatched, so I am highly grateful to be releasing the new album with his support.”

As far as what the album is about Nathan says: “Darkwave Industrial is all about pushing the boundaries of sound and emotion. With ‘Into Oblivion’, I’ve delved deeper into the shadows to create a musical landscape that immerses the listener in a hauntingly beautiful and thought-provoking experience.”

You can check out the album on Bandcamp.

Bernard - Side-Line Staff

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

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American  Paul M. Graham this year unleashed the fourth album of his Tragic Impulse sonic project. It’s the third opus released by Distortion Productions. “Distant Worlds” takes the listener away to visit a dark- and danceable experience of EBM empowered by Dark-Electronics and Industrial, but also polished with Pop elements. Most elements of the production process have been improved so in the end you get a varied, danceable and efficient work.

(Picture credits by Sergei Photography / Interview courtesy by Inferno Sound Diaries)

Q: I remember a previous interview you were talking about growing maturity and studio equipment, which both are essential aspects in the evolution and development of an artist. How did you see both elements evolving from your very first song till the new album?

Paul: I’ve definitely had growth in my production skills since the first album (“Machine Parts”). I felt great about the writing on the first album, but I just didn’t feel the mixing and such was at a similar level. I was still very much a newbie at the time. Rather than farm out that work to a more accomplished producer, I’ve stuck with it and feel pretty good about where things are now. There’s always lots of room for improvement though and I’ll never consider myself a finished product.

As for studio equipment evolution, almost all of that has happened in the form of soft-synths and software tools. I’ve found that I can create the music I want without the extra expense and physical space it takes to keep all the hardware. There are advantages to hardware for sure, but I’ve found that for my needs, I really don’t need that anymore. “Distant Worlds” was done entirely without any hardware synths.

Q: I can imagine “Distant Worlds” was mainly –or entirely, written during the ongoing pandemic. In which way did COVID affected your artistic activities and your mood plus creativity when composing the opus?

Paul: The album is definitely a product of the pandemic and the track “Oubliette” is a great example of that. The term by definition means: ‘a dungeon with the only entrance or exit being a trap door in the ceiling’. It’s a dark song that parallels the confinement, fear, and uncertainty we all felt/have been feeling during this time. Other tracks also have hints of this mood and feel as well.

Q: What have been the different stages from the moment you started writing the first song for “Distant Worlds” till the moment you got the production finished? What have been the main challenges when composing this album and what are your biggest points of satisfaction?

Paul: I tend to ‘nibble’ with my song creation, moving around from one song to the next and back again, and this album was no different. Sometimes everything falls into place with a song and I finish it in one pass but that’s rare. Giving me time between songs helps me prevent listening fatigue and keeps me inspired. My method might seem strange to some artists, but it works for me.

For “Distant Worlds”, the bulk of the album writing was done during the pandemic and since I had spent more time indoors, I created lot more material I considered viable for the album. At one point, I had considered doing a double-album but the ten I went with just felt right. Having all that material is both a blessing and a curse because while I had a lot to choose from, deciding what stays and goes is always hard.

I’d say the biggest point of satisfaction is that the album seems to have successfully provided a little something for everyone and avoids pitfalls like repetition and predictability. I asked fans shortly after the album was released what their favorite songs were, and the answers were all over the place. Hearing that kind of feedback is always very satisfying and rewarding. 

Q: I experienced “Distant Worlds” as your most diversified album to date; from familiar EBM/Dark-Electro songs to sophisticated passages reminding me Clock DVA to a furious cover version of Ministry. Tell us a bit more about the content and different influences running through the work?

Paul: I touched on this a little bit in the last question, but I feel great about the diversification on this album and that’s probably because that’s an approach I favor in the artists I listen to as well. “Oubliette” is dark and brooding, “Failed Reality” up-tempo/high energy, and “Dance Till You Die” stompy so there’s some ground covered there. “Parasite” is also an interesting example of that diversification because it feels so very different than the rest of the album. It’s actually been a very popular track and that’s probably because of the throwback EBM vibe it has to it. As for the Ministry cover of “Just One Fix”, I really wanted to pay homage to a song that was a gateway for me getting into Industrial music. I was mostly into Metal music back-in-the-day and when I transitioned on from that I was looking for something with an edge to it and bands like Ministry, Front Line Assembly and KMFDM bridged that gap. To this day I’m still heavily influenced by those bands.

Q: I think you’ve live dates planned in the US so tell us a bit more about Tragic Impulse on stage? What might people expect when going to a live show and how do you transpose the studio sound to the stage? What about European shows?

Paul: Our live shows have always translated well from the studio and part of that is by design. For example, I never use too many FX or heavily process my vocals for that reason. When you hear me sing live, I want you to have a similar experience to our recorded material, so I put an emphasis on that. Also, I’m not sure why, but we tend to surprise people (in a good way) with our live shows. It’s happened so many times, we started referring to it as “The Response” lol.  I think this may happen because we don’t have the same name recognition as some of the bigger bands so we surprise people when they see us. So while they expect someone like Suicide Commando to be amazing (and rightfully so), us…?, not so much. We’re working hard to change that however!

As for live dates, a few months ago we played the Dark Side of the Con festival and that was an amazing experience. We also just finished performing at the Distortion Productions (Jim Semonik) 200^th show extravaganza and we had an awesome and energized crowd for that one as well.  Upcoming shows in 2022 include a date in New-York City with Rain Within, Red Lokust and Interface, and one in Pittsburgh with Solar Fake. We had hoped to tour more in support of the album this year but have had some unexpected interruptions in our schedules so we’re looking to hit that hard next year.

We haven’t played anywhere in Europe yet but that’s definitely on our ‘to-do’ list. Playing at something like WGT would be a dream for us. For you promoters out there, we can be contacted at info@tragicimpulse.com 

Q: What place did Tragic Impulse take in your life? What are the further plans and ultimate goals? 

Paul: Since the live show is my wife Heidi on keys, and me on vocals, it’s been a great way for us to travel and meet new people. The recorded music is great but the real thrill for us is live shows since we get to connect with fans, other bands, promoters, DJ’s, etc. We’ve been into the Goth/Industrial scene the entire time we’ve been together (almost 19 years) and the band is just another way we get to spend time together doing what we love.

As for the future, we’ll keep making music and keep playing shows with the intention of playing more gigs in more places. Hopefully we can keep that momentum going!

Inferno Sound Diaries

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

www.side-line.com

Out now is the all new album “Aerial Human” by Sapphira Vee. This is already the 5th album by Sapphira Vee and her second release on the Distortion Productions label. You can expect a darkwave / trip-hop sound evoking 4AD acts like Lush . You will equally hear EBM touches recalling classic Chris & Cosey on for instance the first single “What Is This”.

For the album Sapphira joined forces with Houston hip-hop artist Pee Wee P on “Fools”, Blue Eyed Christ’s John Norten on “Let the Arrow Break”, and Veronica Tam on the opening “White Aura” which was written by Jean-Marc Ledermen of The Weathermen. Also included are the three original tracks from last year’s “Duet” EP, featuring Chris Connelly (Ministry / Pigface / Revolting Cocks / Cocksure, etc.), Mike Reidy (W.O.R.M. / The Joy Thieves /Dogtablet), and Jim Semonik (Jimmy Semtex / Red Lokust / Rein(Forced) / creator of Electronic Saviors). In addition, Roger Ebner (Roger Ebner Band / Bitter Elixir / Yeti Rain) played the saxophone on “This Gift Was Not Meant For Me”.

New York native Sapphira Vee has been active since 2018.

You can check out the full album right below.

Bernard - Side-Line Staff

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

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Genre/Influences: Electro-Pop, Cinematographic, Experimental.

Format: Digital, CD.

Background/Info: Jean-Marc Lederman has achieved a new work featuring guest singers. In the past few months he released similar albums like “13 Ghost Stories” and “Letters To Gods And Fallen Angels”, and also “Venus Chariot” as a collaboration between him and Emileigh Rohn. “The Raven” is driven by a new concept where Lederman asked his guests to work on old texts from poets like (Byron, Poe, Plato, Shelley, de Froidmont ao.

Content: The guest singers for this album areMari Kattman (Helix, Mari & The Ghost), Christopher Hall (Stabbing Westward), Mark Hockings (Mesh), Elena Alice Fossi (Kirlian Camera, Spectra*Paris), Azam Ali (Niyaz), Dr. Strangefryer (aka John Fryer), Jim Semonik (Red Locust), Lis Van Den Akker (Misery, Psy’Aviah), Ken Mageman, Jean-Luc De Meyer (Front 242, 32Crash), Stefan Netschio (Beborn Beton), Emileigh Rohn (Chiasm), Christina Z.

Sound-wise the work is pretty eclectic, moving in between a free interpretation of Electro-Pop compositions and more pronounced Cinematographic music. The songs feature numerous, typical Cinema music arrangements, which are sometimes bombastic, but also pretty evasive. I also noticed very Minimal-Electro driven pieces. The songs have been sung/performed in English, French and Italian.

+ + + :Each time,  Jean-Marc Lederman Experience again sounds like a new and fascinating journey. First there is always an interesting concept and I like this one for mixing old poems together with music, which as an imaginary Soundtrack has been performed by the artist. There’s once again a true symbiosis between music and vocals, seeing Jean-Marc transforming himself into a sonic chameleon. Music and performer are totally complementary, now resulting in a sensual composition like the one with Mari Kattman, then into a kind of Lounge approach with Mark Hockings, becoming totally minimal with Dr. Strangefryer, getting us into a dreamy part with Lis Van Den Akker. But the most surprising- and poignant track is the one with Jean-Luc De Meyer inspired on a poem of Hélinand de Froidmont. It’s an old and tenebrous poem, which has been masterly interpreted by the Front 242 lead singer and adapted into a horror-like music composition. There are several noticeable cuts on this album, which is more an album to listen to instead of dancing.

– – – : The album once more creates the illusion listening to a compilation instead of an album composed by one artist. That’s part of this concept and I’m sure Jean-Marc Lederman still has enough ideas and creativity to move on with it.

Conclusion: Jean-Marc Lederman Experience and his guest singers stand for a true sonic intercourse. This is a new brilliant piece of music and the perfect successor to “Letters To Gods And Fallen Angels”.

Best songs: “The Worms Of Death”, “Invocation”, Frankenstein”, “Smouldering Corpse In The Morning Sun”, “The Cold Heart Slept Below”.

Rate: 8.

Artist: www.jmlederman.com / www.facebook.com/Music-composer-Jean-Marc-Lederman-1585277635023000 / www.facebook.com/jeanmarc.lederman

Label: www.facebook.com/copint

Inferno Sound Diaries

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

www.side-line.com

Today we can you present in all exclusivity the brand new video from The Russian White. “Stalker” was originally released on the annual Electronic Saviours compilation, where all the sales are donated to cancer research.

The initial inspiration for “Stalker” stemmed from vocalist Tom reading, “I’ll Be Gone in the Dark” by Michelle McNamara.

Tom: “When I was a kid, I experienced two failed home invasions. We were watching Terminator 2 Judgement Day and a masked intruder tried coming through the sliding glass door on our porch. Then a few years later another interloper tried to enter through a kitchen window while I was home alone. We all grew up in small towns where violent crimes were the exception rather then the norm. People weren’t afraid of everyone around them.

While we were producing The Haunted Beach, Sean was awakened and held at knife point while his studio was ransacked. I started to empathize with the targets of the Golden State Killer. We could of easily become victims ourselves. Jay Arch our amazing videographer helped us visualize these experiences in the video.

We tried to turn something traumatic into something positive by including the track on the Electronic Saviors | Industrial Music to Cure Cancer compilation out on Distortion Productions. Jim Semonik from Distortion has been absolutely amazing in giving his charities the support they need.”

Here is the video, enjoy this mix of industrial, darkwave, and deathwave!

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Dark-electro, EBM.

Format: Digital, CD.

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

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

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

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

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

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

Rate: (8).

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

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

Inferno Sound Diaries

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

www.side-line.com

Out in June is the charity 6CD compilation set “Electronic Saviors 5: Remembrance”. Out via Distortion Productions, and not via Metropolis this time, this fifth volume this volume was again compiled by cancer survivor and industrial scene promoter and DJ, Jim Semonik aided by Chase Dudley.

The 6CD boxset can be ordered here – note that it only has a limited distribution.

On this 6CD set you’ll find tracks by coldwave and industrial rock greats such as Pig, Mindless Faith and 16Volt next to Psy’Aviah, FIRES, Esther Black, Encephalon, Ashbury Heights, Stoneburner, Ludovico Technique, Red Lokust and so and so on. 105 tracks in total.

The fifth edition will be available in a strictly limited edition boxset run on only 500 copies. It also includes a wristband, bumper sticker and autographed postcard.

Here’s the album teaser:

Bernard - Side-Line Staff

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

side-line.com

Tragic Impulse is a rather new EBM-minded solo-project set up and driven by Paul M. Graham. The second album “Devil On Your Shoulder” released on Distortion Productions will be for sure an opportunity to discover this American artist dealing with a dark EBM format.

(by Inferno Sound Diaries)

Q: Tell us a bit more about your artistic background and activities, which finally brought you to set up Tragic Impulse?

Paul: I started experimenting with electronic music in the early-mid 2000’s and to be honest, I was pretty bad at. I remember getting a remix kit for one of Informatik’s songs and I gave up on it pretty quickly because I just didn’t have the skills to pull it off. I kept working at it though and in 2012 I submitted the song “Apocalyptic Visions” to the “Electronic Saviors 2”-compilation under the project name Eisengeist. The song had no lyrics/vocals and it was pretty raw from a production standpoint, but it got accepted and appeared on the bonus track section of the compilation.

Gaining confidence from the Eisengeist track, I decided to put more time and energy into making electronic music. However, I wanted to go in a different direction musically so Tragic Impulse was born.

Q: I guess you must notice a serious move in sound, writing and global production from “Machine Parts” (debut album released in 2014) towards the new work “Devil On Your Shoulder”?

Paul: I do feel that “Devil On Your Shoulder” represents a degree of maturation in my overall sound, writing and production. When I was working on “Devil On Your Shoulder”, I remember being very critical of the production value on “Machine Parts” because it felt so inferior to me at the time (still does). I think the biggest reason for this is that between albums I continue to get better at translating my ideas into finished and more refined products. New synthesizers, studio gear, and equipment upgrades always has some impact on this as well. I’ve already started working on the next album and feel that the sound, writing, and production is superior to “Devil On Your Shoulder” as well. I’m excited about it! I see all this as growth so it’s a good thing.

As far as sound goes, I dabbled with things like pitch-shifted vocals on “Machine Parts” (cf. “I’ll Be Your God” & “I Hear Footsteps”) but none of that appears on “Devil On Your Shoulder”. That’s something I probably won’t go back to but you never know. “Devil On Your Shoulder” is more representative of the vocal style/feel I’ll be using going forward. I do love a good vocoder though so that’s not going anywhere LOL.

Q: Tell us a bit more about the new work and especially the kind of album you’d in mind?

Paul: I originally considered making “Devil On Your Shoulder” a concept-album but it never really materialized. Although not electronic, I always loved Queensryche’s concept-album “Operation Mindcrime” and wanted to do something in that vein lyrically (I still might).

Beyond that, I really just wanted to make an album that had good dancefloor appeal. I love knocking back a pint or two at the local goth club to loud stompy music and Tragic Impulse I think reflects that. Otherwise, I tend to mix things up from song to song thematically.

Q: What’s the deeper meaning of the title “Devil On Your Shoulder” and what’s the importance of the lyrical content of your songs?

Paul: The song “Devil On Your Shoulder” is largely about temptation and schadenfreude. People do some horrible things at the expense of their fellow humans and the song explores that metaphorically. As for the title, I like albums with a title/track relationship and I thought “Devil On Your Shoulder” stood out so I went with it.

The rest of the album covers a lot of ground lyrically and thematically. “Flesh And Blood” is about how being different is OK. “Evolution Revolution” is about reinventing yourself  and “Lightstpeed” is about the vastness and wonderment of our universe. Ultimately though, the songs are about whatever the listener wants them to be and I have to say nothing feels better than when a fan tells you a song resonated with them on a personal level. That’s happened more than I expected on this album and it’s always a delight to hear.

Q: Do you have some referential musicians, bands, producers… and what make them ‘special’ to you?

Paul: There’s so many artists and people who have influenced me that it’s a hard question to answer in this limited space. To pick a few though, I would say that Project Pitchfork – particularly their early works – has had a big influence on me. From the music to the lyrics to their live shows, everything that band does just resonates with me. I also love the way Daniel Graves (Aesthetic Perfection) works a stage. I’ve seen him play to both small and large crowds and he brings the same amazing energy and intensity each time. Claus Larsen is also a big influence. One of the highlights of my burgeoning musical career has been sharing a stage with him. He’s an incredible artist and an even better person.

I’d be remiss if I didn’t mention Jim Semonik (Distortion Productions/Red Lokust) as a big influence as well. I don’t think I’ve met a person with as much perseverance, passion, and dedication to the EBM/Industrial scene as him. I feel pretty lucky to have him as a friend as well.

Q: Referring to live performances, Tragic Impulse doesn’t have a real live experience so far. How comes and what kind of show might the audience expect during the next months? How do you transpose the studio work on stage and will you get some help from extra members?

Paul: Although it’s taken a while to get going, the live show is actually up and running. Over the last year I’ve shared the stage with Leaether Strip, Ludovico Technique, and Kite to name a few. The response so far has been overwhelmingly positive and future live performances, such as a “Distortion Prod”-tour in Summer and “Danse Macabre 2” in Pittsburgh around Halloween, are being planned.

The big reason the live show took a while to get going is that I wanted finished music I could put into the hands of people who wanted it after a live performance. I know a lot of bands get started doing live music before moving on to recording but I’ve always found this counter-intuitive. I’ve had people buy my music after every gig I’ve done so I think the strategy works. Another reason the live show took a while to get going was just translating the studio work to the stage. I had to invest in new portable gear and this took some time and money to sort out. It was time well spent however and I’m pretty happy with the results.

I’m definitely looking to add more people for live performances. At a minimum, I’d like to have someone on keys and maybe add a drummer for bigger gigs. I’ve talked to a few people about that so we’ll see how it goes. Other than that, I’d love to catch on with a festival or two as well. I went to WGT in Germany for the first time last year and all I could think about – other than Schwarzbier and bratwurst (yum!) – was how awesome it would be to perform there.

Courtesy by Inferno Sound Diaries

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro-rock, rock-pop, hard-rock, synth-pop, punk, experimental.

Background/Info: Fast forward 30 years.  Industrial music scene promoter, cancer survivor and musician, Jim Semonik (label owner of Distortion Productions and active in multiple bands) has brought his fundraiser “Electronic Saviors: Industrial Music To Cure Cancer” to the aid of many a cancer victim.

It is with this intent that his label, Distortion Productions, LLC and Electronic Saviors offer up a tribute to the robots in disguise with “Respect The Prime: 1986 Revisited”. For the first time ever, the classic soundtrack from 1986’s “Transformers”-movie has been rebuilt from the ground up.

Bands: Xenturion Prime feat Trulos Haugen, Ghostfeeder, Bella Morte, Victor Love, Caustic, Everything Goes Cold, Latexxx Teens, am.psych ao.

Content: This sampler features 17 formations dealing with a rather diversified inspiration. No doubt about it, the original songs probably influenced the bands to experiment in sound and style. This album reveals several hard-rock minded pieces, which is a total surprise.

Other cuts move into electro-rock and vague electro-pop. But you also will hear some elements of metal music and even punk. Several songs are instrumentals, which accentuate the soundtrack feeling. Only one band (cf. am.psych) has been featured with two songs. One of them is the theme of “The Transformers”.

+ + + : The idea to release a music compilation as a way to bring some aid to cancer victims is not new, but still a great mark of solidarity and commitment. This is a record you’ll buy because of its initial concept while the content will for sure deliver a few nice surprises. am.psych is not exactly a newcomer although not exactly a familiar name and their electro-rock music reminding me a bit of The Swamp Terrorists.

– – – : Sound-wise this sampler is really versatile and simply mixes the most different and sometimes opposites genres together. There’s not much cohesion between some songs.

Conclusion: I’m definitely into the goal and concept of “Electronic Saviors” although the content of this edition can’t totally convince me!

Best bands: am.psych, Everything Goes Cold, Thoughtform, Ghostfeeder.

Rate: (7).

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-electro, dark-EBM.

Background/Info: Red Lokust is a brand-new duo set up by Lee Lauer (Aslan Faction) and Distortion Productions owner Jim Semonik (also involved in multiple bands like Electronic Saviors and Rein[Forced]). “The Repercussions Of Shedding Your Skin” is the debut album featuring 10 tracks plus 2 remixes.

Content: The sound clearly finds its inspiration in the darkest realms of electronics and EBM. The sound might appeal to lovers of Suicide Commando, Leather Strip and related formations.

The production reveals cool sound blasts and typical icy melodies while the enraged vocal parts clearly are another typical element for this kind of music. I can’t say that Red Lokust is an innovating formation, but definitely driven by experienced artists. The work features great sound treatments and rough, danceable cuts.

Interface and Leather Strip both accomplished great remixes, but especially the remix by Claus Larsen is absolutely phenomenal. He transposed “Speechless” in a terrific, spooky cut while adding his vocals on the song.

+ + + : Red Lokust will clearly seduce the dark-electronic community. This is album is the perfect stereotype of a well-crafted and efficient dark-electro production. “Mistakes Were Made” is one of the absolute highlights, while the remix of Leather Strip is in my opinion one of the best made by Claus Larsen.

– – – : The main and single reproach about this album is the lack of originality in sound. It’s a cool work, but maybe a bit too stereotypical.

Conclusion: You directly notice Red Lokust are not beginners, but a mature formation dealing with pure dark-electronics. This is an interesting band to keep an eye on!

Best songs: “Mistakes Were Made”, “Speechless – Leather strip Remix”, “Factionless”, “Perspective”, “When we Knew You – Interface Remix”.

Rate: (7½).

Band: www.red–lokust.com / www.facebook.com/Red–Lokust-734889406642643

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

Inferno Sound Diaries

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

www.side-line.com