Italian author Simone Puorto launches his book, “A Cactus in a Dead Land: Pilgrimage and Ritual in the Cultural Afterlife of Ian Curtis and Joy Division (and the Forgotten Story of Cornelia F.)”, on 26 October 2026 at Proper Sound in Macclesfield. The 296-page book, published 1 October 2026, examines why fans still travel to the English town where Ian Curtis is buried, and reconstructs the story of Cornelia F., a German Joy Division fan buried seventeen gravestones from Curtis in Macclesfield Cemetery.

The launch runs from 5pm at Proper Sound, 8 Chestergate, The Grosvenor Shopping Centre, Macclesfield SK11 6BA, ahead of a restaging of “New Dawn Fades,” the play about Joy Division and Manchester, at Cinemac the same evening. Admission is free. Puorto is joined on an informal panel by Nigel Carr, co-producer of “New Dawn Fades”; Ben Walker, the painter whose work “Hollows of Devotion” is the book’s cover; Chris Connelly, author of “Cargo Recording Studios 1977-1985”; Lucie Wright, founder of Proper Sound; and Brian Gorman, writer of “New Dawn Fades.” Victoria Middles, wife of music journalist and author Mick Middles, moderates. A Joy Division quiz, with signed books and artwork among the prizes, runs at Proper Sound at 3pm on 26, 27 and 28 October.

“A Cactus in a Dead Land” is not a conventional Ian Curtis biography. Puorto draws on music history, tourism research, collective memory, philosophy and the anthropology of ritual to examine the streets, record shops, walls and gravestones in Macclesfield and Manchester that have become sites of pilgrimage since Curtis died in 1980. Side-Line reported in 2015 that a wealthy fan purchased Curtis’ former home in Macclesfield with plans to turn it into a Joy Division museum.

Puorto described the book’s focus on the people around Curtis, not on the singer himself: “Most of what has been written focuses on Curtis himself,” he stated in press materials for the launch. “Far less has been written about the other side of that relationship.”

At the book’s center is Cornelia F., whose story Puorto reconstructs through archival research, correspondence and testimony. According to the book’s own account, she is buried about seventeen gravestones from Curtis’ memorial in Macclesfield, and died on 18 May 1993, thirteen years to the day after Curtis. Puorto’s publishers describe her story as resting on fragmented and sometimes contradictory recollections, and the book separates documented facts from speculation. The book also includes a photograph believed to show Curtis, recovered from a weather-damaged card left at his memorial and restored for publication.

The book carries a foreword by Philippe Carly and an afterword by Jennifer Otter Bickerdike, among 16 contributors that include Josh Lonsdale, who plays Curtis in “New Dawn Fades”; photographer and curator Katja Ruge; and Chris Connelly. It is available in Kindle, paperback and hardcover editions. All profits after expenses will go to charity, with mental health and suicide prevention organisations under consideration.

About Simone Puorto

Simone Puorto is an Italian writer, researcher and techno-philosopher with more than 25 years of experience in travel, hospitality and cultural research. He holds the Head of Emerging Trends and Strategic Innovation role at Hospitality Net, has authored five books and more than 300 articles, and lectures at EHL Hospitality Business School and Les Roches. He has followed Joy Division for more than three decades and co-sponsored a 2024 fundraiser at Manchester’s Star and Garter for the restoration of the Ian Curtis mural.

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. 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!

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It all began in 1983 under the name Xymox, a musical project founded and spearheaded by Ronny Moorings. Shortly after, the project evolved into Clan Of Xymox, marking the birth of a band destined to leave an indelible mark on the Dark-Wave scene. Signed by the legendary British label 4AD, the band released two seminal albums that would become classics in the genre. While they briefly returned to the original name, since 1997, they have been known exclusively as Clan Of Xymox. What makes Clan Of Xymox truly special is not only their pioneering role in the New/Dark-Wave movement but their unwavering ability to create valuable and impactful music over the decades.

Unlike many of their contemporaries, who often rely on the nostalgia of 80s hits, Clan Of Xymox has consistently released strong, fresh material, proving that their creative spirit remains as vibrant as ever. With a career spanning over 40 years, Clan Of Xymox has firmly established themselves as one of the most influential forces in Dark-Wave. Ronny Moorings has remained true to the essence of his sound while allowing it to evolve, ensuring a timeless yet contemporary edge. Their latest and 18th studio album, “Exodus”, released via Trisol (Germany) and Metropolis (USA), is a testament to this balance. Featuring a collection of masterful tracks, the album combines melancholic, dark, atmospheres with Pop-infused arrangements that are both haunting and danceable.

I felt it was the perfect time to take a retrospective look at Clan Of Xymox’s incredible journey. In this interview, Ronny Moorings graciously shared his insights, reflecting on the band’s beginnings, their evolution, and their current work. I am deeply thankful for his enthusiastic cooperation and for taking the time to answer in such detail. His dedication to crafting inspired music over such a long period is remarkable, as is the man behind the artist. Respect! (Courtesy by Inferno Sound Diaries)

‘I Wanted To Be A Part Of Things Which Were Happening In Front Of My Eyes’

Q: Getting back to the early 1980s which marked the rise of New-Wave music and subgenres like Dark-Wave, Cold-Wave, and Post-Punk. How do you reflect on those formative years and what do you recall from the very beginning of your career? Specifically, what events or circumstances led to the formation of Xymox and, later, Clan Of Xymox and what was your original dream when you first started making music?

Ronny: I will make this a short story because there is so much to say about how it came to be. I was in bands from on my childhood in my birth town Roosendaal (NL) where I already played live at the age of 11 with older 15 year old friends. When it was time for me to study, I first moved to The Hague, deciding after a year of Social Academy that I’d rather do a Sociology study in Nijmegen.

In the early 80’s there was a lot going on. Musically we had the Deutsche Welle and from the U.K. came New-Wave. This appealed a lot to me and DJed (what I also already did in Roosendaal as a teenager) this type of music in the local venue Doornroosje. It was volunteers work, but I got to see all the cool bands coming in.
The alternative scene was thriving in the whole of The Netherlands. Naturally many British bands were on the fore front of innovation. The Goth / Wave movement came also to Doornroosje. I remember especially Bauhaus and The Virgin Prunes making a big impression on me because they sounded and looked visually stunning. The Virgin Prunes making a complete theatre out of their show; it looked like genuine madness with a lot of stuff flying about on stage. With Bauhaus, Peter Murphy just looked the ideal part, a new ‘thin white duke’ with white light shining under his chin and the rest of the band in fluorescent colours, exposed with a black light.

Every week there was a brilliant band to be seen in Paradiso (Amsterdam) or in Doornroosje, like Echo And The Bunnymen In an army outfit with camouflage nets hanging over the stage, The Sound, Dance Society, The Birthday Party with Nick Cave swinging like a monkey from left to right from the light supports, giving it a high energetic performance, Siouxie And The Banshees, The Cure ( they played in a circus tent) and later seeing Robert Smith playing guitar with Siouxie in Rotterdam , Theatre Of Hate, Eyeless In Gaza, Black Flag, The Comsat Angels, Sisters Of Mercy, in the Milkyway Amsterdam,  of course with Wayne Hussey,  Further The Slits, Liaison Dangereuses, U2 ( played in Arnhem for 400 people) who was pretty unknown still etc. Too many to mention!

All bands not jet known by the majority of people but making a big impact on everyone alternative seeing them live. New-Wave, Deutsche Welle, Punk, Synth-Pop and New-Romantics was now a major alternative movement perfectly fitting the times we were living in.

Also the Netherlands produced influential bands who made quite an impression on me, like I already mentioned Mecano & Minimal Compact from Amsterdam, Nasmak from Eindhoven, Coitus Interruptus from Utrecht, and ‘famous’ local bands from Nijmegen like Mechanic Commando and Vice.

By seeing all these brilliant international and national bands I knew there and then that I had to start something new and interesting too. I wanted to make music like these bands. I was totally inspired. I wanted to be a part of things which were happening in front of my eyes. I wanted a band instead of just making things late at night on my own on a 4 track for no one else to hear.I wasn’t the only one feeling this way. It seemed that nearly anyone in the local scene started a band. In every squat people started a band and rehearsing was no problem in these industrial buildings we all occupied. Music was becoming a way of life, a means to express your views. There were enough opportunities for bands to play. There were always some old factories freshly squatted. One of the first shows I did was on a festival in De Plu Fabriek, a desolate disused umbrella factory. The festival had a social awareness theme about ‘Acid Rain’ of which maybe a handful had heard about. It was not taken very serious yet by the general public. It was the first ever show of Xymox there.

Round the same time at the University we had to do a video project. We had to film something about a socially significant social subject, so I started filming and interviewing the squatters local bands I knew. I still have the V2000 video tape but because of its backdated discontinued format, I haven’t been able to see it since the presentation at the University of Nijmegen.

In the beginning of 1980 in Nijmegen I had no real serious relationship with anyone. I was fairly new in town and most people I found quite uninteresting. The typical jeans and long hair student types, freshly coming from their cosy parental homes, with only one aim in life and that is to study, graduate and getting a job. Also most people were just coming out of the seventies and their clothes reflected that, very colourful shirts, a lot of blue jeans and mostly having long hair. In Rotterdam long hair in the back and short in the front was accompanied by a little moustache was the local fashion there.

Anyway, just after my initiation weeks of the University back in Nijmegen, one night I went out, going to a bar where I would normally not come with my fellow student friends. I was standing there drinking beer with my mates until I spotted this girl in the distance. She had the same kind of image as me. Out of place I thought. I simply had to talk to her and soon we were engaged in conversation and ended up spending the night together in her basement flat.. She told me she came from Nuenen, a small village close to Eindhoven but very famous for the house of Vincent Van Gogh. Her name was Anke.

In this period I wanted to start a Live band with the name I already had:  Xymox.  One day I showed her my songs I had recorded and asked if she would want to be in my ‘band’ which was just me at the time 😉 I said it would not matter that it was only the two of us because a lot of bands played with a drum machine and it would be a cool thing to do; she agreed. The songs were most of the time two or three chords so it was not too difficult for her to learn the tracks. I released this tape at the time, sold it for cheap (some people still have it). She liked the songs and decided to learn and play the bass guitar so she could play live. We started rehearsing together in 1982. I started sending my old Xymox demos to various venues and to my surprise a dozen clubs or so liked it.

Soon we played live with the two of us in various alternative clubs. I was singing, playing guitar and the synth plus operating the rhythm box. She played the bass by now and did some backing vocals . The songs were all mine, if you could call them songs 😉 For transportation I had my old cheap orange Renault 4 with a shift stick. All the equipment fitted in beautifully. Because we were just with the two of us and the fuel was very cheap, the money earned was very reasonable for those days.

Later we got asked by the locally known band Vice to support them. We did so and managed to play quite a bit of shows in the South of the Netherlands again. We felt we were getting somewhere.

Later a few friends to join our ‘band’ live. They were hitting metal pieces or doing backing vocals etc. Inspired of course by Einstürtzenden Neubauten. We started rehearsing in the empty vaults of a squatted bank building. Soundproof and safe it luckily was 😉

Anke wanted to move to Amsterdam in 1983, when she changed her study. She wanted to study Psychology and since I finished my Sociology ‘Candidates’ phase holding an official diploma. I was looking for a relevant Masters study so I decided to go to Amsterdam as well, I chose for  ‘Media Studies’ at the ‘University of Amsterdam’. Apparently you would have a lot of freedom with this study as well.

In Amsterdam I was asked by a friend in 1983, if I wanted to DJ for a local pirate radio station WHS. The show; ‘De Lege Huls’, translated ‘The Empty Shell’, would be late at night which of course I gladly accepted. I did this for quite some time well into 1985 until I got too busy with Clan Of Xymox and its many obligations.

As I already said I saved for a while every penny in order to buy my much desired object, a Teac 4 track multi tape recorder. I bought it in Antwerp, Belgium, November 1982. After many recordings of songs and ideas in Nijmegen I started a new In April 1983, frantically starting to record some new songs; the old ones were already more than a year old and I wanted to have new ones. With the help of the Teac 4 track recorder I could be more creative with writing and recording, bouncing previous recordings and build on that.

The instruments I had access to were: a Yamaha synth, Korg Poly 6 Synthesiser, Korg MS10 and MS 20, a rhythm box K500 , an electric Framus guitar, Welson Keyboard, a standard Shure 58 mike of course, my fantastic vintage space echo, melodica, guitar pedal effects and a bass guitar. A later valuable asset was later a Solina Strings but this one was borrowed once and a while.

All instruments were played in real time on tape. No sequencer used. That was too expensive.
These were the days computers were only academic and hardly used by anyone at all. Computers were just those big main frames standing in a government building or only portrayed in science fiction. Today our ears are completely trained to sequenced patterns, then it was something new, the ear was untrained to these sounds and pattern uses.

Soon things were ready. I asked Anke if she wanted to sing one song on the track I already prepared for her. It ended up with the title “Call It Weird “, so now  all tracks were done and everything was set up to bring these recordings to a mastering plant near Amsterdam called  Dureco. This was a vinyl factory specialised in producing Dutch product, the type like ‘Dutch Schlager’ like Vader Abraham known internationally for his “Smurf” songs. He was prominent on the wall everywhere in the factory offices. The main earner. Newer versions of this first EP exist: “Muscoviet Musquito” ( deliberately spelled this way) and “Going Round”. Both have various versions over the years.

‘I Felt That The Xymox Days Were Not The Right Way To Go’

Q: Xymox became Clan Of Xymox when you signed to 4AD, but later you reverted to Xymox before ultimately returning to Clan Of Xymox in the late ’90s. How do you view these shifts in retrospect? What, in your opinion, distinguishes Xymox from Clan Of Xymox?

Ronny: I started with the name Xymox and released my first EP “Subsequent Pleasures“ under this name. When Xymox got signed by 4 AD and the first debut album was called “Clan Of Xymox” I decided it was a slightly better name also because I had found people to play the songs live, so hence the ‘Clan’. I considered Xymox as my Pseudonym.

When Clan Of Xymox got signed by Wing / PolyGram USA I felt this was a significant change and wanted to underline this with shortening the name and perhaps with the reasoning that it would be easier for people in general to remember our name when it was shorter.

After 4 albums under the name Xymox, with the album “Phoenix” it had gotten too commercial in my opinion. With the 2 UK releases “Metamorphosis“ and “Headclouds” which were too Experimental and nothing much to do with the early material on 4 AD I decided in 1997 it was time to reintroduce Clan Of Xymox again with the same approach and attitude as in the earl 80’s. I felt that the Xymox days were not the right way to go and that it was better to stick to my own opinion instead of letting people influence me in one way or the other.

The result was the album “Hidden Faces” released worldwide on Tess Records and Pandaimonium Records in Germany in 1997. This was the start of Clan Of Xymox again. Since Phoenix I didn’t tour anymore. Had actually no live band anymore. I started to find again people who could play live with me and soon I had a live band ready to start promoting “Hidden Faces” and the older works on 4AD. Mojca my partner was there already since 1991 with me learning to play an instrument, keys and bass. She already designed the artwork from on 1992. In 1995 I decided to play in The Netherlands and promote “Metamorphosis” and “Headclouds”. The old live members from the 80’s Frank Weyzig and Will Anvers joined me on stage together with Mojca on Keyboards. This tour made me realise I missed playing live and soon since 1997 Clan Of Xymox played live each and every year till now and will keep on playing live.

I have a steady crew for more than a decade now with Mojca from on 1991 (of course), Mario ( more than 20 years), Sean and Daniel. I stay with the labels Metropolis (USA ) and Trisol (Germany ) as well as I run my own label Xymox Control now for decades a steady course with Clan Of Xymox, only expanding with my band, slowly but gradually. It manifests in the vast amount of sold out shows we are having each year.

‘We Were In Our Extravaganza’

Q: You were closely associated with 4AD, one of the most groundbreaking labels of the early New-Wave era. How did an unknown band from the Netherlands find its way onto such an iconic label? And how did your time with 4AD influence your evolution as an artist?

Ronny: Back in 1983 I felt that my former town Nijmegen ‘deserved’ a few copies of “Subsequent Pleasures” too. I was doing all the distribution myself. I sold 150 through Rough Trade UK, 150 in New Waves France and 150 export to Essen in Germany. Anyway, so I went to Nijmegen the night of the ‘Day of the Dead’, 1st of November.
I decided to visit a friend but he was not at home so not knowing what was going on that evening  I soon found out The Cocteau Twins were playing in Doornroosje that night, so I had to see them. There was still plenty of time left so I decided to have something  to eat in my favourite eating cafe De Plak. Whilst having dinner I heard English was spoken on another table, so my interest was aroused. Maybe this couple were The Cocteau Twins? Had to be! An English male and female.  Without any hesitation I went to their table and asked them all sorts of questions about their band The Cocteau Twins. They informed me politely that they were not The Cocteau Twins but were their supporting act called Dead Can Dance and if I wanted they could put me on the guest list; which I naturally did not decline since I was no longer active in Doornroosje anymore. In return I gave them a copy of “Subsequent Pleasures” for them to listen to.

Having seen Dead Can Dance they blew me away, just like of course The Cocteau Twins. After the show I went boldly to the dressing room and drank some beer with both the bands as they were sharing the dressing room and already established that we were all like-minded, talking to each other, or trying to, because Robin Guthrie of the Cocteau’s had a very heavy Scottish accent. Difficult to understand for a  Dutchman who knew and spoke only ‘school’ English. That night I learned then that Brendan was Irish, lived in New-Zealand, moved to Australia, met Lisa in Melbourne and moved to London to work on their musical career. A similar story was true for The Cocteau Twins who moved from Scotland to London to work on their career. All was very interesting and at the end of the night we swore to keep in contact and said our goodbyes.

During that time I kept in contact with Brendan and Lisa who lived together on the Isle Of Dogs. They invited me to their London home and I stayed at their place quite a few times. In those days I had to travel by ferry to the UK, a long journey. They lived on the 11th floor with a fantastic view over London. The flats were those typical council flats, ashen grey and reeking of urine in the elevators. They had a staggering amount of locks installed on their front door. With all their equipment at home I could understand their mistrust of their surroundings. It was all very depressing but very exciting for me. Brendan worked the same way as I did. We ended up with almost the same equipment in 1986. Brendan and Lisa were then still living together and were really dedicated to music. Every day they recorded or rehearsed. Lisa mainly singing and playing the Yang Ching. I slept in the living room and later on some visits they had a closet, like the one of “Harry Potter”. I slept there and was pretty cosy;)

Xymox started playing live in 1984 again. One day Brendan Perry called me up and asked me if we wanted to support them on a tour in the UK.  Without any hesitation I agreed to do it and almost a week later we were in London. Unfortunately when we arrived nearly all the dates of Dead Can Dance got cancelled and there were only three dates left:  one in London, Huddersfield and one in Dudley. We stayed with Brendan and Lisa, sleeping all on the floor in the living room, which I knew already too well.

During our first concert In London I nearly disappeared through the hole in the stage, I had to walk very carefully  because they did not manage to cover all the holes under the stained carpet. The father of Brendan was I believe the tour manager and his mother made sandwiches for Dead Can Dance when we went on the road to Dudley. The town looked nothing much and the bar we had to play likewise.. our dressing room was between beer barrels and if we wanted to have a drink we had to buy it at the bar said the promoter resembling “Dell Boy” of “Only Fools And Horses”. Still we had a great time hanging out with Brendan and Lisa, who were very generous to give us some money for covering our ferry expenses, which I know for sure they were paying out of their own pockets. After that we did more shows all over The Netherlands till summer.

Brendan Perry was the first one who told me about 4AD.  Before that I only paid attention to bands and not too much to record labels strangely enough.  He said he gave “Subsequent Pleasures” to Ivo Watts Russell , the label boss of 4AD, and so I followed up with sending a demo to 4AD with some newer additional tracks in July 1984, recorded in the Amsterdam Octopus 8 track studio. The demo I had sent 4AD after our shows in Paris’ old theatre La Seballe Club, several Dutch and the 2 UK dates. I was getting impatient as always. I gave Ivo Watts Russell a phone call. I was complaining about how the Dutch music industry sucked and that his label was the only independent label appealing to me. A week before that,  I had a meeting with the Dutch division label EMI but this meeting reminded me of all the cliches I ever heard about Major labels. To my absolute delight and surprise Ivo told me he liked what he had heard from the demo so far and wanted to meet, to see us in person and talk about it.

Ivo wanted to meet the band, so arriving in London, me and Anke  were heading to the private home of Ivo Watts Russell and his girlfriend Debby who also worked for 4AD as their press agent. They lived together in a residential SW12 London area. We stayed in their house for a week.

Anke and I had placed these long extra hair extensions in our hair so we looked a bit like ‘Uber Goths’ with a lot of make-up and special clothing we had designed for us by a friend who was handy with the sewing machine and wanted to become a fashion designer. I saw the surprise on Ivo’s face when he saw us for the first time. We were obviously not looking the way he expected us to look. Most of his bands on the label looked actually quite normal with no real image to speak of; so here we were in our extravaganza.

Luckily Ivo and Debby liked us or the music enough to offer Xymox a record deal and with that great news we went back home. The news had spread that we were the first band 4AD signed since two years of their last signing of Dead Can Dance. After this published fact my phone started to ring frequently and offers for radio and new Dutch live shows offers came in by the plenty.

When the self-titled album “Clan Of Xymox”’ was released funny enough nearly all the journalist thought we were Scottish by origin judging by their reviews. An Englishman is always very sensitive to accents. I saw it as a compliment though. Of course ‘Clan Of’ was suggestive enough 😉 . Most reviews were ecstatic, full of praise with five star ratings, the highest you could get. I guess we got lucky with my intention not to advertise we were Dutch. Having no names on the artwork and let the album speak for itself.

The British can be real chauvinists regarding their music industry, they didn’t take foreigners making music too seriously in those days. Of course the weekly music magazines Sounds, Melody Maker, New Music Express etcetera made up their ‘mistake’ in the eye to eye interviews, clearly pointing out us being Dutch and using the usual stereotype references, with headlines like ‘Dutch Bake’, ‘Dutch Courage’, ‘Going Dutch’, ‘Hollandaise Sauce’ and any phrase relating to the war between the Dutch and the Brits a few centuries ago. Anyway it did not matter anymore because we got the attention;  had a proper selling debut album. We did a lot of photo shoots with an English photographer using drapes in the back ground giving us a more Gothic image. This was used as our promo picture.The Music Maker and Sounds were giving us regular features and interviews afterwards, which gave us finally an international standing. Soon 4AD set up a few shows in Croydon and the University of London plus a John Peel session, which was very important to establish up and coming bands.

‘We Had To Prove Ourselves Time And Time Again’

Q: You’ve already mentioned several legendary British bands that were prominent in the 1980s and shared strong connections and camaraderie. What was your experience of the Dutch music scene during that time? How do you reflect on it now?

Ronny: I only had French, British and Scottish bands as friends. I could not get along with any band in The Netherlands in the mid-eighties. In the Netherlands there was a very strong Rock culture with no space for bands like us. We had to prove ourselves time and time again. I didn’t understand the provincial attitude towards synths coming from the Dutch critics. In a very first review the national music magazine Oor reviewed synths as magic boxes which made them nervous listening to them. When our first album came out we finally got greeted by the more alternative media which just got a foot in the door and were played on radio and TV, MTV and the like. Suddenly we were part of a movement to be reckoned with. Sometimes we even played live twice on a day in The Netherlands.

‘The Only Disappointment For Me Was That I Actually Never Got To Meet John Peel’

Q: During that period, you worked with or crossed paths with notable figures like the aforementioned Brendan Perry. But what about John Fryer, David M. Allen and John Peel? What can you share about those interactions and their impact on your journey?

Ronny: Our first John Peel session was in the beginning of  November 1985. It was pretty stressful for me. We had to record 4 to 5 songs with the live band in one working ‘BBC’ day of 6 hours or so. It didn’t occur to me that I should have taken adaptors for English power plugs with me.  Because it is the BBC, no one is allowed to change a power plug without the assistance of a fully qualified engineer, so it took them already one hour to find such a person as labour union regulations dictated that the technician supposed to have his tea break of an hour. We were already losing valuable time! We didn’t have computers in those days. My first Commodore computer with TV monitor I got in 1988 when I wrote the “ Twist Of Shadows“ album.  The Macintosh 128K a normal mortal could not afford. Clan Of Xymox did however use an 8 track recorder for the backing tracks, like Depeche Mode or The Cocteau Twins used as well. It consisted of individual drum tracks, sequenced bass triggers and strings. This made life a bit easier.  We could thanks to the ‘eight track’ finish within the timeframe of the BBC.

The only disappointment for me was that I actually never got to meet John Peel. Even then he was a legend, especially to me, because it was the best program for discovering new exciting bands. I only got to call him from the 4AD office, thanking him for the opportunity he gave us. He declared in his program that we were the pioneers of Dark-Wave. That was a huge compliment and recognition for Clan Of Xymox. Soon Dutch radios started to follow suit. We got to record a live show for Radio Veronica in Hilversum. Several TV shows invited us for music programs like the VARA. MTV picked us up too. We felt we were on a roll!

John Fryer I instantly liked as a person and sound engineer. He was the in house sound engineer of 4AD and knew what he was doing. He was not afraid to experiment with sampling sounds and replacing them. The AMS delay was his secret weapon. I remember sitting evenings together with John mixing tracks by hand. So I had to pull and push knobs on my side and he on his side. It was a lot of fun and very educational. Later in live John made me a remix for “Big Brother“ from the album “Limbo” (2021).

I worked with David M. Allen on tracks like “Out Of The Rain” and “Sing A Song” together with Jools of Nitzer Ebb. It was in Leamington Spa in John Rivers’s studio. I worked with John Rivers already on the “Blind Hearts”-EP for 4AD and several B-sides for later PolyGram. Now I was working with John on the “Hidden Faces”-album (1997) and we thought it would be very cool to have Dave M. Allen involved. This certainly worked. I wished we had the budget to work on all the songs but I was already glad these two songs worked out fantastically. Dave is a very likeable person with an air of mystique around him. He gives suggestions for you to try and they always make sense. He taught me to delve deeper when needed.

‘Without Me There Is No Clan Of Xymox’

Q: Both Xymox and Clan Of Xymox included founding members Anke Wolbert and Pieter Nooten. What role did they play in shaping the band’s identity, and how do you reflect on the line-up changes over the years?

Ronny: They were both not founding members. They joined me in the beginning of the Xymox period. First Anke as I told you and later in 1985 Pieter. Because they were the first ones joining they are seen as founding members but I am sorry to say; it was always my thing. I was and still am the driving force behind the band and it’s musical direction. No one else. They concentrated mainly on their own songs like “Masquerade” or “Stumble” and “Fall” back in the days. The bulk I wrote. I participated also on their songs as well.

Regarding the songs it is true we worked more together like a band should. In the beginning we rehearsed the songs for live shows and many got changed during this process. This was only sustainable for a short while as nobody liked to rehearse together.

We ended up as 3 individuals writers with different taste and musical directions so it was inevitable it wouldn’t work out long because we were all to egocentric to begin with. When I officially broke up with Anke it was also the end of working together as a collective. We all went our own way.

Indeed we had many changes but maybe the irony is in the word ‘Clan’, a group of close knitted people. So in the end there were many LIVE musicians joining the band for a short or longer period. Joining ‘the Clan’. The red line was and is simple: without me there is no Clan Of Xymox.

All happened really fast in those days. It was a learning process for all involved. Books about the music industry and bands hardly existed. Everyone was left to do whatever with their experiences, positive or negative.
I never knew or expected that just making music could make me enemies but also gaining a lot of friends of course. Jalousie and spite can make people really vicious and vindictive and yet equally so many fans or friends treat you with the utmost respect or even adoration. To me it is just music but soon you realise it is something more than that. 

Former friends or partners turning into your personal enemy. It is the worst thing that can happen, because they know your weaknesses and irritation points and will not shy away from using this against you if they have no pride, dignity or integrity.

Thinking back on this short period between 1985 and 1989 stir more negative emotions then positive ones in me. It wasn’t all bad of course but I can’t remember real long good periods. I realise looking back that I am only happy with the band since the beginning of the  mid 90’s to now, at least 33 years so far:)

Q: How does the young Ronny Moorings compare to the musician you are today? What traits have endured, and which aspects of your younger self do you miss in your music or approach to life?

Ronny: I was definitely very naive in the beginning. When I wrote a song for example I just split the rights between the band members because I thought it would motivate my band to pull more their weight in the band and…. after all I was a socialist and not a capitalist 😉

Soon I discovered that when people sense they don’t have to do too much and can simply lay back whilst I do the heavy lifting because they get paid anyway.

I started to get annoyed with this uneven situation and learned from this that I should not give away my rights that easily just to please band members or partner. So I ended this naive approach and never looked back.
Equally I used to work with bigger crews, managers, tour managers, lawyers and all the professional people they told you would need to have in order to make it as a band.

After many annoyances about the enormous bills I decided I could do most jobs way better. I know I am a control freak. You have to be. You have to understand the way things work. Now I have a lean machine and I like it a lot. Later I also learned to delegate things and that is also very rewarding. I guess ‘live and learn’ is true in my opinion.

‘Dark-Wave Has A Strong Hold All Over The World Like In The 80’s’

Q: Many legendary New/Dark-Wave bands achieved their greatest success in the ’80s. Why do you think those years were so special and unique for the genre? How do you see the evolution of New/Dark-Wave music from its origins to today, particularly in terms of its spirit and cultural significance?

Ronny: Yes, it was a new style taking over with fashion unseen before, It was against the Hippy culture, the jeans wearing long haired pot smokers. It was a clean break from all of this, plus the ‘no future’ feeling with all the political turmoil and nuclear threats hanging over our heads. Remember Thatchers England. Ronald Reagan as president.

These bands made the sound track of our lives and guess what? It is happening again. Dark-Wave has a strong hold all over the world like in the 80’s. Yes, it’s not on the dying radio or TV stations as we know it but streaming like crazy, this time on internet radios, YouTube, Spotify It feels a bit like maybe the pirates in the 80’s.

It feels the same to me and also we have the same nuclear threats back again. In a way it feels coming ‘full circle’.

Q: Over the decades, the music industry has undergone tremendous changes -rising social media, streaming platforms, declining physical album sales, advances in technology, and shifts in performance venues from intimate gigs to massive festivals. How have you navigated these transformations, and what are your thoughts on the (r)evolution of the industry?

Ronny: I navigate these changes just fine I think. I always welcomed change and will ever do. We need to improve. We need to move forward and not backward. When for the very first time in the 80’s I could get my hands on a computer I embraced it as a big help with sequencing and programming. It made endless rehearsing patterns on keyboards so much easier. Later it became my entire virtual studio platform. Streaming is now the most important thing now in the music industry and some artists do not like it, but remember when music was pirated and artists would get nothing from it financially and no insight how many like to listen to your music etc. I love Spotify and as an artist you have access to all date regarding what your fans are listening to.
Most music I listen to these days is from platforms, on my phone with airpods. This gives me more time to listen to music when I am on the move or outside. Everything in one device is just brilliant I think. Of course I have at home all old media devices still in place. I do play vinyl as well when I am in the mood. I still love vinyl and the looks of it. The best format for the artwork to shine.

Q: While it’s difficult for any musician to choose a single album or song as their best, is there a particular piece in your discography that holds special significance for you? Or do you believe that your most recent work is always your finest?

Ronny: I have to agree with my fellow musicians. My recent is indeed the best so far as I can see and feel 😉 It is simply because new songs are for the one who wrote and recorded it the most exciting, the most fresh and recent to your current experiences. You have to play them live which you haven’t done before and in the end they will sound different then when it came out. If you don’t have that feeling the artist should not release the album in the first place 😉

‘I Let The Listener Feel What I Feel’

Q: Your lyrics often feel deeply expressive, sometimes addressing social and political themes, other times delving into introspection. Do you see your lyrics as a reflection of your true self? What value and purpose do they hold for you?

Ronny: Sometimes yes and sometimes no. It’s complicated 😉 I definitely sing about emotions I feel or felt. Say I sing about Evelyn, Louise or Michelle. That doesn’t mean I know a person with that name or sing about a real person. All these names are fictional but the feelings and thoughts what went into these songs are real. Sometimes more than one person I think about finds its place into a song lyric. It all depends. Political themes are the ones which affected me like in the Lockdown periods in the early 20’s. It comes home, becomes personal and I describe more the situation than anything else. I let the listener feel what I feel.
Sometimes I write a song to blow off steam and feel good afterwards. Most of the time it’s about a person who doesn’t want to leave me alone almost my entire life 😉 I can keep going on like that. I always delve the lyrics out of the depths of my mind where it lay buried until I get it out through some type of instrumentation deciding for me what the topic is going to be. A new to be written song has most of the time its own will and direction.

Q: Clan Of Xymox has consistently attracted new fans over the years. What do your fans mean to you, and how does it feel to have a lasting influence on the Dark-Wave scene?

Ronny: Fans are the most important to me. Without a doubt. We meet so many dedicated fans, traveling to all of our shows they can reach within reason. We always talk to anyone after the show who’s interested, have selfies taken, give autographs, give something a fan would like to experience, a closeness you can’t give onstage. A hand shake, a look in the eye.

I am honoured to contribute to the Dark-Wave scene as it is today. All bands who are now big I met when they were still beginning and were our support one time or the other. I know that we had an influence on them but now they are an influence on me the same. So it works in the end both ways. To me this scene is the best scene ever for me.

Q: Looking back on your career, what do you consider to be your biggest milestones? And what were the most significant disappointments?

Ronny: I am still working on my biggest milestone 🙂 My quest is to see how long I can still play live with the band. That is my ultimate quest in life. Disappointments enough, especially in people, but to me that is also an inspiration to write songs about so in the end all turns out for the best. I am lucky I have many good friends in my life to compensate for the negative. Unfortunately I am a person who has to be on the darker side of things in order to feel inspired. So I don’t mind 😉

Q: How have you managed to keep finding fresh ideas and challenges over the years? Were there periods where inspiration waned, and if so, how did you overcome those creative blocks?

Ronny: I think in the beginning it was harder to write as it is now. To me writing comes very natural I think. Maybe because I have more to say now than when I was in my twenties. In that time I read a lot of books in order to get lyrically inspired. For a long time now I just write from what comes up in my mind and put it into lyrics. Way easier I think and less time consuming 😉 The music was never a problem. Finding words to it is a harder nut to crack sometimes.

A creative block I handle very easy: I put the song away and start with something else. Sometimes its years later that I have a look at it again, if I can do something with it and often that’s the case. So for me I don’t like to force a song if it doesn’t present it by itself.

‘Joy Division, The Sisters Of Mercy And The Cure Were Very Important To Me’

Q: One of the most surprising entries in your discography is “Kindred Spirits” (2012), a cover album featuring renowned songs and artists. How did you choose the tracks, and what connection do you have to those songs? Would you consider them key sources of inspiration?

Ronny: When I was young, the only means of getting to know music was the radio or “Top of the Pops” later in the 70s. In the Netherlands we had bands like Shocking Blue, Brainbox, Earth And Fire, Focus, The Golden Earring and such, which appealed to me a lot. These were the bands I was interested in. On TV we grew up with The Beatles, The Rolling Stones and of course The Monkees especially grouped for US TV. These bands made me want to play an instrument at a very young age. After that I always stayed on the alternative side of music. On my album “Kindred Spirits“ you can see and hear which artist influenced me in the direction I was going. Bands for example like Joy Division, The Sisters Of Mercy and The Cure were very important to me.

I gave or restricted myself to make a choice for ten songs of bands who had in one way or the other an impact on my musical taste. I wanted to give an ode to these bands and revive these songs in my memory to keep and make them as my own. In the end I did 11 tracks of my all-time favourite bands or songs.

Too many bands like to hide their influences or deny them. I decided to give them my own pedestal.

Q: This year marks the release of Clan Of Xymox’s 18th album, “Exodus”. What does this album represent within your extensive discography? Can you share insights into its creation?

Ronny: I finished and released the album “Limbo” in 2021 and I wrote the “Exodus” album after writing “Save Our Souls” in 2022 in 2023. The last song I wrote for this album was in January 2024 and here we are. In a way keeping the tradition of one album release in every two or three years.

We toured an awful lot so the little time I had, I spend in the studio taking my mind of things. The late general developments in the world I felt writing about. Instead of introspective lyrics I felt more like describing our current times we live in. After “Save Our Souls” I wrote “Fear For A World At War”, especially after all the rhetoric of Putin threatening Europe or the world with nuclear strikes. Because the world is massively gearing up for war.

When I was born there was the biggest world crisis between the Soviet Union and the USA about the missiles in Cuba.

It is ironic that now we are living with almost the exact conditions but this time closer to home, having a nuclear missile threat. History repeats itself . I certainly hope this is not getting out of hand but the signs are that we seem to step up our war talk more and more. SOS indeed. The world is at turmoil and nothing good will come out of this. Exodus for me as well when it gets out of hand. Anyway, this is the back ground for writing all these songs for “Exodus”.

Q: Talking about “Save Our Souls”, there clearly is a sense of commentary on the state of the world. Do you see music and this album as a unifying force in troubled times? How do you perceive its broader impact on society?

Ronny: “Save Our Souls” was specific about the invasion of the Russians into the Ukraine. It was a shocker for me. Especially after just having toured there in September 2021. I see music in troubled times more as a safety blanket you can wrap yourself in. It gives comfort and soothes your mind and well-being. An escape as it were from the daily sorrows we get bombarded with each and every minute. So far music can change or influence politics when masses cry out for social change. I don’t see that happen with this album or any of my albums;) Never intended for it either.

Q: Authenticity seems to be a hallmark of your music. Many fans describe a sense of genuine emotion and connection in your work. How do you experience this dynamic and interaction with your audience? How powerful or influential do you think music can be in bridging gaps and inspiring change?

Ronny: Wow, if you talk about the grand scale of things you might have a chance to do so but in the cult circuit we are maybe just the inspiring factor. That which might work on a small scale. I should certainly hope that our fans and other listeners get the music of Clan Of Xymox and feel the emotions I feel when I perform these songs with my band. Live you notice this the best. During the show I always look at people and there are so many various expressions on people faces, you feel that you are almost privileged to see an expression of someone when they sink into the song with mind and body. I love it!

‘Contrast Works Always The Best In A Way’

Q: Your music often combines dark, melancholic themes with an energy that makes people dance and feel alive. How do you reconcile these contrasting elements?

Ronny: Contrast works always the best in a way. I defines, it outlines. I have a lot of slow songs with equally dark lyrics but playing live I want to entertain people, want to make them move inside and out. I have luckily lots and lots of songs to choose from and during the years it taught me a lot about which songs people like to hear when they go to our concert. That means the classics are always included and never ignored.

Q: Finally, let’s end with a few rapid-fire questions:

• ‘Sex, Drugs, and Rock ‘N’ Roll’: does this resonate with you?

Ronny: During my long career all certainly resonates at one time or the other. Experimenting with drugs I steered away long time ago. It was perhaps hip in the 80’s or attractive to experiment but the same goes for smoking or anything else unhealthy. I value a healthy life style with perhaps an alternativee: Sex, Wine and Wave 😉

• Is there a band or artist you would have loved to collaborate with?

Ronny: It’s a shame I never got to work with David Bowie. I met him once in LA when he came to see our concert in the Palace. I was too starstruck to even think of asking him. What a missed chance !

• Do you feel a spiritual connection with any particular artist or band?

Ronny: Yes, plenty! I have got so many great friends in the current scene who make great music. Backstage is always fun when we meet.

• In a world without music, what do you think you’d be doing?

Ronny: Not breathe.

• Which Clan Of Xymox song would you recommend to someone who has never heard your music before?

Ronny: “A Day”, “She” or “Loneliness” as a starter.

• How many albums has Clan Of Xymox sold, and which remains the most successful?

Ronny:  Wouldn’t you like to know 😉 “Twist Of Shadows” was still the most successful in terms of hard record-CD/Cassettes sales because it was at the time people could only buy that and did. There was no piracy then, apart from the classic copying on a blank cassette. In terms of streaming and overall impact I have to point to my later works.

• What is the ultimate dream for Clan Of Xymox?

Ronny: To carry on like the last two years.

• What would you want written on your epitaph and that of Clan Of Xymox?

Ronny:  

See you on the other side.

I am the sunlight on ripened grain.

I am the gentle autumn rain.

Do not stand at my grave and weep.

I am a thousand winds that blow.

I am not there, I didn’t go.

I didn’t die, so you know. 

See you on the other side.

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

Athens, GA post-punk outfit Vision Video has launched the video for “Let Go of Time”, showcasing their “Modern Horror” album. The album was produced by Ben Allen (Erasure, Animal Collective, Washed Out, Deerhunter) and mastered at Abbey Road Studios by Frank Arkwright (The Smiths, New Order, Joy Division, Primal Scream, Blur, Mogwai).

Gannon shares, “I wrote ‘Let Go of Time’ not long after I was diagnosed with PTSD. I was watching my favorite vampire film (Jim Jarmusch’s ‘Only Lovers Left Alive’) and I found myself feeling a lot of parallels to how the character Adam felt about the world – having to endure for so long, but always feeling less and less purpose because of this diminishing luster of things. I think that film, and ultimately this song is about finding purpose, joy and love when it is most difficult to find those things in life.”

Vision Video was formed in 2020 by Dusty Gannon (aka Goth Dad) and Emily Fredock. You can order the full album below.

Bernard - Side-Line Staff

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

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The Athens, GA-based post-punk band Vision Video has released its third album, “Modern Horror” which holds 11 tracks. The album is available now via Bandcamp and other platforms.

Produced by Ben Allen (known for his work with Erasure, Animal Collective, and Deerhunter) and mastered at Abbey Road Studios by Frank Arkwright (The Smiths, New Order, Joy Division), thematically the album explores the unsettling realities of today’s world.

The album was introduced through three singles—”Stay”, “In My Side (Modern Horror Version)”, and “Dead Gods”, the latter critiquing the violent dogma and authoritarianism that often dominate global narratives.

Fronted by Dusty Gannon and keyboardist Emily Fredock, Vision Video brings raw goth rock. Gannon, an Afghanistan war veteran and former firefighter-paramedic, channels his experiences into the themes of “Modern Horror” and is much darker than their previous works, such as “Inked in Red” (2021) and “Haunted Hours” (2022).

Gannon has openly discussed the album’s themes, saying, “I see regression happening all over the world. We’re watching the failure of systems like capitalism and religious fundamentalism, and it’s causing unnecessary hardships. This record is my way of addressing these issues and urging for change.” He continues, “Modern Horror is a reflection of the atrocities that we’re witnessing today, but it’s also a call for people to confront these horrors head-on, just as you would face a monster in a horror film.”

Vision Video tourdates

• Oct 25   Athens, GA – 40 Watt Club (Southern Gothic Festival)
• Nov 25  Berlin, Germany – Urban Spree
• Nov 26  Hamburg, Germany – Hafenklang
• Nov 28  Bochum, Germany – Die Trompete
• Nov 29  Bielefeld, Germany – Movie (with the Cassandra Complex & SJÖBLOM)
• Nov 30  Rotterdam, Netherlands – Soundville (with Lifeless Past)
• Dec 1  Brighton, UK – The Hope & Ruin  *
• Dec 2  Nottingham, UK – Bodega Social
• Dec 3  Liverpool, UK – Quarry  *
• Dec 4  Kings Heath, UK – Hare & Hounds  *
• Dec 6  Bristol, UK – Marble Factory  ^^
• Dec 7  London, UK – O2 Shepherds Bush Empire  **
• Dec 9  Dublin, Ireland – Opium  *
• Dec 10  Belfast, UK – Limelight Complex  *
• Dec 12  Glasgow, UK – The Garage  ^^
• Dec 13  Newcastle Upon Tyne, UK – Riverside 1  ^^
• Dec 14  Manchester, UK – Albert Hall  **

^   with The Nightmares
*    with Mark Burgess (The Chameleons)
^^  with The Chameleons
**   with The Chameleons and The Membranes

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. 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!

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The pioneering Swedish electronic band Cosmic Overdose is set to re-release “Final Koko”, which includes the first and last recordings the band made in English before they disbanded in 1981 and reformed as Twice A Man. Originally issued in early 1982 as a highly limited cassette, “Final Koko” has since become one of the rarest and most sought-after items in Sweden’s electro music scene.

Now, this album is being reissued via Progress Productions on November 22nd, remastered by Hans Olsson at Svenska Grammofonstudion in Gothenburg. As an added bonus, the re-release includes several remixes that were previously only available in digital format, offering fans a more comprehensive experience of the band’s final works as Cosmic Overdose.

About Cosmic Overdose

Cosmic Overdose was a pioneering Swedish electronic band formed in 1978 by Dan Söderqvist and Karl Gasleben (Ingemar Ljungström). Both musicians came from experimental backgrounds in Sweden’s alternative music scene – Söderqvist from the psychedelic band Älgarnas Trädgård and Gasleben from the ambient group Anna Själv Tredje.

Initially a duo, the band expanded to include additional members before returning to its core trio by the time they recorded their first album, “Dada Koko” (1980). Their sound was a mix of electropunk, post-punk, and experimental electronic music, influenced by acts like Cabaret Voltaire and Joy Division​.

Cosmic Overdose released two studio albums, “Dada Koko” (1980) and “4668” (1981), before transforming into the synthpop group Twice a Man, which became one of the leading names in Swedish electronic music. Despite their short existence under the Cosmic Overdose name, they left a lasting impact on the Swedish electronic and post-punk scenes​.

In 2016, their work was revisited with the release of a 3CD box set, “Koko Total”, which included remastered albums, singles, and unreleased material​.

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. 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!

side-line.com

This summer, I came across “I’m Too Young to Die”, the debut album by German artist Oliver Decrow. His Minimal-Electro/Wave music evokes an ’80s flashback, enhanced by a modern and personal touch through its gritty analog synth sounds. Released by the renowned Cold Transmission label, the album captivated me with its cold, sterile aesthetic layered over deep, human themes. It felt like the perfect opportunity to reach out to this promising artist. (Courtesy by Inferno Sound Diaries)

Q: Can you introduce us to the musical world of Oliver Decrow? Where are you from, and how did you first get drawn into the world of electro music?

Oliver: I’m from Dresden, East Germany. I began producing music at an early age at school, but it really took off when I studied fine arts at the Art Academy in Dresden. During that time, I met several DJs and shared a studio with a local DJ and tattoo artist. He introduced me to music from the 80s, Italo-Disco, Cold-Wave, and Minimal-Wave like Decadance, Medio Mutante, S.M. Nurse, John Maus, SS-Say, Deux, Eleven Pond, Knight Action, Charlie (Spacer Woman), Moderne, and Linea Aspera.

During this period, I also spent time in shared apartments (WG’s), moving from one party to another. I had no money, and survival was hard, but discovering and enjoying music became a release, helping me get through each day and deeply impacting my personality.

While painting, we would listen to Intergalactic FM or Bohren & der Club of Gore (Piano Nights).

During my studies, I decided to leave Germany and moved to Montreal, where I lived in a tiny flat and made music every day. It was there, and in New-York, that I filmed my first music videos. I’ve always been a computer guy, but I try to bridge the digital and analog worlds. So, making music as an art form or expression felt natural for me. I did many collaborations and projects back then. I also worked with opera singer Annette Jahns, who would visit my cheap basement in Dresden once a week, bringing a bottle of good wine and something to eat and then we produced music together. Rest in peace, Annette! Around this time, I also met Sneaker DJ, who gave me valuable production tips and mastered my first tracks.

Q: You released your debut album “I’m Too Young To Die” this year. A first album is always special, so how does it feel to have it out, and what was the journey like in creating it?

Oliver: ‘Stress test’ is the first thing that comes to mind, especially in the last few weeks. My first album is like a retrospective of three years of making music. There are songs where, as soon as I hear them, memories of specific stories and situations come rushing back. For example, the suicide of my best friend is reflected in the track “Horse Hoof,” and “In My Room” deals with experiences I had with my mother.

The journey to my first album was full of doubts, joy, depression, anxiety, and great moments. Yin and yang -it was a rollercoaster, much like my life. Nothing was stable; everything was questioned. But I’m glad I made it. It was also a relief to finally finish something after such a long time.

One of the most rewarding parts of the journey was meeting new people and connecting with positive individuals worldwide who shared my interests, experienced similar situations, and could relate to my music. I learned a lot during the process and fulfilled a long-term dream. In the end, everything came together. You know, making an album is personal -you open your heart for everyone to see, and that often comes with a price. But I’m already looking forward to the next chapter of my life.

Q: Your sound echoes ’80s Electro-Wave with a modern twist. Which artists or albums have had the most significant impact on you, and how do they influence your music?

Oliver: Life has influenced me the most. I make music primarily to express my emotions or to lose myself in my inner world. If I had to name a few artists who have impacted my style or approach to music, they would be Boy Harsher, Sneaker Dj, Joy Division, Jennifer Touch, Molly Nilsson, Boan, and DAF. But my influences often change, and I love discovering new artists like VOID Palace, Abu Nein, Nights In Athens, Lila Ehjä, Laura Krieg, Kris Baha, Lovataraxx, Asymetric80, Years Of Denial, ManMachine, and Curses.

I’m drawn to artists who present their music in a way that feels authentic, not just like another copy. For example, I met ManMachine at the Ombra Festival in Barcelona last year, and after chatting with him, I saw his music differently. A man, a father, a keyboard -it felt warm and pure. My music is more influenced by emotions and life events than by specific artists, so to speak.

Q: Many of the album’s tracks were performed live before being recorded. How did these songs evolve during the recording process, and what changes or improvements did you make?

Oliver: That’s an interesting observation, and you’re right. The songs on my album really grew during live performances. I redid some finished tracks, adjusting the vocals and synth parts after realizing during live performances what could add that final touch. Every track underwent a few makeovers after live shows. I see the process like painting. You build something up and then destroy it to create something unique and new. The challenge is knowing when to stop.

Q: You already evoked some lyrical themes in your songs which are quite dark and intense. What drives these narratives, and how does turning personal struggles and dark subjects into music serve as a form of therapy or healing for you?

Oliver: Yes, your question holds the answer. I won’t go into detail about how difficult my life was because everyone has their own stories, struggles, and fate. Music is definitely a form of therapy for me. It’s an art form and a way to break out of daily routines and the system we live in. I often wonder what the world will look like in 10 or 20 years, with all the technology, greed, commercialism, and hate. But I know that there will always be people searching for real emotions, analog experiences, and real intelligence or just something like breathing fresh air in the woods.

Q: Are you already working on new material? What can we expect in terms of singles, remixes, videos, live shows, and future projects with your label G50 Records?

Oliver: Of course! A remix tape is coming out, and new tracks are in the works. I love diving into music, especially when life hits hard, and right now, it definitely does. This year, you can catch me playing in Nuremberg at the Bunker Rituals Festival (28th of September), in Dresden with Lovataraxx (20th of October), and in Chemnitz with Left For Pleasure (14th of December). G50 Records is like a DIY label with no aspirations for profit. I’m not sure if there will be any projects with my old friends, like the Klassenfeind-project, but who knows?

I’m really happy with the guys from Cold Transmission Music, namely Andreas and Suzy. It’s like a real family feeling, and we talk daily about the scene and our next creative ejaculations.

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, Washington DC-based Darkwave band The Neuro Farm released its new album entitled “Voices”. “Voices” can be heard today through all digital and streaming platforms and is available on vinyl, CD and cassette.

The Neuro Farm is a darkwave and gothic rock band based in Washington, D.C., drawing inspiration from bands like Joy Division, Nine Inch Nails, Siouxsie and the Banshees, and Sigur Ros. The band consists of four members: Brian Wolff (guitar, vocals), Rebekah Feng (violin, vocals), DreamrD (drums), and Tim Phillips (synth).

They have released three full-length albums:

• Ghosts (2014)
• The Descent (2019)
• Vampyre (2021)

You can check out the full release below.

The Neuro Farm will be on the road this fall with their ‘Voices Tour ’24’ in support of the new album. Read the review of ‘Voices’.

The Neuro Farm ‘Voices Tour ’24’

• Aug 30 – BROOKLYN, NY – A Murder of Crows
• Sep 21 – BLOOMINGTON, IN – Gallowdance
• Sep 22 – CHICAGO, IL – The Fallen Log
• Sep 26 – SOUTH BEND, IN – Cauldron
• Sep 28 – LOUISVILLE, KY – Dark Castle Fest
• Oct 11 – ROANOKE, VA – Beyond the Crypt
• Oct 19 – WASHINGTON, DC – 94.3FM Studio Live
• Oct 26 – LYNCHBURG, VA – Lynchburg Gothic League
• Nov 22 – SALEM, MA – DARQ Salem (with NØIR)
• Nov 23 – KINGSTON, NY – Hororteria Presents (with NØIR)

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. 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!

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The Vancouver, British Columbia-based industrial electronic act 40 Octaves Below presents its newest album “Industrial Vomitorium” out via It’s Alive Network Enterprises on July 23rd.

This is the fourth full length album release from 40 Octaves Below. On “Industrial Vomitorium” you also find a cover of Joy Division’s “She’s Lost Control”. Look for a remix album soon to follow.

You can check and pre-order the release 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. 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!

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Out now via Spleen+ is a brand new EP from the cult Belgian post-punk/new wave band The Names: “Volume”. This new EP holds 4 tracks and can be downloaded right now from Bandcamp. This new EP comes just before the release of their upcoming studio album, “Encore!”.

Kicking off with “Far From The Factories” (which was earlier on released as a 2-track single backed by the track “Apophenia”), the three other tracks are “Mort D’Amour”, “Watching For The New World” and “Laudanum”.

This new EP now also offers a video for “Far From The Factories” set against the backdrop of Belgium’s industrial landscape.

The Names are legends of the post-punk / new wave scene and emerged from the iconic Factory Records label alongside the likes of Joy Division and New Order.

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. 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!

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Astari Nite are back with a new single ahead of the forthcoming album “Resolution Of Happiness” due out on June 21st on Negative Gain Productions. “Tongue Tied Galore” is a typical Astari Nite track blending elements of alternative, indie rock, darkwave and goth rock.

You an already pre-order the new album on vinyl and CD via Bandcamp.

Mychael (Astari Nite) explains the track as follows: “‘Tongue Tied Galore’ is sort of an honest statement of words that has been my anthem, endlessly. Standing the tallest for what I believe in, which is ultimately, love and kindness allows me to live a better life. Imagine there is still a world, a world where people say hello and still hold the door for one another or a world where we give each other advice on how to plant flowers. As silly as it may seem, though these are the things that keep me living for tomorrow. This song reminds me that it’s okay to be yourself and to be considerate to others! Do what you want to, don’t change the volume!”

You can check out the new single below.

About Astari Nite

Astari Nite is a gothic rock band from Miami, Florida, that blends elements of post-punk, darkwave, and new romantic genres. Formed in 2008, the band quickly gained popularity in the local music scene and has since opened for acts such as Peter Murphy, The Psychedelic Furs, and Cold Cave. Their music is characterized by deep vocals, dramatic bass lines, and ethereal guitar patterns, drawing inspiration from bands like The Cure, Joy Division, and Depeche Mode​ .

The band consists of Mychael Ghost on lead vocals, Illia Tulloch on drums, M.Sallons on bass, and Michael Stelton and Howard Melnick on guitars. They released their debut full-length album, “Anonymous,” in 2015, followed by “Until the End of the Moon” in 2017.

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. 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!

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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.

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 on June 7th is the brand new Clan Of Xymox album “Exodus”. “Exodus” is the band’s 18th studio album and comes 3 years after the “Limbo” full length.

“Exodus” comes in various formats, on CD and on limited red transparent audiophile vinyl limited to 500 copies.

Coming out on the same date is a limited multicoloured art edition – equally on audiophile vinyl – of the 2012 album “Kindred Spirits”. Limited also to 500 copies “Kindred Spirits” holds 11 cover versions, entirely played, sung and recorded by Ronny Moorings. Included are “Blue Monday” by New Order, “Question of Time” by Depeche Mode, “Decades” by Joy Division, “A Forest” by The Cure and “Alice” by The Sisters Of Mercy.

About Clan Of Xymox

Clan of Xymox was formed in Amsterdam, Netherlands in 1981. Their breakthrough came with the release of “Twist of Shadows” in 1989, propelling them into the limelight with hits like “Blind Hearts” and “Obsession”, and achieving their most significant commercial success by selling over 300,000 copies globally.

Following internal disagreements, the early ’90s saw a shift in the band’s lineup and musical direction, with Moorings exploring new soundscapes that diverged from their initial darkwave style. This period was marked by experimentation but also by a decline in their U.S. popularity amid the grunge movement’s ascendancy.

A resurgence of interest in gothic rock in the late ’90s saw Ronny Moorings reviving the Clan of Xymox moniker and relocating to Germany, tapping into the burgeoning industrial music scene. Albums like “Hidden Faces” and “Creatures” from this era offered a matured sound, blending electro elements with their trademark darkwave aesthetics. Read the review of ‘Exodus’.

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. 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!

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Genre/Influences: Dark-Wave, Post-Punk.

Format: Digital, 2CD, Vinyl.

Background/Info: Australian Dark-Wave/Post-Punk formation is a praised and renowned formation in the genre which has released an impressive discography. This double disc brings us back to the years 2002 till 2005 featuring thirty five tracks. The band’s line-up was featuring Chris McCarter (vocals, guitars, keyboards), Dino Molinaro (bass) and Clifford Ennis (guitar and vocals).

Content: The work features some of Ikon’s finest singles like “Psychic Vampire”, “I Never Wanted You”, “Rome” ao. Some of these famous songs but also other ones have been featured in different versions. It’s an opportunity to re-discover the powerful, Dark-Wave sound of Ikon which will appeal to fans of Echo & The Bunnymen, Joy Division ao. The songs are driven by impressive guitar playing and charismatic vocals.

+ + + : If you aren’t familiar with Ikon this album would be a perfect introduction. This band has released an impressive number of albums, EP’s and singles with numerous great songs. I especially like the 80s powerful guitar playing which is bringing good-old souvenirs to life. “Psychic Vampire” remains an outstanding and powerful song driven by dynamic drums and the charisma of Chris McCarter who’s the right singer for this kind of music.I also want to say a word about the great artwork of this CD-edition.

– – – : It wasn’t necessary for me to get all kinds of different edits of the same songs.

Conclusion: I can only but highly recommend this ‘earlier’ Ikon work which has been remastered.

Best songs: “Psychic Vampire – EP Version”, “Psychic Vampire – Backdrop Mix”, “Psychic Vampire”, “I Never Wanted You – Version II”, “Death By Dawn”, “Rome”.

Rate: 8½.

Artist: www.ikondomain.com.au / www.facebook.com/IKONbandAU

Label: www.darkvinyl.de / www.facebook.com/darkvinylrecords Read the news on ‘Destroying The Vampire’.

This double CD is a companion reissue to “Love, Hate and Sorrow (2022 Edition)”, also released by Dark Vinyl.

Listen to “Destroying The Vampire”:

About Ikon

Ikon is a darkwave and post-punk act from Melbourne, Australia, formed in 1988 by Chris McCarter (vocals, guitar, programming) and Dino Molinaro (bass) under the name Death in the Dark. The band adopted the name Ikon in 1991. Original singer Michael Carrodus joined for the first two albums, “In the Shadow of the Angel” (1994) and “Flowers for the Gathering” (1996), released after the band signed to Apollyon and Metropolis Records. “Destroying The Vampire” compiles the studio album “Destroying The World To Save It” (2005) and the EP “Psychic Vampire” (2004), recorded with Clifford Ennis on guitar and vocals alongside McCarter and Molinaro. Dark Vinyl reissued the compilation in remastered form on 20 October 2023, alongside a companion reissue of “Love, Hate and Sorrow”.

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-Industrial, Minimal-Electro.

Format: Digital, CD, Vinyl.

Background/Info: Two years after the excellent debut-album “The World As A Hologram” Frett struck back by the end of 2023 with nine new cuts. Frett is Polish artist Maciej Frett (involved with Job Karma) which in this new work has been inspired by the theme of ‘dualism’.

Content: The work takes off with a dark piece which makes me think of an Electronic version of Joy Division. Quite progressively Frett unleash analogue sound treatments, Industrial tones and dark atmospheres featuring now and then female-male vocal parts.  

+ + + : The vintage sound treatments have this unique sound and magic which comes back in the work of Frett. It creates a minimal style exposed by impressive debut cuts “Duality”, “Body Mind” and “DNA”. The female vocals have a kind of sterile exposure which is perfectly fitting to the global sound approach reminding me of 80s productions -with this extra contemporary, refreshing, touch on top. 

– – – : The best cuts are right at the beginning so the rest of the work is a little less exciting although still fully enjoyable.

Conclusion: I preferred the debut album to “Nottow” but however recommend listening to both productions. 

Best songs: “Body Mind”, “Duality”, “DNA”, “Sleepless”.

Rate: 8.

Artist: www.facebook.com/FRETTband

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

About Frett

Frett is the solo project of Polish musician Maciej Frett, also known for his work with Job Karma and the Wrocław Industrial Festival. He debuted the project with the album “The World As A Hologram” in 2021.

Frett released his second album, “Nottwo,” on 27 October 2023 through Ant-Zen. Built around the theme of dualism, the nine-track record is vocally supported by Anna Frett.

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 via Spleen+ is a brand new single from the cult Belgian post-punk/new wave band The Names. “Far From The Factories” holds two tracks and can be downloaded right now from Bandcamp.

“Far From The Factories” evokes the characteristic sound style of the band mixing post-punk guitar work, new wave basslines and atmospheric melodic keyboard elements. The B-side is the track “Apophenia”.

Both tracks are a first sign of the new album which will be released later this year on Spleen+.

About The Names

Emerged during the late 1970s/early 1980s vibrant post-punk era on the legendary Factory Records label (Joy Division, New Order, …), The Names (formed around frontman Michel Sordinia) have continued to perform and release new material since the band reformed in the 2000s.

The initial lineup of the band included Sordinia, guitarist Marc Deprez, and drummer/keyboardist Christophe Den Tandt. Robert Frankson and vocalist Isabelle Hanrez were short-term members. Initially performing locally as The Passengers, they renamed themselves before releasing their first single, “Spectators of Life”, in 1979 through WEA to gauge interest in local new wave music.

Following a Joy Division performance in Brussels, Factory Records signed them. With new drummer Luc Capelle, The Names recorded “Nightshift” in Manchester with producer Martin Hannett in August 1980. This single exemplified their style: a dark, restrained modern rock akin to Magazine, Comsat Angels, and Joy Division/New Order. In February 1982, they recorded a session for John Peel’s BBC Radio 1 show, released as a digital EP, “Radio Session 1982”, in 2009.

Their collaboration with producer Hannett continued, overseeing their next single, “Calcutta” (Factory Benelux, 1981), and their first album, Swimming (Les Disques du Crepuscule, 1982). Their last single, “The Astronaut”, was released in 1982 on Les Disques du Crépuscule, produced by Hannett, who had left Factory Records. As the post-punk era waned, the band disbanded.

In 1985, LTM Recordings released “Postcard Views”, a cassette featuring studio and live tracks. Expanded versions of Swimming, renamed “Swimming + Singles”, were released in 1991 and 2000 by Factory Benelux and LTM Recordings, respectively. A 2013 reissue by Factory Benelux included the 1982 John Peel session.

In 1995, the original trio of Sordinia, Deprez, and Den Tandt formed Jazz, releasing “Nightvision”. LTM’s 2001 compilation “Spectators of Life” featured The Names’ B-sides, live tracks from 1979-1982, and two Jazz tracks.

The Names reunited for A Factory Night in Brussels in December 2007. In April 2009, they released “Monsters Next Door” on Str8line. After Den Tandt’s departure in December 2009, Christophe Boulenger joined. In 2015, now a quartet with new drummer Laurent Loddewyckx, they released “Stranger Than You” on Factory Benelux. A 2016 compilation, “In Mutation”, by Les Disques du Crépuscule included a Deprez 1981 solo single and a 1982 live performance.

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. 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!

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Lots of you have probably heard Noemi Aurora and her very attractive and unique voice within Helalyn Flowers, as well as through her numerous guest vocal appearances over the years. A first solo album is planned for early next year via the Belgian label Spleen+, and a first teaser came a few weeks ago in the form of an EP, “Blood As Lipstick”, which is available on Bandcamp. 

We wanted to know a bit more about what the lady had to offer…

SL.  Your latest single, “Blood As Lipstick,” is described as a rebellious hymn to inner strength and resilience. Can you delve into the inspiration behind the song and how it ties into the broader themes of empowerment and courage?

‘Blood as Lipstick’ can be interpreted as a symbolic representation of personal transformation and empowerment through the alchemical process of transmuting pain and adversity into beauty and strength. 

Overall, ‘Blood as Lipstick’ portrays the story of a woman who transforms the pain and wounds of her life into something beautiful and empowering. It emphasizes the alchemical process of transmutation, where the individual uses their experiences to cultivate strength, resistance, and inner beauty. 

My lyrics encourages embracing challenges and using them as catalysts for personal growth and transformation.

I dedicate this anthem of mine to all the women warriors who fight against discrimination and submission. But not only that, they are also dedicated to all human beings of any sex and origin, since anyone who knows pain and suffering deserves to find the strength to react to adversity and injustices.

‘Blood as Lipstick’ ties into broader themes of empowerment and courage by encouraging listeners to embrace their authenticity, find their voice, and overcome obstacles with unwavering determination.

SL. The press release mentions a range of musical influences from Kate Bush to Dead Can Dance and Zola Jesus. How do these influences shape the sonic landscape of “Blood As Lipstick,” and how do you incorporate them into your unique and captivating sound?

The musical influences mentioned in the press release, such as Kate Bush, Dead Can Dance, and Zola Jesus, play a significant role in shaping the sonic landscape of ‘Blood As Lipstick’.

These artists have distinct styles and sounds that have inspired and influenced my music. These artists are just a tiny selection from the multitude that I have been listening to for years and years until today. I could add many others such as Siouxsie, The Cure, Depeche Mode, Dalbello, Roxy Music, Joy Division, Visage, Madonna, Doris Norton, Franco Battiato and an infinite multitude of high listens from various decades that have worked in my subconscious until emerging in a distilled from my compositions. The artists selected in the press release represent different generations because I enjoy giving space to both the more historical artists who have always been part of my musical background, as well as the younger ones who I have discovered and who have a common fanbase with me, and who have a message to offer and a unique sound. I always like to stay curious and open to discovering new sounds that can suggest an interesting vibe and enrich my cultural baggage.

Going into detail, for example talking about Kate Bush, I draw inspiration in terms of her experimental approach to songwriting and her ability to create atmospheric and ethereal soundscapes. This influence can be heard in the dreamy and otherworldly elements present in ‘Blood As Lipstick.’

For me she is a brilliant artist, when as a child I discovered her on video and listened to her voice hitting very high notes with such a unique timbre, I was truly impressed. She also combines music with theatricality, dance and visual arts which are also basic elements of my artistic journey.

Dead Can Fance’s influence can be seen in the incorporation of world music elements and the use of unconventional instruments.

In Blood As Lipstick, as well as other songs from my next album, I played the wooden recorder which was my first instrument that I studied since my childhood. I approached the study of this instrument in an obsolete way because I used to duet with my brother by playing the guitar scores of Joe Satriani and Steve Vai. A truly original and bizarre result I must say! As for the rhythmic part, I overdubbed ethnic artisan rattles and microphones environmental

Their fusion of different cultural sounds has inspired me to explore and incorporate diverse musical elements into my own work, adding depth and richness to the overall sound of ‘Blood As Lipstick’.

Zola Jesus, I discovered her thanks to the fanbase we share and which allowed me to get to know her music, leaving me pleasantly impressed. 

I found some common traits in her regarding the intention and the way of managing her vocal delivery and expression.

I strive to create a sonic landscape that is both familiar and innovative, by blending elements from my background with my own musical ideas and experiences, I aim to create a captivating and distinctive sound in ‘Blood As Lipstick.’

SL. Can you provide some insights into the concept and themes that will be explored in coming  album, and how it might differ from your previous works with Helalyn Flowers?

As a solo artist, my upcoming album ‘Kintsugi’ will explore themes of personal growth, self-discovery, and introspection. 

Kintsugi is a beautiful Japanese tradition that involves repairing broken objects with gold dust, highlighting the intricate joints. This ancient technique allows us to elevate and value things that would otherwise be discarded due to being shattered. Metaphorically, Kintsugi can be applied to our lives, transforming soul wounds into powerful energies that make us wiser and aware of our goals. Instead of seeing wounds as weaknesses or missing pieces, they become our strengths. Just as broken objects can be enhanced with gold dust, we can transform our wounds into the gold of awareness.

In contrast, my previous works with Helalyn Flowers often focused on different themes such as dystopian worlds or even the exploration of darker emotions. While there were elements of introspection and personal reflection in our music, the overall tone and approach were different.

With my solo album, I have the opportunity to delve deeper into my own personal experiences and emotions, allowing for a more intimate and introspective exploration. The music will have a more stripped-down feel, with a focus on storytelling and emotional connection.

While Helalyn Flowers is known for its fusion of industrial, electronic, and rock elements, my solo album will incorporate elements of dream pop, ambient, and alternative genres to create a sonic landscape that is both haunting and captivating.

Overall, my solo album will offer a different perspective and musical experience compared to my previous works with Helalyn Flowers. It will be a deeply personal and introspective journey, exploring themes of self-discovery and vulnerability in a more electronic, experimental and atmospheric musical setting.

SL. The press release describes “Blood As Lipstick” as a symbolic ode to female empowerment and the lunar side of intuition. Can you elaborate on the symbolism and themes explored in the song, especially in relation to the transformative moments when blood turns defiantly into lipstick?

‘Blood As Lipstick’ is a song that explores the themes of female empowerment and the transformative power of embracing one’s pain and turning it into something beautiful. The symbolism of blood turning into lipstick represents the strength of women, as well as their ability to transform their experiences of pain and adversity into sources of power and beauty.

In the song, the act of turning blood into lipstick is a metaphor for the process of reclaiming one’s own narrative and finding empowerment in the face of challenges. It represents the defiance and determination to rise above difficult circumstances and transform them into something positive and strengthening.

The lunar side of intuition mentioned in the press release refers to the connection between women and the moon, which has long been associated with feminine energy and intuition. The moon symbolizes the cyclical nature of life, with its phases representing the different stages of growth and transformation. By exploring the lunar side of intuition, the song highlights the innate strength and wisdom that women possess, and the importance of embracing and trusting their own intuition in navigating life’s challenges.

With ‘Blood As Lipstick’ I encourage women and anyone else who feels involved, to embrace their own power, trust their intuition, and find empowerment in their own unique journeys.

SL. From your cover of The Cure’s “Friday I’m In Love” to the original compositions, your work showcases a wide range of styles. How do you maintain such versatility in your artistry, and what challenges or joys does this bring to your creative process?

Maintaining versatility in my artistry is something that I prioritize and actively work towards. I believe that exploring different styles and genres allows me to continually grow as a musician and expand my creative horizons. It also keeps my music fresh and exciting for both myself and my listeners.

One of the joys of being versatile is the freedom it gives me to experiment and explore new musical territories. It allows me to constantly challenge myself and push the boundaries of my creativity. I find great joy in the process of discovering new sounds, experimenting with different instruments, and incorporating diverse musical elements into my compositions.

However, this versatility also presents its own set of challenges. It requires a deep understanding and appreciation of various musical styles, as well as the ability to adapt and embody different musical personas. It can be a daunting task to switch between genres and styles seamlessly, but it is a challenge that I embrace as it goes hand in hand with joys of maintaining versatility in my artistry. 

While it can be demanding and require a lot of effort, the rewards are immense. It allows me to constantly evolve as an artist, connect with a wider range of listeners, and create music that is diverse, dynamic, and true to my artistic vision.

SL. As a solo artist, how does your approach to creating music differ from your collaborative work with Helalyn Flowers? Are there aspects of the creative process that you find particularly liberating or challenging in both scenarios?

As a solo artist, my approach to creating music differs in several ways from my collaborative work with Helalyn Flowers. 

The main difference between my solo project and the work with Helalyn Flowers, where we are a duo, lies in the total management of the songs. In Helalyn Flowers we had to balance the more rock/metal characteristics in a different way. In my solo project, as a producer, I have the opportunity to highlight certain characteristics during the mixing, production and mastering phase, which were not possible to share in Helalyn Flowers.

This level of creative freedom can be both liberating and challenging. On one hand, it allows me to fully express myself and experiment with different musical ideas and styles. I have the flexibility to take risks and push the boundaries of my creativity without the need to consider the preferences or expectations of others. This can lead to exciting and unexpected musical discoveries.

On the other hand, this freedom also comes with the responsibility of making all the creative decisions on my own. It requires a strong sense of self-awareness and clarity of vision to navigate through the creative process and make choices that align with my artistic goals.

In both scenarios, whether as a solo artist or in a band, the creative process is a deeply personal and introspective journey. It involves tapping into my emotions, experiences, and inspirations to create music that is authentic and meaningful. The challenges and rewards may differ, but the underlying passion and dedication to creating music that resonates with myself and my audience remain constant.

SL. As fans anticipate the release of “Kintsugi” and further explorations into your solo work, is there a message or feeling you hope they take away from your music? How do you envision your connection with your audience in this new phase of your musical journey?

“Kintsugi” represents a metaphorical exploration of the cracks and imperfections of the soul, and I hope that listeners can find solace and strength in embracing their own vulnerabilities and scars.

In this new phase of my musical journey, I aim to create a sense of connection and understanding with my audience. I want them to feel seen and heard, to know that they are not alone in their struggles and experiences. I hope that my music can serve as a source of comfort, inspiration, and empowerment for those who listen as I want to create a space where they feel safe to explore their emotions and reflect on their own journeys. 

I want my audience to feel a sense of catharsis and transformation and to carry that feeling with them long after they have listened.

Additionally, the best connection being made with my community is through my Patreon page. This platform which allows my fan club to be in close contact with my artistic experience, from the creative phase to the group chat, allows us to explore the concepts expressed in my songs and to create a connection from a daily point of view which is truly an inspiring experience. 

I invite all those who want to actively participate in my Multiverse of Sounds and Visions to subscribe to my Patreon: https://www.patreon.com/noemiaurora 

Thank you very much for this space and I greet with great affection my dearest Shining Disasters who support me since the dawn of time!

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.

www.side-line.com

The US-based post-punk / synthwave act The Sea At Midnight, has just released a four-song EP, “Oceans”, in preview of what is to come on April 1st with the release of a full-length album to follow up their self-titled release “The Sea At Midnight”. The EP is available from Bandcamp and all other digital plaforms.

Behind the The Sea At Midnight project we find Vince Grant, a Chicago born artist. The material was producer by Chris King (Cold Showers) and drum programmer Brandon Pierce. The EP was actually self-released a couple of weeks ago.

For the Los Angeles songwriter Vince Grant it was the older postpunk bands like the Cure, Joy Division, the Psychedelic Furs, Siouxsie and the Banshees, New Order, Echo and the Bunnymen and other bands of that era that inspired him to start making music. He bounced back and forth between New York and LA for a number of years, playing and singing in numerous bands while grappling with drug addiction and alcoholism. After getting sober and making a serious attempt at dealing with his lifelong depression,
Vince now calls LA home.

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. 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!

side-line.com

Former The Cure member Lol Tolhurst, former Siouxsie & The Banshees drummer Budgie, and producer Jacknife Lee have teamed up to create their debut album, “Los Angeles.” This 13-track album is out now through PIAS.

The trio describes the record as “a hard-hitting and compulsively exploratory 55-minute electronic mindscrew, founded on unrivalled rhythmic expertise, fleshed out with an armoury of synths, guitars (Jacknife’s forte) and supplementary percussion, often overlaid with elite-class strings and brass, then universally twisted, manipulated and quite masterfully sculpted by Lee, with his super-producer’s hat on.”

Joining forces with these music veterans are such artists as LCD Soundsystem’s James Murphy, Primal Scream’s Bobby Gillespie, U2’s The Edge, IDLES’ Mark Bowen, Lonnie Holley, Mary Lattimore, Modest Mouse’s Isaac Brock, and Pan Amsterdam.

The debut single, “Los Angeles”, features James Murphy’s lead vocals. The single comes accompanied by a music video, directed by John Liwag.

The tracklist for the album is the following.

1. This Is What It Is (To Be Free) (with Bobby Gillespie)
2. Los Angeles (with James Murphy)
3. Uh Oh (with Arrow de Wilde and Mark Bowen)
4. Ghosted at Home (with Bobby Gillespie)
5. Train With No Station (with The Edge)
6. Bodies (with Lonnie Holley and Mary Lattimore)
7. Everything and Nothing
8. Travel Channel (with Pan Amsterdam)
9. Country of the Blind (with Bobby Gillespie)
10. The Past (Being Eaten)
11. We Got To Move (with Isaac Brock)
12. Noche Oscura (with The Edge)
13. Skins (with James Murphy)

In related news, Lol Tolhurst, co-founder of The Cure, is to release a new book titled “Goth: A History” on September 23rd. The book is a historical account of the genre and culture of goth music, building upon his first memoir, “Cured”.

In it Tolhurst identifies key players in the establishment of the genre, referring to them as the “Architects of Darkness”. This group includes Bauhaus, Siouxsie and the Banshees, Joy Division, and The Cure. He further discusses a group of bands he labels as the “Spiritual Alchemists”, which includes Depeche Mode and Cocteau Twins, indicating their role in extending the reach of goth culture. The book also tracks the genre’s expansion from England to New York, Los Angeles, and other locations.

Side-Line also covered The Cure’s ‘Paris’.

About Lol Tolhurst

Laurence “Lol” Tolhurst (born 3 February 1959) co-founded the Cure in 1976 alongside childhood friend Robert Smith, originally on drums, later switching to keyboards. He played on the band’s early albums, including “Three Imaginary Boys,” “Seventeen Seconds,” “Faith” and “Pornography,” and departed in 1989 following the recording of “Disintegration.” He rejoined the Cure for a 2011 reunion tour and was inducted with the band into the Rock and Roll Hall of Fame in 2019, and published the memoir “Cured: The Tale of Two Imaginary Boys” in 2016.

After leaving the Cure, Tolhurst moved to Los Angeles and formed the band Presence with singer Gary Biddles in 1990, releasing the album “Inside” (1993). In 2002 he and wife Cindy Levinson formed the electronica act Levinhurst, releasing “Perfect Life” (2004) and “House by the Sea” (2007).

Tolhurst’s most recent studio work is “Los Angeles,” a collaborative album with Siouxsie and the Banshees drummer Budgie (Peter Edward Clarke) and producer Jacknife Lee, released via PIAS Recordings on 3 November 2023. The album features guest contributions from James Murphy, the Edge, Bobby Gillespie and Isaac Brock. “Los Angeles” is billed as the first collaborative album between Tolhurst and Budgie, the longtime Siouxsie and the Banshees drummer.

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. 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!

side-line.com

Washington DC-based darkwave gothic rock band The Neuro Farm has just dropped their latest single, “Panic”. The track delves into a childhood experience of fever-induced delirium and is set to be included in their forthcoming album, slated for a 2024 release.

The band brings a blend of vocal harmonies, sweeping violin tunes, pulsating rhythm guitars, and atmospheric soundscapes. Their sound however is influenced by a range of artists, including Joy Division, Radiohead, Nine Inch Nails, Siouxsie and the Banshees, Sigur Ros, Chelsea Wolfe, Portishead, and Rammstein.

The single “Panic” features performances by Rebekah Feng on violin and vocals, Brian Wolff on vocals and guitar, Tim Phillips on synths and programming, and DreamrD on drums and percussion. The track was penned by Brian Wolff and Rebekah Feng, recorded at The Neuro Farm’s own studio, mixed by Brian Wolff, and mastered by Rob Early.

Check it below on Spotify or go to 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. 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!

side-line.com

Mark your calendars for November 10th, as the iconic Dutch post-punk band Mecano unveils a 45th-anniversary album, “Waving Goodbye,” exclusively through Brazil’s Wave Records. This limited-edition CD is limited to only 200 copies, making it a must-have for die-hard fans.

The commemorative album serves as the grand finale for Mecano’s farewell tour, which culminated in a ‘Goodbye’ concert at São Paulo’s renowned Madame Club on September 9, 2023. The album boasts a curated selection of seven tracks, including four classic hits from their early years (1978-1982) and three exceptionally rare tracks from their later discography.

The whole was re-mastered in 2023 by Marcelo Gallo of Pitch Yarn of Matter.

Founded in Amsterdam in 1978 by Dirk Polak and Pieter Kooyman, Mecano initially emerged as a punk ensemble. Their musical journey began with a 7″ single in 1978, but their style evolved into a blend of new wave and art rock, heavily influenced by Joy Division, after the addition of Tejo Bolten, Cor Bolten, and Ton Lebbink in 1979.

Active until 1983, the original lineup released three albums under their independent label, Torso, which later evolved into a prominent Dutch indie label. Despite shifting his focus to art and painting, lead singer Dirk Polak led the band to cult status, particularly in Brazil, Israel, and Greece. Their influence even extended to a split Flexidisc collaboration with Fad Gadget.

The band reunited in the ’90s, releasing three additional albums and seeing multiple re-releases across various labels, including Greece’s Undo Records. Over the years, the band has operated under various names, such as Mecano Ltd., Mecano, Mecano Unlimited, and Mecano Un-Ltd.

These are the tracks included on this limited release.

1. Links (Mecano 1980)
2. Meccano (Mecano 1980)
3. Noble Bliss (Mecano Un-Ltd. 2020)
4. Robespierre Re-Marx (Mecano 1980)
5. Statement of the artist as an old Man (Mecano Un-ltd. 2016)
6. Tabou d’Esprit (Mecano Un-Ltd. 2013)
7. To Life’s Reunion (Mecano – 1986)

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. 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!

side-line.com

(Photos from the personal archives of Jean-Marc Lederman) This article draws from various updates posted by Jean-Marc Lederman (The Weathermen, Kid Montana, Jules et Jim, Ghost & Writer, Lederman / De Meyer, Rohn-Lederman…) on his Facebook profile, which we’ve consolidated into a comprehensive piece. This compilation offers a profound understanding of the workings of the indie music industry during its ‘golden era’. Additionally, it provides specific insights into Mute Records, the label of Daniel Miller, as numerous individuals, including Fad Gadget, mentioned in this article have significant associations with the iconic UK label.

Digital Dance (1978-1979) / Daniel Miller

The year was 1979 and I had just quit, well I was sacked tbh, from Digital Dance , the first band I was in.

We were doing post punk/cold wave/new wave stuff and it was really exciting. I started doing bass with them on a..ARP 2600 whci I had bought working on building sites, yeah, far too much of an overkill I agree. We were rehearsing here and there but did a time at the famous Plan K where we supported Joy Division. Actually, that day I went to pick up Ian and Bernard Summers at the very seedy hotel they were in and I drove them to the gig.

They were laughing like kids, you know, young musicians being happy to play abroad. It was such a cold day, everyone was freezing and Ian even came close to Stefan Barbery (Digital Dance guitar player) who was close to an electric heater to tell him “Well, I guess this is why they call it Cold Wave…”

We also opened to Magazine and Fisher-Z and it was becoming too much of a routine for me: the Brussels band that does all the new wave support slots but hasn’t even got a decent recording contract…

Oh, we had one, and they made us record our very fast cover version of Kraftwerk’s “RadioActivity”. At the end of the session, they made me do some terrible sound effects, hoping to catch on the fad of the moment, and it just ruined the whole song. Tells you that if a thing sounds bad and contrived and cheesy on monday, still sounds the same the day after and 40 years later. Sorry Stefan, my fault.

Then Phil Wauquaire (whom I had met from Streets, the punk band he was in and I actually played with them live on a couple of songs with a…AKS, another overkill) joined us and I played synth with a Korg MS20 then with a Yamaha CS50M who weighted like half an olifant after a drinking binge.

Anyway, after a couple of gigs with Digital Dance at the Gibus in Paris, i was let go (which was fine, really). Two days later, I call Daniel Miller whom I had met in London a few months ago. Digital Dance had been foolish and crazy enough to believe that if you go to London you can pretty much be sure you’ll find a gig. All we did was rehearsing (below Beggar’s Banquet where I met Peter Kent from the future 4AD label) and waiting in our hotel off Kings Road. Anyway, we were trying to get Geoff Travis from Rough Trade to listen to our demo and he stopped it 20 seconds in and tell us: if you go to “Better Badges” now, you’ll see a man called Daniel Miller (from label MUTE RECORDS) and maybe he’ll like your stuff….

So, off we went to Better Badges and there we met Daniel, with a green basket full of The Normal badges.

Daniel and I hit directly like if it was an “International Conference Of Synths Fanatics”. I mean: synths weren’t as known or popular then as they were then. It was still a relatively rare sight on stage or in gigs or in bands that weren’t poppy or progrock. No, we’re talking new industrial scene in the UK: noisy and determined, not minimoogs played by long haired musos…

So, Daniel and I exchanged phone numbers and we traded letters and phone calls here and there. So, remember, I’m sacked from Digital Dance and I then realize that if I wanted to really go anywhere in music, Brussels isn’t the place to be and I must move to where things are happening. At that time, London was THE center of music in Europe and I decide that I want to try my luck and the two major chords I know there. I pick up the phone and call Daniel, asking him if he knew any musician that would be interested in moi ?

Yeah, I know someone, he’s on my label now, he’s looking for musicians, call him… His name is Frank Tovey….

Frank Tovey / Fad Gadget #1 (part 1)

The audition was simple: we didn’t even play a note or try to do a song, we just sat and drank coffee and laughed a lot. But there was no try-out, no keyboard or synths tickering… And that’s how Philippe Wauquaire and I became members of Fad Gadget #1 for a few months in 1980: a simple coffee cup meeting and an unmistakable good chemical feeling between us. Frank had played a few gigs on his own but wanted musicians around him so he could concentrate a bit more on being a little bit less concentrated if you know what I mean.

There was Frank: clever, astute, open, funny, with a lot of wit doubled with a good dose of sarcasm: totally my alley. But he knew what he wanted musically, there was no doubt about what he wanted to sound like. The plan was: rehearse at my place in Brussels, a first gig here, then play a few gigs as support for Deutsche Amerikanische Freundschaft in Germany and going to tour the UK as support for The Monochrome Set.

So, we start rehearsing in my attic: Frank on vocals, Pearl Syncussion and distorted electric piano, Phil on Fender bass and Korg MS 20 and myself on handling the cassette player (each song had its drums/rhythmic parts on a single cassette and I would feed the machine with a new cassette every song) and my 4 notes polyphonic, Yamaha CS 50M. Again, an overkill.

After a few hours of rehearsals, we have our first gig: support-act for Orchestral Manoeuvres In The Dark. We are all extremely nervous but the gig goes well: Frank doesn’t go into the mad behaviours he’s known for yet but you can see he’s holding up something big inside, something is boiling there. After the gig, we proceed to the German border and sleep in a motel there. In the morning, I’m being handed an envelope with my per diem (every day allowance a musician gets when on tour): it is the first time someone hands me money for doing something I love doing: playing music. I couldn’t believe it and I took a second piece of bacon and refilled my coffee cup. We are about to go to Dusseldorf to play The Ratinger Off as support for Deutsche Amerikanische Freundschaft.

Something started to happen at the Ratinger Hof: maybe it was the roughness of the place, the German lager (naaaaah) or the history of the place but this thing Frank had inside him but it slightly came out at that gig. See, there was an animal inside Frank, and that animal was as extrovert as Frank was introvert: Frank was then frontal and loud and, yes, obnoxious but in a gentle and friendly way but he wasn’t the shy Frank. In response to Frank’s changing live attitudes, Phil and I started to play loser and noisier and wilder (and there were far more bump notes on my part) but the band started to make sense.

The crowd wasn’t there for us, they were there for what would later become DAF, but the reaction was good and people liked us. I recall Frank and I going out in front of the place and that guy comes out dressed as a mod, full parka mode with a patch “Remember Brighton” which made Frank laughed a lot, people were out there with their beer and… Omg what am I saying: IT JUST FELT GREAT.

Deutsche Amerikanische Freundschaft at the time was a five piece band and they were fun and chaotic. You couldn’t miss Chris Haas, the synth guy, who was classy and special. He had a very specific body language when playing live: he would stand back, have a smile and just come here and there to play a few notes…He is the real grandfather of EBM as he introduced the famous 1/16th bass line (Korg MS 20 and SQ 10 sequencer) that will be the bone of so many records later on.

The morning after, we went out to the next gig. Daniel, Phil, Chris and myself embarked in my mum’s yellow Civic and we went down the motorway, singing loudly “Fahn Fahn Fahn Auf Der Autobahn” laughing and laughing… I guess Chris must have done that thousand of times before but, for Daniel, Phil and I it meant something different: we were doing it. We were travelling in Kraftwerk’s motherland and going to play electronic music there: it was immense.

We only played one more gig in Germany and then the whole tour was somehow cancelled… Roland Beelen: I saw the animal in Frank I guess a few months later at the Paasfestival in Koninfshooikt (organized by my friend Guy Vanwoensel) I was a stagehand there. Frank smashed a crucifix that was hanging above stage in the hall (parochiezaal)with his magic stick. The whole village was in shock when the news spread the next morning. The vicar organized a special service the next day to please the smashed fallen Christ ! they say he resurrected a few weeks later! All end, good end !

Frank Tovey / Fad Gadget 1980 (part 2)

Something had clicked in Frank after a few gigs: it’s like he had been showed by practice that it could work, that the songs were good, the voice was good but even more than that his FG personnae and ideas had an impact on the crowd. He would go out, do his thing, see people respond to his songs, lyrics and theatrics and then he would retrieve after the gig in the gentle and shy Frank Tovey. Phil and I were providing a background that wasn’t perfect but for Frank it was a great practice for FG future.

When we toured as support for The Monochrome Set, we were sometimes in fire and I could really feel people’s amazement at that born-to-be showman. He would play with the crowd and slowly take them into the show. Our sound might not have been very sophisticated but with Frank’s distorted piano, the CS50 brutal in and out sounds, Phil’s impeccable swirling bass, we were like The Stooges with synths and Frank was a perfect bionic Iggy Pop….I began to be very proud of us, we were quite something indeed and I was going on stage with a mission: to show people the songs and to let them fall in Frank’s performance.

I also remember that after the last show of the tour, possibly at the YMCA gig, one of the roadie came at the CS 50 and started to play some Bach’s prelude. I was stunned and shameful of the snobiness i may have shown the roadies on that tour, or before tbh. I learned a lesson that night and never again would I be feeling above anyone on a stage, or in studio, be them multiple charts success artists or simple roadie.

Something wild happened after our gig at the 100 club. Jock Mac Donalds (from the future Bollock Brothers) was very drunk and he started to look for a fight with us and being extremely aggressive, a bottle in his hand, waving it at us. Phil, FG’s bass player, was a karate black belt and he was looking very calm, coming closer to Jock inch by inch. Suddenly he jumped at Jock, put two fingers on his Adam’s apple and said with a slow voice: “OK, let’s kill”, his eyes deep into Mac Donald’s eyes.

The bottle instantly fell on the ground and the guy just ran out the club swearing loud and clear… Phil and I were sleeping at Daniel’s mom place for a few days and we were making music late at night. One of these nights, Daniel was on Phil’s MS 20, I was trying Daniel’s infamous Korg 700S (the one that was on TVOD and Warm Leatherette) and Phil was on the CS 50M but it was visibly too loud and too late as Daniel’s mum came down and asked us to PLEASE STOP !

Next gig to come was going to be the Clarendon, but we were told this would be our last gig with Frank as he wanted a full band behind him to totally free him from any other duties but vocals. I was devastated…

Frank Tovey / Fad Gadget #1 (part 3)

So, we were invited to headline Stevo’s kinda festival at the Clarendon, on June 27 1980. Stevo was a very colourful character who will make himself known later when managing bands like Soft Cell and The The. The bill was very symptomatic of the time: DAF, Naked Lunch, B.Movie, Vice Versa, Clock DVA,…

So, Fad Gadget #1 had started touring as a relative unknown a few months ago and we were by now talk of the town and headline this festival. It felt good and it felt also important and I was nervous. Everybody was. Frank had a song by Georges Folmby playing before we would go on. Folmby was a Lancarshire working class comedian and he was famous for playing double entendre ukulélé songs. It was a known and safe thing for British people and Frank used it as contrast as chaos would start when we would cut Folmby and go straight into “State Of The Nation” and follow that with most of what is on the album Fireside Favourites.

• State Of The Nation
• Back To Nature
• The Box
• Fireside Favourite
• Newsreel
• Pedestrian
• Coitus Interruptus
• Ricky’s Hand
• Back To Nature

Yes, Frank wanted shock and chaos, and he got that except that at the Clarendon it went a bit further than expected. During one of the early songs, Fad had already taken over Frank, he smashed up his face with one of the two Syncussion drums and it started pouring blood. Phil and I looked at him and he made us understand it was fine and let’s continue…So we continued until someone took Frank off stage as it was just like a fountain of blood by now. The gig was stopped.

We went backstage and Frank was adamant he was fine but Babra (his wife) disinfected the wound and placed a cloth on it. We went back on stage.

The crowd went MAD. Frank was standing there, his white clothes with red blood all over it, singing to the public that was all won. It was an incredible sight, and being on stage, playing the songs with a singer that went beyond the call of duty was something unexplainable. After the gig, we had to take the 5 am ferry. I was sitting on the stairs of the Clarendon and, yes, I was crying, letting all the tension, the fears of the gig off my system but also the sadness I felt after having lived some incredible times with
Frank, as synth player in Fad Gadget. I saw Frank playing with Fad Gadget #2 a few months later and he invited me to play in the encore: we were cool.

Still, I wasn’t done with London and would come back later…

Side-Line also covered Jean-Marc Lederman’s ‘Sci-Fi Revisited’.

About Fad Gadget

Frank Tovey (8 September 1956 – 3 April 2002), an English electronic musician and performance artist, recorded as Fad Gadget, becoming the first artist signed to Daniel Miller’s Mute Records after the two met at the Rough Trade shop in London. His recorded work combined synthesizers with found-object sounds and dark, comic lyrics. Studio albums as Fad Gadget include “Fireside Favourites” (1980), “Incontinent” (1981), “Under the Flag” (1982) and “Gag” (1984), after which he continued recording under his own name, releasing six further albums on Mute between 1985 and 1992. He died of a heart attack at his London home in 2002.

Belgian musician Jean-Marc Lederman played with Fad Gadget in the band’s touring lineup during the early-to-mid 1980s and has recounted memories of touring with Tovey, Daniel Miller and DAF’s Chrislo Haas in interviews, describing Tovey as bringing something unheard in electronic music at the time. Lederman has credited Daniel Miller and Fad Gadget’s early-1980s touring band, including Chrislo Haas of DAF, as formative to his own career.

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. 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!

side-line.com

Grey Gallows is a Greek duo hailing from Patras. The band is driven by Konstantin (vocals & keys) and Dionisis (guitar, bass & keys). They this year released their fourth full-length album “Strangers” which also is the second one released by Cold Transmission Records. The band take us back to the darkest hours of Dark-Wave and Post-Punk while adding a personal touch on top of the composition. “Strangers” deals about different themes which can be summarized to human psyche, love, pain, alienation, and the redemption of the individual, concerning social issues that plague the modern era. I got in touch with Konstantin to know a bit more about this cool formation.

(Courtesy by Inferno Sound Diaries)

Q: Grey Gallows is now active for a couple of years. How did the band saw the daylight and what do you consider as your main accomplishments so far?

Dionisis: We formed as a band in 2016 when I moved to live in Patras and met Konstantin. We became close friends and as we understood that we shared the same taste in music, we decided that we would like to make our own band and express ourselves.

I believe that signing with a label like Cold Transmission and be given the opportunity to perform abroad and especially at WGT is something that we didn’t expect back then and that makes us really proud.

Q: I think your music sounds obviously 80s Dark-Wave / Post-Punk inspired with something extra on top which makes me think to an imaginary hybrid between The Sisters Of Mercy and She Passed Away. Does this description fits to your own perception of sound and what have been the main sources of inspiration?

Konstantin: Well, this is an interesting description, we definitely love The Sisters Of Mercy and we have high respect for She Past Away. We are obviously into 80s Dark-Wave / Post-Punk, listening all those great bands of the past, such as The Cure, Joy Division and Deine Lakaien, but we also like more recent bands, like Lebannon Hanover.

Τhe latest years, being on Cold Transmission, I think that we have been influenced by its distinctive sound and musical approach in general.

Q: You already released several albums but especially both last productions released by Cold Transmission Music give you a wider exposure. How do you analyze the evolution of the band and what’s the impact to be signed on a leading label of the Dark-Wave / Post-Punk scene?

Konstantin: Signing to Cold Transmission gave us both the artistic freedom to express ourselves musically without limits and, on the other hand, to have the chance to reach a broader audience, especially in Germany and central Europe. So, being on a label as supportive as Cold Transmission, is very benefic for us.

We share with Suzy and Andreas our music ideas, discuss the evolution of the band which resulted in friendship.  Moreover we are now family, we belong to the Cold Transmission family and we are very happy and proud of it.

Q: Tell us a bit more about your new album “Strangers”. How did this album saw the daylight and what did you try to express by its lyrical themes?

Konstantin: Some of the songs, for example “Strangers”, were written during the pandemic, so in one aspect they reflect a state of sentimental and social isolation we found ourselves being into those days.

Musically, we tried to evolve our sound, combining a traditional Dark-Wave sound with Cold-Wave and experimenting with more Electronic elements than our previous albums.

Of course we had the honor to have two great female singers in two songs, Kriistal Ann from Paradox Obscur and Irini Tiniakou from Incirrina, a fact that we believe gave a different kind of emotional approach to our songs.

Lats but no least, we had the opportunity to work again with Nick ‘TheMute’ Chalntoupis, our sound engineer, who gave to ‘’Strangers’’ its distinctive sound.

Q: I experienced “Strangers” as your most accomplished and best work to date. Do you think the last album is always the best one? Do you handle specific criteria and/or references when it comes to composition and production?

Dionisis : For Grey Gallows I think that this is true. “Strangers” is our most complete work until now in terms of composition and production. We tried to add more elements in our sound and explore more genres and so we loved that we were able to do different things in each song of this album.

We try in every release, to have let’s say a ‘pallet’ of songs that shows our influences and in “Strangers” we experimented more so that we could broaden our musical horizons.

Q: I noticed you last year also released a live EP/mini-album featuring five songs. How important are live shows to you -and especially after the lockdowns all over Europe? How do you look back at WGT you played this year?

Dionisis: These songs were recorded during the last lockdown for a stream event and later on we came up with the idea to release it as EP.

It was a strange and hard era during the covid for every musician and for their fans also, because gigs are the best way to share your energy and feelings with people who support you and listen to your music.

WGT was an amazing experience and I would say that it was the best gig we had until now. The feedback that we got and the support during the show was something that we really hadn’t expected so we couldn’t be happier. It was a really memorable experience.

Q: What comes next for Grey Gallows?

Dionisis: We are currently working on some new songs for our next album, this is our fuel that keeps us evolving and moving forward.

Furthermore, we have scheduled some live gigs for September, we are a band who loves playing live. In one of those we are supporting the mighty Covenant in Athens on December, along with our friend Night In Athens. So we would like to thank you for this interview, it was a real pleasure and honor for us.

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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(Photo by Harry Stafford and Allie Butcher) Inca Babies are an English deathrock / post-punk band from Manchester, England. Initially active between 1982 and 1988, the band reformed in 2007 featuring founder member and original songwriter Harry Stafford (guitars, vocals).

But now Harry Stafford has collaborated with US-based but Brazil-born trash blues guitarist Marco Butcher to release the single “Walk Among The Spectres”, taken from the duo’s forthcoming album “We are the perilous men” coming this Fall (September 8) via Black Lagoon Records. The material should please Nick Cave fans for sure.

In the video for the single you see Stafford who travels across town to put an electric piano-keyboard on his grave “discovering his own fragile mortality along the way” as the duo explains. The video was directed by Harry Stafford with cinematography by J.P. Conway and filmed in the expansive Southern Cemetery in Didsbury South Manchester, which dates back to 1700 and was used throughout the Victorian era. Stafford: “Now a public park, people are invited to wander among the tombstones… to literally Walk among the Spectres.”

The new album is the follow-up to their debut album from 2021, “Bone Architecture”.

“I have discovered that I spend a lot of my time knowing what I don’t want to sound like. My musical education began with punk and then, when I came to University in Manchester in the early 80s, I found myself submerged into the strange beat infused darkness of the Big city post punk music scene (Joy Division, ACR, The Fall) and I had to form the Inca Babies to make sense of it all,” says Harry Stafford. “Now 40 years later, while I have never forgotten that seismic guidance, my interests, and influence stretch so far, I need someone like Marco to constantly surprise me.”

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. 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!

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Synical, the dark wave industrial act, is set to release their fifth album, ‘This Will All Happen Again’, today on Cleopatra Records. The album promises a unique blend of goth, dark-wave, and post-punk genres.

Based in Los Angeles, California, Synical draws inspiration from a diverse range of artists, including Depeche Mode, New Order, The Cure, Prince, Joy Division, and Kraftwerk.

A string of collaborations on new album with members from Bauhaus, Love and Rockets, …

Synical was founded in 1989 by singer/songwriter, producer, and engineer, Brian Haught, after his departure from the electronic funk band AC Black, which was signed to Motown Records. Since its inception, Synical has evolved significantly, featuring a variety of band members and transitioning through numerous sounds over the years. What started as a solo act for Brian eventually expanded into a duo, then a trio, and finally a full five-piece band.

For their latest album, Brian Haught split his time between LA and Atlanta, writing new songs and recording in both cities. Collaborating with David Black, Jimi Echo, Eric Griffin (Muderdolls), and former Synical drummer Cheney Brannon (Collective Soul), the band also welcomed Noel Page during the recording sessions.

Over the years, Synical has collaborated with a host of musicians, including John Fryer (NIN, Love & Rockets, Depeche Mode), Ivan De Prume (White Zombie), Roy Mayorga (Ministry, SoulFly, Stone Sour), Alex Carapetis (NIN, Julian Casablancas), Robin Finck (NIN, Guns N’ Roses), Cheney Brannon (Collective Soul), and Racci Shay Hart (Dope).

The new 10-track album features guest appearances from members of Bauhaus, Love and Rockets, My Life With The Thrill Kill Kult, Mary My Hope, Faster Pussycat, Genitorturers, and Murderdolls.

Guns N’ Roses demos for “Chinese Democracy”

In the late nineties, Brian Haught collaborated with Robin Finck (Nine Inch Nails/Guns N’ Roses Guitarist) on some of the Guns N’ Roses album demos for “Chinese Democracy”. This collaboration led to the recruitment of new band members to continue his vision for Synical. Joined by guitarist Eric Griffin, bassist Brent Ashley, and Ben Graves, they released their third album “Synical Forever” in 2004 and their fourth “Quit While You’re Behind” in 2012. Following a tumultuous tour of Italy, Brian decided to further reconstruct and update Synical’s members, leading to the current lineup.

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. 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!

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Out now is “The Complete Recordings 1992-1996” by Australian darkwave / goth act Ikon.

The release turns out to be a four-CD anthology, cataloging their beginnings as a young band, after emerging from the ashes of previous project, Death In The Dark. The set includes their first EP, “The Echoes of Silence”, recorded at Melbourne’s Studio 52 in June 1993, followed by two full-length albums, “In The Shadow of the Angel” (1994) and “Flowers for the Gathering” (1996).

Added as a bonus, and this is a real gem, is “Rarities”, a gathering of rare gems, which includes a variety of mixes, alternate versions, and re-records.

Frontman Chris McCarter and bassist Dino Molinaro began writing songs together as high school students in 1988 already creating an own sound infused with elements of Joy Division, early New Order, and a touch of Death In June.

Here’s what that 4th disc includes:

1. Condemnation (7″ Re-Record)
2. Under The Watchful Eye (Version 2)
3. So Far Away (1994 Re-Record)
4. Still Remains (Version 1)
5. Still Remains (Version 2)
6. Somewhere Else (In Passing)
7. Sleepless (Draconian Mix)
8. In Trust I Return (Acoustic Version)
9. Somewhere Else (Acoustic Version)
10. Inbetween (Version 3)
11. Your Obsession
12. Solitude
13. We Walk Alone
14. Visions
15. The Awakening
16. Behind Closed Doors
17. A Hollow Man
18. The Disappeared
19. The Final Experience

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. 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!

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Soft Cell will perform live in an exclusive outdoor concert in the grounds of Rochester Castle, Kent on Friday 7th July 2023, with special guests Peter Hook & The Light who will perform music from Peter Hook’s first bands, New Order and Joy Division.

Tickets are available here.

First revisiting Joy Division’s seminal album “Unknown Pleasures” back in May 2010 for a commemorative charity concert and following it each year with new albums performed live from the repertoire of Hook’s bands, New Order and Joy Division, Peter Hook & The Light have now moved through each of the albums from those bands and recently finished up a world-wide tour of Factory Records “Substance” compilation albums.

Recently The Light have celebrated over four decades of Joy Divison’s and Ian Curtis’ continuing influence with the “Joy Division : A Celebration” concerts where they will play both of that band’s albums in full which continue in 2023.

Below is an idea what to expect.

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. 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!

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Lol Tolhurst, co-founder of The Cure, is to release a new book titled “Goth: A History” on September 23rd. The book is a historical account of the genre and culture of goth music, building upon his first memoir, “Cured”.

In “Goth: A History”, Tolhurst provides a detailed exploration of goth music, using stories and anecdotes from his personal experience, as well as from the musicians and artists who have been part of the genre’s development.

The book begins by investigating the origins of Goth, with Tolhurst detailing the early art and literature that influenced the genre. He references the work of writers such as T.S Eliot, Edgar Allan Poe, Sylvia Plath, and Albert Camus, suggesting their work had an impact on the formation of goth music.

Tolhurst identifies key players in the establishment of the genre, referring to them as the “Architects of Darkness”. This group includes Bauhaus, Siouxsie and the Banshees, Joy Division, and The Cure. He further discusses a group of bands he labels as the “Spiritual Alchemists”, which includes Depeche Mode and Cocteau Twins, indicating their role in extending the reach of goth culture. The book also tracks the genre’s expansion from England to New York, Los Angeles, and other locations.

The author also discusses the fashion associated with the goth movement, indicating its role in complementing the music. The book concludes with a consideration of the legacy of goth music, highlighting its influence on contemporary music, film, TV, visual arts, and social media.

There are a limited number of signed copies available on Tolhurst’s website.

About Lol Tolhurst

Lol Tolhurst is a founding member of The Cure, a band formed in 1976 and recognized as influential in the alternative music scene. He has performed various roles within the band, including drummer and keyboard player. After leaving The Cure, he continued to write, record, and tour with his band, Levinhurst. More recently, he has reunited with former bandmates for a tour, collaborated with Budgie from Siouxsie and the Banshees, and released a new podcast series titled “Curious Creatures”.

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. 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!

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Recently, queries have come in about K÷93, a project Italian distributor Audioglobe highlighted in their latest distribution newsletter (their 800th!) when they acquired a few copies of the group’s exclusive self-titled EP. Time to share some more details about it in case you didn’t know this project which features Jaz Coleman on vocals and keyboards, Peter Hook on bass, and Geordie Walker on guitar.

In 1993, K÷93 was born from the collaboration of Peter Hook from Joy Division and Jaz Coleman and Geordie Walker from Killing Joke. The trio recorded three songs as a tribute to late producer Conny Plank, who had worked with Killing Joke on “Revelations”. The project began when a German promoter invited a group of musicians to a studio to create and mix tracks for a tribute LP in honor of Plank.

The trio of Hook, Walker, and Coleman were placed together to record material. After the session, they wrapped up the project in Hook’s studio in Manchester, England. Interestingly, during this period, both Killing Joke members extended an invitation to Hook to join their band. In all, the group recorded eight tracks.

Years later, while sorting through his New Order memorabilia for an auction, Peter Hook stumbled upon the lost session with Killing Joke. The lost session had actually been in the possession of Jaz Coleman all along. The discovery was made in November 2019 when Chris Kettle, formerly of E.G. Records, gave Jaz a DAT cassette at a record signing for “Magna Invocatio” in a London record store, saying “look what I found”. Only three tracks were ultimately released: “Remembrance Day”, “Giving up the Ghost”, and “Scrying”.

The EP was released on March 5th, 2021 as a limited-edition 10″ record pressed on clear vinyl. The record, remastered from the original cassette, features the three songs and is limited to just 2000 copies worldwide. It also includes a gig flyer postcard and exclusive sleeve notes by Jaz Coleman and Peter Hook.

Here is the link to the music video for “Remembrance Day”.

Side-Line also covered Joy Division’s ‘Atmosphere’.

About Killing Joke

Killing Joke formed in Notting Hill, London, in June 1979, founded by Jaz Coleman (vocals, keyboards), Paul Ferguson (drums), Geordie Walker (guitar) and Youth (Martin Glover, bass). The band’s self-titled debut album was released in 1980. Youth left in 1982, replaced by Paul Raven; internal discord led to the exits of Ferguson and Raven in 1987, leaving Coleman and Walker as the band’s constant members. Raven died in October 2007, after which all four founding members reunited in 2008. Geordie Walker died on 26 November 2023, at age 64.

In 1993, Coleman and Walker recorded three tracks in Germany with New Order and Joy Division bassist Peter Hook for a Conny Plank tribute session, during which they also invited Hook to join Killing Joke. The tapes were considered lost until 2019, when they resurfaced on a DAT cassette. The recordings were released as the limited 10-inch “K÷93” EP on 5 March 2021, featuring the tracks “Remembrance Day,” “Giving Up the Ghost” and “Scrying.” “K÷93” documents Jaz Coleman and Geordie Walker’s 1993 session with Peter Hook, shelved for more than two decades before its 2021 release.

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. 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!

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Now available more widely is the unofficial live album “Radio Broadcast: Utrecht, No Nukes Festival” by the UK post-punk act The Sound. This release boasts excellent sound quality, remastered from the original radio broadcast.

The live recording captures The Sound’s performance at the “No Nukes” anti-nuclear proliferation festival on 9th April 1982 in Utrecht, Netherlands, and features nine tracks from the band’s first three albums: “Jeopardy” (Korova, 1980), “From the Lion’s Mouth” (Korova, 1981), and the then newly-released “All Fall Down” (WEA, 1982).

Radio Broadcast is an Italian label specializing in such releases, with several intriguing releases from bands like Joy Division (“1979 BBC Recordings”), New Order, and more. Those Italians…

About The Sound

The Sound were an English post-punk band formed in South London in 1979 and disbanded in 1988. Fronted by the late Adrian Borland, the group evolved from his previous band, the Outsiders. Although they never achieved commercial success, The Sound have long been praised by critics. They debuted with the EP “Physical World” in 1979, released on manager Stephen Budd’s Torch label.

After leaving WEA, the band was approached by multiple labels and eventually signed with independent label Statik in 1984. They released an EP, “Shock of Daylight”, followed by the full-length album “Heads and Hearts” a year later. By 1985, Borland had started showing signs of mental illness, possibly exacerbated by career frustrations. His condition would worsen. Shortly after the 1985 release of a live album, “In the Hothouse”, Statik went bankrupt. The band produced one final album, “Thunder Up”, on Belgian label Play It Again Sam.

During a tour of Spain in 1987, they had to cancel several appearances after Borland suffered a complete breakdown. The band dissolved in early 1988. Tragically, Borland’s nightmare continued as he struggled with symptoms of schizoaffective disorder, ultimately leading to his suicide by jumping in front of a train on 26th April 1999.

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. 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!

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(Photo by Matt Vardy) This will interest some of you for sure. The Toronto-London ensemble, The Flowers of Hell, have announced the inaugural vinyl release of their album “Odes”, set for April 22nd in celebration of UK Record Store Day. The 180-gram red coloured vinyl will be issued through Space Age Recordings and presented in a luxurious die-cut sleeve.

The record showcases orchestral-pop interpretations of tracks by some of the group’s most admired artists, such as Joy Division, Siouxsie & the Banshees, Bob Dylan, Klaatu, Stereolab, Laurie Anderson, The Velvet Underground, and Neutral Milk Hotel. Featured on the album are Sea Power’s Neil ‘Hamilton’ Wilkinson and Abi Fry (Bat For Lashes, Sea Power), Ivo Pospíšil, a renowned figure in the Prague underground scene, and the Plastic People Of The Universe. “Odes” was recorded in Toronto and co-produced with Grammy-winning engineer Peter J. Moore (Bob Dylan, Joni Mitchell, Neil Young, Joe Strummer), who also remastered the album for vinyl.

The band has now released videos of their versions of Joy Division’s “Atmosphere” and “Calling Occupants of Interplanetary Craft,” a song popularised by Toronto prog-rock group Klaatu (once believed to be The Beatles under a pseudonym) and later, The Carpenters. Written in the early 1970s, the song was influenced by the 1950s International Flying Saucer Society’s attempt to synchronise their global membership to telepathically transmit a specific message to extraterrestrial life, hoping for a response. “Calling Occupants” is now the official anthem of World Contact Day.

On May 12th, The Flowers of Hell will release their sixth studio album, “Keshakhtaran,” and their first in six years. The 42-minute psilocybin meditation piece, comprised of two sections, features contributions from 20 artists, including Rishi Dhir (Elephant Stone, Brian Jonestown Massacre, The Black Angels, Beck) and avant-accordion virtuoso Angel Corpus Christi (Suicide, Spiritualized, Dean Wareham). The preview single “Foray Through Keshakhtaran” is now available on digital platforms such as Apple Music, Spotify, and Bandcamp.

For more on Joy Division, see When members of Killing Joke and Joy Division collaborate you get K÷93 on Side-Line.

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. 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!

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Depeche Mode has unveiled the lineup of support acts for their ‘Memento Mori’ European tour, set to begin next month. The duo, comprising Martin Gore and Dave Gahan, took to Instagram on April 12 to share the names of the five acts accompanying them during their 34-show run across Europe and the UK.

Cold Cave and Young Fathers are among the artists slated to join Depeche Mode on tour, along with Berlin-based band Hope, former Savages vocalist Jehnny Beth, and British trip-hop outfit Haelos (or Hælos).

The support acts for Depeche Mode

Here’s a short roundup of who these artists are. Cold Cave is a project by Wesley Eisold and blends darkwave, noise, and synthpop, drawing comparisons to Joy Division and New Order. Young Fathers is a Scottish group formed in 2008, who has won the Scottish Album of the Year Award twice and released a fourth album, “Heavy Heavy”, in 2023. Berlin-based band Hope, formerly Mamsell Zazou, creates dark, dystopian music influenced by their city’s art scene. Jehnny Beth, a French musician and former Savages frontwoman, has released solo albums and collaborated with numerous artists, including Trentemøller, Julian Casablancas, and Gorillaz. British trip-hop band Hælos, from London, released their second album, “Any Random Kindness”, in May 2019, showcasing their ‘dark euphoria’ sound.

The European leg of the tour will commence with two shows in the Netherlands on May 16 and 18. Following these performances, Depeche Mode will visit countries such as Sweden, Germany, France, Italy, the UK, and Austria before concluding the tour in Norway on August 11.

These tour dates promote the band’s 15th studio album, ‘Memento Mori’, which was released last month.

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For more on Depeche Mode, see Long lost Depeche Mode documentary goes online in the BBC Storyville… on Side-Line.

About Depeche Mode

Depeche Mode formed in Basildon, Essex, England, in 1980, initially under the name Composition of Sound. The lineup that became Depeche Mode came together that year around Vince Clarke (keyboards, guitars), Andy Fletcher (keyboards, bass) and Martin Gore (guitars, keyboards), with Dave Gahan joining shortly after as lead vocalist. The band adopted the name Depeche Mode at a gig at the Bridge House in Canning Town on 24 September 1980, where Mute Records founder Daniel Miller saw them and signed the group.

Depeche Mode’s debut single, “Dreaming of Me,” was recorded in December 1980 and released on Mute in February 1981, followed that October by the debut album “Speak & Spell.” Vince Clarke left the band that November, going on to form Yazoo and later Erasure; Alan Wilder joined on keyboards in 1982 and became an official member from the 1983 single “Get the Balance Right!” The band’s catalog through the 1980s includes “A Broken Frame” (1982), “Construction Time Again” (1983), “Some Great Reward” (1984), “Black Celebration” (1986) and “Music for the Masses” (1987), the latter turning the band into arena headliners in the US off the back of their Rose Bowl concert, later documented in the film “101.”

“Violator” (1990) and “Songs of Faith and Devotion” (1993) marked the band’s commercial peak, but Wilder departed in June 1995, continuing his own project Recoil, leaving Gahan, Gore and Fletcher as a trio. The band released “Ultra” (1997), “Exciter” (2001), “Playing the Angel” (2005), “Sounds of the Universe” (2009), “Delta Machine” (2013) and “Spirit” (2017) as a three-piece, touring with long-serving live members Christian Eigner (drums, keyboards, since 1997) and Peter Gordeno (keyboards, bass, since 1998). Alongside the band, Gahan released solo albums “Paper Monsters” (2003) and “Hourglass” (2007), and Gore released “Counterfeit²” (2003).

Depeche Mode was inducted into the Rock and Roll Hall of Fame on 7 November 2020. Andy Fletcher died on 26 May 2022, and Gahan and Gore continued as a duo, releasing “Memento Mori” in 2023 with Eigner and Gordeno again on the road. The band has sold more than 100 million records and placed 54 singles on the UK charts. The 2023 European tour supported “Memento Mori,” released that March as the band’s first album since Andy Fletcher’s death the previous year.

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. 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!

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 Genre/Influences: Dark-Wave.

Format: Digital, CD, Vinyl.

Background/Info: Hailing from Amsterdam (The Netherlands) Silent Runners are already busy for a while. They last year signed to Cold Transmission Music unleashing the “Statues & Ornaments”-album.The CD format features two bonus cuts.

Content: Silent Runners have found the right label to spread their music which is clearly inspired by the 80s Dark-Wave movement. The Cure might be mentioned as one of the biggest influences but I can also mention Joy Division for the darker part of the work.  All songs are mixing guitar and synth lines. Especially the last part of the work -featuring both bonus cuts, reveal passionate vocals.

+ + + : “Statues & Ornaments” is carried by a rather traditional Dark-Wave format refined with a dark, Pop, touch. The debut songs are sweet and cool but especially the last part of the opus is worthy of examination; cool retro strings creating a feeling of sadness mixed with passion. “My Truth” is a great song to discover but I also have to mention the calmer and emotional songs like “The Great Divide” featuring delicate guitar playing. Both bonus cuts -but especially “Fools Gold”, stand for a true bonus.

– – – : I fully enjoyed this work but I’ve to admit the album sounds a bit cliché in its style.

Conclusion: This album reveals an interesting formation with potential which I encourage them to elaborate for further works.

Best songs: “The Great Divide”, “My Truth”, “Fools Gold”, “Perfect Place To Hide”, “No Manifesto”.

Rate: 7½.

Artist: www.silentrunners.nl / https://www.facebook.com/silentrunners

Label: www.coldtransmission.com / www.facebook.com/coldtransmissionmusic

About Silent Runners

Silent Runners is a Dark-Wave band from Amsterdam, the Netherlands. The group signed to Cold Transmission Music for the album “Statues & Ornaments”, whose CD edition adds two bonus tracks not featured on the other formats.

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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Back in the 80s I was a teenager who grow up with Dark/Cold-Wave and Post-Punk music. I bought a lot of records mainly from British formations. Dark and desperate music symbolising that era. One of these bands were The March Violets. Songs like “Religious As Hell”, “Walk Into The Sun”, “Snake Dance”, “Children On Stun”, “Fodder” and many others kept my dark thoughts alive. Forty years later I still have these songs in mind and I was pleased to hear The March Violets are still alive and kicking. Jungle Records recently released a massive collector’s box  featuring five CD’s. “The Palace Of Infinite Darkness” brings us back to the golden years of the band. And there’s more good news as The Violets are actually busy working on new songs which will be released later on this year. Core members Tom Ashton and Rosie Garland kindly accepted to answer my questions.

(Picture credits by Bobby Talamine / Interview courtesy by Inferno Sound Diaries)

Q: The March Violets saw the daylight in 1981. More than forty years later what do you still recognise from the early musicians you were at that time?

Tom: That’s a great question! I’d like to think that although 4 decades have passed I still retain my open-minded approach to doing music. It’s not easy to ignore all the influences that creep in over the years and The Violets had a very independent outlook as to what we were trying to achieve with our music. The new album has turned out to surpass our expectations and ticks all the boxes that I wanted to carry over to this decade.

Rosie: I recognise my determination to do things, and not let life drift by. I had a drive to create, which has never gone away. In fact, it’s intensified over the years. I don’t put things off till tomorrow. I say yes to opportunities, and seek out ways to grow and develop as a writer and performer. Life is precious… and short. Do it all, and do it now.

Q: What did you keep in mind from the 80s which were real special, dark, and historical years and what has been the impact on your music and lyrical themes?

Rosie: I’ve always been a cuckoo in the nest. I write about outsiders, whoever they might be. People who won’t (or can’t) squeeze into the one-size-fits-all templates on offer and the friction that occurs when they try. I know this comes from being an outsider myself! We all have cobwebbed dungeons in the psyche. They are frightening places, and we are sold the lie that if we paint our world pastel shades everything will be all right. We ignore personal darkness at our psychological peril. Far wiser, in my opinion, is to explore the haunted castle and face those fearsome ghosts…

Tom: For me it wasn’t just an 80s thing at all. A lot of bands that influenced my playing in The Violets were products of the late 70s. Joy Division, Bauhaus, Sex Pistols, Buzzcocks etc. What was great was how we took those Punk and Post-Punk influences and tried to create something new and definitely dark! I was obsessed with VHS horror back then (Video Nasties, I had them all!) and some of my ideas came from the music in those mainly Italian films, Fabio Frizzi, Goblin etc.

Q: Your hometown Leeds was a prolific ground for legendary Post-Punk formations. Is there any specific reason to it and what did you keep in mind from the scene in Leeds and the UK?

Tom: In the early 80s Leeds was not the shiny and affluent city it is now. Back then the Victorian buildings in the centre were still covered in black industrial age soot from thousands of chimneys. I think that’s the image I’ve been seeing in my head as I’ve been working on this next album as a way to capture those feelings I had when I first arrived there. I also loved the sense of community the scene had back then. There was a tangible feeling of being in the right place and time, which has stayed with me too.

Rosie: Tom is absolutely right. Leeds in the 1980s was shabby, chaotic and poor. Which is a fair description of we four Violets: children on stun most of the time. The musical importance of the North can be summed up in a quote from the late great Tony Wilson: ‘In the North it rains and rains. And yet we managed to produce the best music, the Industrial Revolution, the trade union movement, the Communist Manifesto and even the goddam computer. Down South, where the Sun never sets, you took all our money and what did you produce? Chas and fucking Dave.’ (Tony Wilson, 2007)

Q: Considering important (r)evolutions like internet, social media, streaming platforms, modern technology and equipment… it all looks that different from the 80s spirit. How did you experience all these evolutions and what are the pros and cons?

Tom: Back when The Violets started it cost us an arm and a leg to do our recording, even on a relatively low budget. We had to be reasonably well rehearsed and very focused on what we wanted to achieve. This is great discipline for a band and one of the biggest differences that technology has brought to the table for musicians (since home recording is now such good quality) is how to not get pulled into floating on the luxury of that technology. It’s so much better to bang your stuff out in the moment and release it warts and all. Back then we had no choice.

I love that the internet has now empowered bands. You can promote yourself and communicate with fans on a direct basis anywhere in the world! Wonderful, except everyone is doing it and you now need to find a way to stand out from the crowd. Having said that it is still preferable to having the few gatekeepers we had to deal with in order to get noticed in the early 80s. We were one of the lucky ones!

Q: Your most prolific years and biggest success all happened in the 80s. How come?

Rosie: Sure, the 80s were a successful time for The March Violets, culminating in John Hughes’ ‘Some Kind of Wonderful’. It doesn’t get any better than featuring in a Hollywood movie! However, after The Violets, none of us stopped creating. Over the past 40 years, I’ve had three novels published with Harper Collins, plus a slew of award-winning poetry collections. Plus I’ve toured the USA, UK & Europe with queer cabaret. We are artists and musicians for life.

Tom: As Rosie says, we never stopped creating after The Violets folded. I played guitar in Clan Of Xymox for their US tour in support of the “Phoenix”-album. Got into FOH engineering and toured a lot in that capacity. I also spent a good few years scoring low budget horror movies culminating in the rather fab undiscovered jewel Accidental Exorcist in 2016.

Q: I think there was a real kind of unique 80s spirit. How would you explain it to kids today?

Rosie: All four Violets were at college. The Leeds Universities and colleges were massively important, bringing a diverse group of creative people together in a social environment without parental controls. The spread of Punk in the UK was initially through the universities. Also, I guess that if a band from your city makes it you subconsciously think well, if they can, why can’t we?

Tom: I’ve been out on tour in the USA a lot recently with the band Vision Video and I can actually attest that, having been there at the time, the spirit of the 80s is well and truly alive and kicking out there in the audience. It’s wonderful to see!

Q: Jungle Records recently released the massive box “The Palace Of Infinite Darkness” revealing next to the band’s biggest hits and singles still ‘Unreleased Rarities’. Who got the idea of this box and the unreleased songs? How did it feel getting back to the origins of the band and rediscovering these ‘rarities’?

Tom: The idea to do it actually came from Jungle Records, who we’ve worked with a lot over the years. Once we’d delved into the BBC Sessions vinyl album and “Play Loud Play Purple”-singles vinyl it made so much sense to dig deeper and see what we could find for the fans out there. It’s been a wonderful experience to go back and find all this stuff that never saw the light of day and shine it in public.

Rosie: Yes! I found a stash of 80s music cassettes down the back of a bookcase. Listening to them, we recovered songs we thought were lost forever. One example is “Virgin Sheep” from 1982. We’re recording it for the first time. It’s an example of how we are channelling March Violets’ history and bringing to it everything we’ve learned over the past 40 years.

Q: The box is also featuring BBC Recordings for the legendary John Peel sessions. What did it mean back then and especially getting in touch with John Peel?

Tom: John Peel gave me a huge chunk of my musical education like many others of my generation. On weekdays, aged 14 I was already in bed at 10 pm with the radio/cassette recorder under the covers, headphones on, listening raptly to his show until midnight. He would play a new album, side one and side two, without speaking between tracks because he knew we were all out there taping it! The name angel of the airwaves doesn’t even come close to describing how we felt about him. I finally got to meet him and his family when I was working on one of his Meltdown festivals on the South Bank in 1999. It was wonderful to be able to thank him in person.

Rosie: The Violets were one of many bands who thrived because of Peel’s enthusiasm and eclectic tastes. Whatever the musical style, all he demanded was it was good. We owe him everything. Simon sent him a copy of our demo tape tucked into a pot of Violets. Right away we got a phone call from him, inviting us to Maida Vale Studio. The rest is history. 

Q: I think it’s nearly impossible doing an interview without evoking Andrew Eldritch. How important has he been in the band’s history?

Rosie: Andrew supported The March Violets from the start. He even came in to KG Studios and helped us mix “Grooving In Green” and “Steam”, and we shared the bill with The Sisters on a number of occasions –including our first gig, in Keighley, Yorkshire.

Tom: I was in the Sisters briefly in ‘82 and played a couple of shows on guitar. I know he seems to have a bad rep out there but we always got on and frankly The Sisters at that moment were absolutely fantastic (not because of me lol)! A truly great band and off to do big stuff for sure no matter what. I was asked to join but it would have meant my leaving The Violets for sure and it was just too awkward to make the jump. We hung out a fair bit, lending each other records and watching movies on VHS at Village Place through the night. Stoned as idiots of course!

Q: What’s your vision about the contemporary music industry and underground scene? What do you feel when listening to young Dark-Wave / Post-Punk bands an do you sometimes recognize yourself in these bands?

Rosie: It’s encouraging to see new Post-Punk & Dark-Wave bands who honour the past whilst creating their own unique take on the scene. In fact it’s vital. Without new bands and new music, a musical scene atrophies and becomes a fossil of itself. It’s the reason why The March Violets keep writing new material, too. We are not and will never become our own tribute band, only playing the old tracks.

Tom: There is so much good stuff out there now! As I said earlier I’ve been out playing bass guitar with Vision Video in the USA. We did over 80 shows in 2022 and it’s been a revelation seeing and performing with so many great artists out on the road. Off the top of my head, Tears For The Dying, Entertainment!, Panic Priest, Secret Shame, Giallows, Bullet Ballet, Kaelen Mikla…I could go on… As far as recognizing myself in these artists, that’s too much self-ego, I’m just happy to be sharing the same dark outlook and dream and helping to translate it along with them.

Q: The March Violets are actually preparing a live tour. What might we expect and who’s coming to see you on stage today?

Rosie: Sure, we’ll play the classics. Our fans love them and we love our fans! We’re also excited to premiere new songs. And we also have numbers from the 80s no one has heard since 1982…

Tom: Yep all the classics and most definitely a couple of new numbers from the as yet unnamed 2023 album that we are currently working on. The line up for the tour in the UK is especially interesting as Vision Video are on the bill and we are thinking that we will see a fantastic mix of the old guard plus all the new acolytes to make the perfect crossover audience.

Q: You already mentioned working on a new album so can you give us more details?

Rosie: Tom, William and myself spent January 2023 in Tom’s studio in Georgia, creating and recording brand new material. It’s been so exciting: two of the most supportive, encouraging and talented guys I’ve ever had the honour to work with. Songs have been pouring out of us. Simply put, it’s been a revelation.

Tom: Yes, we just had a lot of fun in the studio and now I’ve got my nose down with writing/recording guitars and mixing for release later this year. As Rosie said, it has been wonderful to be creating under these circumstances and I think it will show in the new material. A new horizon for The March Violets!

Q: Ian Dury’s song “Sex, Drugs & Rock & Roll” became a famous quote connected to musicians. Also to The March Violets?

Rosie: Yes! To quote the title of a great movie, the 80s were “Everything, Everywhere, All at Once”. I’d always known I wasn’t like other girls, and came out in 1982. I had a gay old time exploring my sexuality. Still do!

Tom: Yes we have had our Rock ‘N’ Roll moments for sure, especially during the glorious 80s! I have many fond memories of parties and just general craziness that happened. Thankfully now we are more likely to be recording in slippers and drinking cups of tea. Maybe.

Q: If you look back to this amazing career, what comes directly into mind as most precious moment? And are you missing a few things you would like to have accomplished?

Tom: I can’t really imagine wanting anything to have worked out differently. It’s been a full life and I’ve met so many good people through music and this is going to keep on until I can no longer physically do it. Of course there are parts of the world I’d love to experience so here’s hoping we can get The Violets out to the Far East and South America and anywhere else that might have us!

Rosie: For me, a precious moment has to be getting back on stage in 2010, for the first time after throat cancer. I sang again, after fearing I’d never be able to. It was deeply emotional. As for goals – I have plenty. It’s important to have dreams, however may years pass. Right now, I’d love to play new cities and countries. Watch this space…

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: Cold-Wave, Shoegaze.

Format: Digital, CD.

Background/Info: Hailing from the Isles of Scilly (England) West Wickhans are now active for a few years. They last year released two EP’s featuring “Magenta”.

Content: Five songs bring us back to the 80s Cold-Wave and shoegaze music styles. The songs remind me of an imaginary, crazy, offspring between The Housemartins, Joy Division and The Cure.

+ + + : I like the personal interpretation of retro 80s style. Especially both debut tracks are noticeable cuts driven by cool guitar play.

– – – : I regret the songs are a little too short.

Conclusion: Nothing groundbreaking but I like this dark 80s melting pot.

Best songs: “This Is Hang Up”, “Swear Above Suspicion”.

Rate: 7.

Artist: www.facebook.com/westwickhams

Label: https://linktr.ee/goldenbelieversrecords / www.facebook.com/GoldenBelieversRecords

Listen to “Magenta”:

About West Wickhams

West Wickhams is a duo of Jon Othello and Elle Flores, originally from Tresco on the Isles of Scilly and later based in Richmond, Surrey. The band released the “Consider Her Way” EP in 2022, followed the same year by the “Magenta” EP on Golden Believers Records, a limited-edition CD release with a five-track lineup including “Swear Above Suspicion” and “This Is A Hang Up”.

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

The post-punk scene has a new recordlabel with Alfa Matrix launching a sublabel created to accomodate this specific genre and its varieties including coldwave or even minimal synth. Called Spleen+ you can already find 2 bands signed to it, the Belgian post-punk act The Ultimate Dreamers, who launched their label debut with the EP “Polarized”, and the Italian new wave act ImJudas who presents 2 new EPs, “People Of The Blame” and “So Untrue”.

We sat together with Seba Dolimont who is the A&R behind Spleen+ (and Alfa Matrix).

SL: Congratulations Seba with the new endeavour. Why start a side label next to Alfa Matrix?

SD: Since 2001, Alfa Matrix has been showing a quite eclectic approach of our music repertoire and label artist roster. We release EBM music from FRONT 242, POUPPEE FABRIKK, ELM or DIE ROBO SAPIENS, but also harsh dark elektro with ALIEN VAMPIRES, ACYLUM or C-LEKKTOR, minimal vintage synth with METROLAND, future pop with REICHSFEIND, NEUROACTIVE, MONDTRÄUME, BRUDERSCHAFT… Modern avantgarde electro with RECOIL, IMPLANT, KOMOR KOMMANDO, PSY’AVIAH or yet CUBIC! But also without forgetting our darker acts merging industrial with goth darkwave guitars like STAR INDUSTRY, HELALYN FLOWERS or FREAKANGEL.

We have been toying with this idea for this Spleen+ division for many months. It’s not something that comes out on the spur of the moment, you need to prepare such additional activity within our whole Alfa Matrix Label Group concept. We have been following and enjoying this continuous resurgence of the cold wave / post punk / minimal synth scene for some time. We also noticed that new sub-scene walls started emerging from the ground where the fans do not look much over the walls. Dedicated events and festivals get organised. Dedicated blogs, playlists, etc. start gathering more and more dark souls… So the idea from our side is to simply contribute to this movement offering it some structured and more targeted approach cos there are so many talented artists out there in need of support in their DIY efforts. This focused approach should allow us better supporting artists playing this kind of sound and reaching out to a boiling sub-scene, enlarging our scope of activities and bringing complementary fanbases together because eclecticism remains a core value for our work… And this without bringing us too far away from our roots cos the label team is made of 3 friends born in the early 70’s who were fed on JOY DIVISION, THE CURE, SIOUXSIE, SISTERS OF MERCY and other GHOST DANCE, X-MAL DEUTSCHLAND and SKELETAL FAMILY and not only on 80’s synth pop and the Belgian Electronic Body Music movement!

SL: What (new) signings can we expect?

SD: The very active Belgian act THE ULTIMATE DREAMERS is our first new signing in the genre (see the number of concerts they already played this year only! They are amazing! Their new album comes out in March…) while some current Alfa Matrix artists are potential candidates for a next release on Spleen+ including IMJUDAS or yet STAR INDUSTRY for example. Together with Frédéric Cotton (known for decades of activities as concert & party promotor in Brussels behind the famous “Fantastique Nights” but also as lead singer of THE ULTIMATE DREAMERS) we will also release this year a mega compilation devoted to the cold wave/post punk genre showing how prolific this scene can be anno 2023! We are working on it as we speak…

Since the announcement of this new label division, I am also quite happy and positively surprised by the number of proactive connections we got from very great bands who showed interest in working with us. That’s really exciting. Of course some of them are cool Belgian bands, some being living legends, cos it’s always easier collaborating with a local label speaking your language, but we are also in contact with artists from the UK, Italy, South America, etc. Nothing I want to reveal yet, but we will do this on due time. Keep an eye on our pages at https://www.facebook.com/spleen.plus and https://spleenplus.bandcamp.com . A website will follow soon as well.

SL: Will this also mean extra vinyl releases?

SD: The vinyl format is part of the equation on today’s music market. A portion of music fans who are collecting physical products do prefer the vinyl format but not all of them. So already with Alfa Matrix we have been issuing vinyls for some time for selected bands with own fanclubs and/or who are touring a lot. The vinyl format is also very appropriate to the cold wave/post punk genre that is uniting past, present and future. So my answer is a big YES. Absolutely!

Below are the first releases from the brand new label:

Eldrina Mich

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

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The Stockholm based post-punk outfit A Projection is back with an all new album on Metropolis. “In A Different Light” includes the band’s recent singles “Darwin’s Eden”, “No Control”, “Careless” and “Anywhere”. The album also includes contributions from fellow Swede Henrik Linder of Dirty Loops and Sarah Boom of the Brussels-based Turquoise.

Formed in 2013 as a post-punk outfit they are both influenced by The Cure, Joy Division/New Order, Sisters of Mercy, Interpol and Editors, and by electronic acts such as Kraftwerk, Depeche Mode, D.A.F. and compatriots The Knife. The first three albums by the band – “Exit” (2015), “Framework” (2017) and “Section” (2019) – developed from minimalist beginnings into a more accessible sound but with a strict post-punk aesthetic and attitude.

The band recently left the indie oriented Tapete label to join the more electronically leaning Metropolis roster for the release of “Section” resulting in a more synthesizer based style with influences from the 80s and contemporary darkwave.

Below is the video for “Anywhere”. Read the review of ‘In A Different Light’.

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. 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!

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Set up and driven by Mark Sayle and Phil Reynolds Mark E Moon is hailing from the Isle Of Man. After having released an impressive debut-album “Refer” in 2019 they two years later confirmed their strong potential by the opus “Old Blood”. The band is clearly driven by good-old Dark-Wave and Post-Punk reminding legendary acts like The Sisters Of Mercy, Bauhaus, Joy Division ao.  Earlier this year they did it again unleashing the mini-album “Lux Vindictae”. I consider Mark E Moon as one of the hottest contemporary formations in their music genre. I talked with Mark Sayle and Shelly Rourke.

(Courtesy by Inferno Sound Diaries)

Q: Two years ago now we did an interview for the debut album “Refer”. A lot happened since then; lockdowns due to the ongoing pandemic, political scandals in the UK plus Brexit, the war in Ukraine… and you released a second album and now an EP while the line-up evolved as well. How do you look back at all these events?

Mark: The ancient curse ‘May you live in interesting times’ has certainly never been so apt. Don’t get me started on Politics or we’ll be here all day. Phil probably has something to say on Brexit but I doubt it’ll be anything complimentary.

The band line-up has certainly evolved, not that anyone was kicked out, we’d love the opportunity to work with Kieran or Steve again, but circumstances change and people aren’t always available for various reasons. The pandemic was, and is still, a terrible time for everyone. I know musicians moan a bit about not being able to be in the same studio but when you consider that more than a million people, in the US alone, have died from this disease it puts artists petty gripes into a more sobering light.

Q: Let’s get back to your second album “Old Blood” which was a rather engaged piece of music against fascism. Why did you feel the need to deal with this theme? And how did the transition happened from “Refer” to “Old Blood”?

Mark: After “Refer” we wanted to do a more cohesive album that felt like the sum of its parts. “Refer” was basically a bunch of, admittedly very well recorded, demo tracks. The title track “Old Blood” deals with this sea of right wing populism, white supremacy and outright fascism that has swept the western world, washing over some and sweeping away others in its spiteful currents. The incident that ignited the touch paper for me was the events in Charlottesville and the murder of Heather Heyer in 2017. The slogans chanted by the Neo-Nazis became a festering sore in my soul that wouldn’t go away. The only way I have to react to something like that is through music and my lyrics, so that is, eventually, what I did.

Q: Your newest work is the EP “Lux Vindictae”. It rather looks as a mini-album featuring six songs. What have been the main sources of inspiration for this work and its title? Was there any specific focus in the writing- & production process and were there aspects from previous albums you wanted to change/improve?

Mark: With “Lux Vindictae”, certainly from a writing perspective, some songs were created quite differently than the usual deal of me writing a bassline, a riff and some lyrics and taking it to Phil to transform it into a proper song. George, who happens to be Phil’s older brother, had joined us and had some fantastic musical ideas of his own. If you listen to “Anastasia”, for example, that’s George’s music and the Russian lullaby was Shelly’s idea.

Shelly: I was already a Mark E Moon fan, so being asked to add vocals to a track on “Lux Vindictae” was hugely exciting –and subsequently being asked to join the band as a permanent fixture was mind blowing for me! My first experience of being part of the creative process was everything I hoped it would be and I think some of our new dynamic shows.

Q: The lyrical themes featured at “Lux Vindictae” are quite different. ‘Depression, rage, assault, alcoholism, the murder of an innocent child and the sheer horror of life on an alien feudal world’. It all sounds more personal and intimate so did you have to chase inner demons? And how important is music to express inner thoughts?

Mark: I’m constantly battling my demons. Being bipolar and having ADHD gives me a certain perspective on situations I think, not a unique one by any means but they force me to try to think differently about subjects. My thoughts are generally pretty dark, even when I’m writing something quite upbeat, and I think that comes through.

Q: I noticed you also released a cover version of Soft Cell which has been released on a tribute-album. I didn’t exactly expect Mark E Moon covering Soft Cell. What did this band mean to you and how did you transform the original version into a personal adaptation?

Mark: I like to think of Mark E Moon as a fusion of Gothic-Rock, the darker side of Post-Punk and Synth-Pop. Soft Cell were (along with acts like Belois Some, Yazoo, Depeche Mode and Blondie) a very important band in my musical development. My sense of what Pop music could be had its roots firmly embedded in the darker (lyrically) themed bands. Of course, Soft Cell had had a massive hit with their cover of the Gloria Jones number “Tainted Love”, but it was “Bedsitter” that really turned me onto them. The cover we did of “Facility Girls” isn’t that dissimilar but we tried to put our own slant on it.

Q: I can imagine you guys must be excited to play on stage again. What are the plans and your expectations? What are the further plans for the second half of 2022?

Mark: We released “Dark Love” in September as a taster of the forthcoming album “Pop-Noir”. Whether the new album is ready before the year is up is anyone’s guess but we are beavering away to make it the best possible record it can be.

Shelly: 2022/23 will be busy and hopefully bear many fruits. We would like to add some UK gigs too. As Mark said, George is a wellspring of music so we have a deep pool of new songs to work on, and Phil’s excellent skills to weave them into a tapestry. After adding a few snippets of my own lyrics to some songs, the guys have given me the confidence to write more. Mark is always on hand to lend his expertise when I struggle. Writing about life from this woman’s perspective can be difficult as some of my past was painful and very dark, but I’ve found it cathartic. And if it gives the listener a new experience to explore then my worst moments will have purpose, whilst keeping the Mark E Moon sound ever evolving.

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

South Carolina-based post-punk / indie rock outfit Candy Coffins present “Everyday a Fresh Atrocity” from their forthcoming new album “Once Do It With Feeling” (out on October 21st). This 10-track offering comes two years after the band’s latest “Somehow Misplaced” EP.

“The song ‘Every Day A Fresh Atrocity’ explores the dark corners where our work often resides, both sonically and lyrically. It conveys the feeling of the haunting suffocation of a broken relationship, compounded by a reality that seems to become more dystopian each day,” says frontman-songwriter Jame Lathren. “The full album chronicles a relationship from the onset of the first crack to its complete crumbling dissolution. All the feelings and emotions of tumult are captured here, from both persons’ perspectives.”

Based in Columbia, South Carolina, vocalist, guitarist and songwriter Jame Lathren formed Candy Coffins in 2018. After disbanding his previous post-punk band Crown The Cake, he formed Candy Coffins with hometown guitar legend Tom Alewine (Bachelors of Art), followed by Alex Mabrey on bass and Justin Purdy on keys, and former Iron & Wine touring drummer Jonathan Bradley. Their influences come from Joy Division, The Cure, The Psychedelic Furs, The Afghan Whigs and The Cult, as well as contemporaries like The Brian Jonestown Massacre, Spiritualized, Black Rebel Motorcycle Club and Interpol.

You can check out “Every Day A Fresh Atrocity” 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. 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!

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This Friday Swedish electro musician Bo Magnusson has a new single out under the moniker The Below. It’s a two track single featuring Jesper Hanning – the vocalist from Ausgang Verboten who also sang with the gothic/post punk band The Chainsaw Zombies – and will be released via released via Accelerating Blue Fish.

Here’s the video for “Knives and Heights”.

Bo explains the tracks: “The first track on the single “Knives and Heights” evolved from a driving rhythm created by noises from scrap metal, a plastic can, and other found objects. Thereafter layer upon layer of sounds was added to build up a dark and intense soundscape. The equally ominous, and uncanny video was directed, filmed, and edited by Jesper Hanning. Even though both tracks could be described as dark and experimental the addition of Jesper Hanning’s powerful voice has given them a more accessible flair, making them almost catchy.”

Hanning describes the lyrical themes as follows: “”Knives and Heights” is all about the intensity of fear and the traumas it can cause. The verses are just little snapshots of eerie things. The chorus was inspired by something actor Cary Grant’s grandmother once told a reporter about her grandson: “He was a nervous child with two primary fears: knives and heights”. Then we just added one more fear: fluorescent lights.”

The second track “Grind Me Down” uses the same set of tools but is instead a slow, grinding song based on a distorted bass line. Bo says: “”Grind Me Down” is a very straightforward text about how we live in a time where people tend to ‘find the truth’ in filter bubbles where they seem to lose all common sense. The conclusion is always the same: the rest of us are misled fools who need to ‘educate ourselves’. The filter bubble grinds these people down while simultaneously winding them up. A dangerous combination.”

“Knives and Heights b/w Grind Me Down” is the follow up to “No Place Is Safe (feat. Aaron Sutcliffe)” – an anti-war song, with stark criticism of Israeli politics, that was supported on social media in Palestine and by Pro-Palestinian organizations. The video for the track includes authentic images from a war-torn Palestine.

About The Below

The Below is a solo project by Bo Magnusson, the sound engineer/bass player from the infamous Swedish industrial experimentalists Dr. Evil & The Boys From Below (1985-1992). A band that had a strong local following thanks to their spectacular stage performances featuring pig’s skulls, hovering washing machines, a truck load of scrap metal etc. After the band took an indefinite break in 1992 there were no plans to continue producing weird sounds. However, in 2015 things changed and a few saved objects and instruments were dusted off and slowly new noises were created under the moniker The Below. So far, The Below has released four singles: “Unarmed (An American Nightmare)”, “I’d Like to Punch Him In The Face”, “Change is Coming” and “No Place is Safe”.

Bo discusses his musical inspirations: “I have always listened to lots of different music, but if I must pick one band that has been influential it has to be Sprung aus den Wolken. They were a huge inspiration for me to start playing in a band. Not only for their music but also for their attitude. They didn’t follow any established musical rules and proved that you could create innovative music without being a virtuoso. There are of course numerous other bands and artists in several different genres that I love and respect. Far too many to mention, but here’s a few that feel relevant: Test Dept, Algiers, This Heat, Tanya Tagaq, The Pop Group and Anna Von Hausswolff. The common denominator of these bands/artists are their forward-looking, intense and critical voices combined to create socially relevant and exciting music.”

Vocalist and composer Jesper Hanning (born in 1968) is the son of jazz musician Claes Hanning and grew up in the south of Sweden. As a teenager Hanning was drawn to electronic music and the live scene in the city of Malmö. At Stadt, Hamburg Hanning found musical peers and in 1984 Ausgang Verboten (a.k.a. Random Toxy), a Kraftwerk influenced band, was formed. The group only recorded a few songs and released a demo in 1985 (later re-released as the vinyl LP “Entertainment” by German label Genetic Music) and contributed with a few tracks to a compilation of electronic music in 1988 (Synthetic Sounds from Accelerating Blue Fish).

In 1986, at the age of eighteen, Hanning was approached by Bo Magnusson, musician, musical promoter at Stadt Hamburg and founder of the record label Accelerating Blue Fish. Magnusson had taken an interest in the intense young vocalist and introduced Hanning to Eddie Wingeståhl, Mikael Forth and Charlotte Rönnström. Soon The Chainsaw Zombies, a slow-motion-psychedelia band, was formed. The group released two albums and an EP between 1987 and 1990.

Hanning played in several bands In the early 90´s: Dave the Butcher with Håkan Lidbo, Tabla Motors with Martin Axén (The Ark) and Sgt Pepsy’s Divine Quartet with Joakim Täck (producer/musician Funhouse/The Saints) and Christer Hermodsson (Biomekkanik/S.P.O.C.K). In the mid 90’s Hanning’s musical focus shifted from the dark and gritty to a sound echoing the 70’s; 10cc, Electric Light Orchestra and Sparks. Together with Eddie Wingeståhl, guitarist from The Chainsaw Zombies, Hanning formed Bradbury, a predominant live act playing music festivals like Hultsfred, Emmaboda, Arvika and Kalas.

Hanning basically retired from the musical scene around 2010. In 2014, Hanning’s wife Yessica passed away at the age of 44, and his sole priority was raising his daughter, only making a few performances in the years to come (e.g. annual concerts with the music from “Nightmare Before Christmas” or performing klezmer-versions of Joy Division/New Order songs). In 2020 Hanning and former Ausgang Verboten comrade Jörgen Abrahamsson started cooperating in Pursued by Furies and released the song “Daedalus Maze”. More songs will follow.

In 2021, 35 years after their first collaboration, Bosse Magnusson approached Hanning with a few songs. At the present Hanning is composing electronic music for the first time in 30 years. It sounds nothing like Kraftwerk.

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. 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!

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A few months after its official inception, French cold-wave/post-punk/dark-pop/indie-rock five-piece The Last Waves have already released several EPs. The last one called “Dark is the path” followed “Revenge of the blue” and “In cold colors avenue” both released in 2021.

Musically the tracks are a mix between new wave, cold wave, pop and indie-rock adding a touch of electro rock here and there. “Dark is the path” holds five new tracks.

The Last Waves is a new band created in the middle of the pandemic around three boys and two girls. The name of the band is a wink to the new wave of the eighties, the famous new-wave whose name was borrowed from the new wave of the French cinema of the 50’s and 60’s and carried notably by the British Joy Division, New Order, Depeche Mode or Simple Minds.

Below is the new EP.

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. 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!

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Pierre Laplace played in different bands before he set up Beyond The Ghost. The French solo-project got rapidly signed to Cryo Chamber and released five albums plus a collaborative album in between 2019 and 2022. The newest work “Sundown” is the final chapter of the “Europe Series” trilogy. The concept is all about a futuristic and dystopian vision happening in Berlin, London and Rome. Beyond The Ghost released great pieces of Dark-Ambient and Cinematic music, but “Sundown” appears to be the magnum opus. The French artist created an ominous atmosphere by the use of analogue sound treatments and real instruments. Beyond The Ghost is definitely one of the most talented projects in its genre from the past few years. Time for a chat with Pierre Laplace.

(Courtesy by Inferno Sound Diaries)

Q: I think it’s interesting starting this interview to ask about your music background. You’ve been involved with music and bands/projects which are totally different from Beyond The Ghost. Tell us a bit more about your artistic odyssey and how do you see yourself as musician?

Pierre: I think I’m pretty open-minded as a musician (and music fan as well). I’ve always liked exploring different genres and styles. I started playing New-Wave music when I was 17, I was heavily influenced by The Cure and Joy Division. A few years later, I got into songwriting, playing nylon or folk guitar. I sang and played guitar in a band called Vera Clouzot for 10 years. We started out as a three-piece, with one of my friends playing the cello, which wasn’t very common at the time. We released 2 mostly acoustic albums sung in English, then 2 friends joined us on drums and on bass guitar, and our sound evolved into a mix of atmospheric Ballads and Experimental-Rock music. We released 2 albums sung in French with that line-up. I also released 2 albums of Folk songwriting as Kenyon.

Then I took a break from writing music, started setting up a home studio with no clear idea of what I wanted to do musically. Luckily, I found out that my 15-year-old niece Léonie had a beautiful voice when she played guitar and sang at a family dinner party. We worked together as The Sandman’s Orchestra. I wrote and produced the songs, and Léonie was the lead singer. We released 3 albums of original songs, mostly Atmospheric-Folk, with a touch of Electronic music, and our last album was a cover of “The Ninth Wave”, the B-side to Kate Bush’s classic “Hounds Of Love”-album. It was a huge undertaking and I spent countless hours working on sounds, textures and arrangements.

Q: How did you get in touch with Dark-Ambient and related music genres? What was the main idea and purposes when setting up Beyond The Ghost?

Pierre: Around the time I was working on “The Ninth Wave”. I started listening to Ambient music, as well as Post-Rock stuff and Dark-Jazz. When I started working as Beyond The Ghost, the main idea was to write Cinematic music that would mix organic and electronic sounds, to operate within the realm of Dark-Ambient while being open to the influence of other genres.

Q: Beyond The Ghost clearly is a prolific project as you released five full length albums plus one collaborative album together with Dead Melodies in 3-4 years of time. How do you explain this productivity and how do you go on motivating yourself and getting the inspiration to release new works in such a short lapse of time?

Pierre: Signing to Cryo Chamber was such a great opportunity, it boosted my creativity. I get bored easily, so I like having artistic projects that keep me busy and creative. As soon as an album is finished, I take a couple of weeks to think about what I want to do next, and then I start working on a new album. I find inspiration in different ways, it can be personal stuff I’ve been through, feelings of loneliness and anxiety, or the loss of a loved one for example. Sometimes I’m inspired by some work of art. Most of the time, I play a real or virtual instrument, start improvising and if I find an idea I like, I start building a track around it.

Q: You recently released the “Sundown”-album which is the final chapter of the “Europe Series”-trilogy. Tell us a bit more about this futuristic, dystopian, conceptual work where you invite the listener to visit Berlin, London and Rome in further times? What have been the main sources of inspiration and how did you transpose the concept into sound?

Pierre: After 2 albums that were deeply personal and the fantasy world we explored with Dead Melodies, I wanted to try something different, and I got this idea of working on a trilogy that would evoke the possible decline of Europe in a few decades. Honestly, I don’t know how the concept came to me, it just happened. I liked the idea of the 3 albums taking place in a specific time and place, and it gave me the opportunity to explore different genres, since I wanted each album to have its own sonic identity. Roughly speaking, “The Last Resort” is a noir album influenced by Dark-Jazz with “Twin Peaks” vibes, The “Desolation Age” is a mostly Electronic album that can be labelled as Cyber-Punk, I guess, and “Sundown” is my attempt at mixing Dark-Ambient and Cinematic music in the style of Ennio Morricone.

Q: I consider “Sundown” as your absolute master piece. It reveals a great evolution in the global production process, but also a noticeable symbiosis between electronic sound treatments and authentic instruments. Do you always consider the last album as being the best one? When do you know a track/album is finished?

Pierre:Thank you for the kind words on “Sundown”. It was the album I spent the most time working, and I think it’s my best work yet. My friend Tom of Dead Melodies called it Dark-Ambient spaghetti Western music, which is a great way to describe the album! Besides “Sundown”, I don’t consider my last album as being the best one. I don’t usually think that way. I consider each album as a new sonic venture. I don’t know if I’ve succeeded, but I would like to have a sound and style that people can recognize, and at the same time create albums that have their own identity and are different from one another. I feel that an album is finished when I’m happy with the track sequence, the overall sound and atmosphere.

Q: What are you actually working on and how do you expect Beyond The Ghost evolving throughout the coming years?

Pierre: After “Sundown” was completed, I started working on a new project, but it’s taking me longer than usual, notably because I had to move out, and other stuff got in the way. Now that my home studio is set up in my new house, I’ve resumed working on this new album. The music could go in various directions, but for now it’s a mix of early Electronic sounds, Dark-Ambient and Dark-Jazz.

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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Australian synth pop veterans Tycho Brahe have released a brand new eurodance flavored single, “Love Blind Love”, with an accompanying nightclub video filmed in Brisbane, Australia, which tells the story, through dance, of two men in a duplicitous relationship.

The single is lifted from the soundtrack of the experimental dance film “Love Song” by choreographer Claire Marshall, known for her work with George Michael, Darren Hayes, Kate Miller-Heidke, and others. Tycho Brahe, Ken Evans and Georgina Emery, have most recently been associated with Peter Hook (ex-Joy Division/New Order), with principle Tycho Brahe member Ken Evans as programmer for Peter Hook and The Light.

Claire Marshall’s dance film “Love Song” has been showing at independent film festivals all over the world through 2022, and has won awards in France, USA, Italy, the Netherlands, Spain, Sweden, Germany, and the UK so far.

Band co-founder Ken Evans says, “Claire Marshall previously worked on our 2007 video for ‘Don’t Feel That Way’, but the opportunity to work so collaboratively with her, composing music for her film, has been an amazing creative experience. Claire has choreographed for artists like George Michael, Darren Hayes, Kate Miller-Heidke and many others and the music and the video for ‘Love Blind Love’ that has come out of that collaborative process, is something that is both fresh, yet retro, that we’re very proud of.”

Here’s the video for “Love Blind Love”.

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. 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!

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Genre/Influences: Dark-Wave.

Format: Digital, 2CD.

Background/Info: French musician Yannick Rault remains very prolific. He released an impressive number of productions as Closed Mouth in the past few years. He now strikes back again with a new opus plus an extra album featuring previously unreleased material.

The set appeared on Icy Cold Records, the French label that also released the “Unreleased” companion collection in the same year.

Content: I can’t say there’s a huge difference between both albums. This project remains driven by good-old 80s Dark-Wave music. The songs remind me of an imaginary meeting between The Cure and The Danse Society with some extra Joy Division elements on top. The title song of “Last” is somewhat different for its Cinematic approach while it also is the longest cut from the album, holding you in its grip for more than 10 minutes.

+ + + : I’m always a bit skeptical with prolific artists but Closed Mouth always tries to put a different accent in each new work. The guitar playing is predominant, injecting the dark 80s spirit into the songs which is accentuated by the low bass lines. But there also is a great balance with the electronic arrangements. One of the most Electro-driven songs “No Reason” even reminds me of Absolute Body Control with Joy Division on top.

– – – : You have to like this band and/or being a Dark-Wave lover to start this listening featuring 28 songs. It’s quite understandable all the tracks aren’t convincing but globally speaking ‘mission accomplished’ for Closed Mouth.

Conclusion: I haven’t heard all the albums of this project so far as I can remember, but  I think this album is the best one. Great Dark-Wave songs so let’s hope this is not the ‘last’ album.

Best songs: “Lonely Life”, “Give Me Your Tongue” + “No Reason”, “No Movement”, “Don’t Leave You Alone”.

Rate: 8.

Artist: www.facebook.com/closedmouth19

Label: www.facebook.com/icycoldrecords

About Closed Mouth

Closed Mouth is the solo project of French musician Yannick Rault, who describes the music as influenced by coldwave, dark wave and post-punk. Rault plays guitar, bass and electronics and handles the vocals himself.

The project has been running since the mid-2010s and is one of the most prolific in its field: Discogs lists more than a hundred Closed Mouth releases, the large majority of them self-released digital albums and EPs. The earliest listed entry is “Insomnia #1” from 2014, followed by a long run of titles including “Radio” and “Coffee And Cigarettes #3” in 2016 and “Tesla”, “Another Strange Day”, “This Day” and the “Bluebirds” series in 2017.

Icy Cold Records issued the pairing of “Last” and the “Unreleased” collection in 2022, the first Closed Mouth material to appear on a label rather than under Rault’s own name. The label returned to the project with the CD album “Forgotten” in 2024, and the Spanish label Oráculo Records released the limited 12″ EP “You Dont need a God” in 2025.

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-Wave, Post-Punk.

Format: Digital, CD.

Background/Info: Echoes Of Silence is an Italian formation which is already active for several years but which doesn’t exactly release new albums on a regular basis. “Too Late” must be their fifth full length and the first one -after three self-released albums, released by Icy Cold Records.

Content: Both opening cuts reveal a heavy, Post-Punk, driven sound carried by raw, powerful guitar playing. Quite progressively the songs became darker although still powerful and driven by dynamic drums. The style and global atmosphere remind me of Joy Division.

+ + + : Echoes Of Silence sound dark, extremely dark and even tormented. This global atmosphere which is mainly created by the guitar and vibrating bass lines remind me of the darkest hours of the 80s. There are numerous cool songs featured although “Decide” clearly sounds like the absolute master track which will appeal to all lovers of Joy Division.

– – – : The opus only features 9 songs and some of them are even shorter than 2 or 3 minutes.

Conclusion: Echoes Of Silence is a great discovery for dark souls.

Best songs: “Decide”, “Lace”, “Endless Fall”.

Rate: 8.

Artist: www.facebook.com/echoesofsilencerome

Label: www.facebook.com/icycoldrecords

About Echoes Of Silence

Echoes Of Silence is an Italian dark-wave and post-punk band based in Rome. The group released its self-titled debut album on CD in 2006 through the Italian imprint In The Night Time.

Three self-released albums followed at long intervals: “In Vacuum Itinere” as a limited CD in 2011, “Exit” on CD in 2015 and “Tension” on vinyl LP in 2017. The first two were recorded with Hombrelobo Studios.

“Too Late” is the band’s fifth album and its first for the French label Icy Cold Records, released on CD in 2022. The label also works with acts such as Closed Mouth, Stella Sleeps and Visions In Clouds, all reviewed on Side-Line in the same period.

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

Cleopatra Records presents “Corpus Delicti: The Complete Recordings 1992-1996”, a box set that includes the entire discography of this pioneering Darkwave band from the South of France. This set includes all 3 of the band’s original studio albums plus rarities, unreleased mixes, live tracks and more.

Packaged in a Gustave Doré illustrated clamshell box with individual wallet jackets for each of the 4 compact discs, this set also includes comments by Corpus Delicti vocalist Sébastien Pietrapiana, a full-color 16-page booklet of photos with art direction and liner notes by former Cleopatra Records A&R head Athan Maroulis (NØIR).

Right now, this limited edition box set can be pre-ordered on Bandcamp or directly though Cleopatra with the actual street date of July 15th, 2022 for the CD version and all digital and streaming platforms.

About Corpus Delicti

Corpus Delicti started in 1991 in Nice and broke up in 1996. In five years time they released four studio albums and two compilations on Cleopatra. Their sound was deeply influenced by Bauhaus, Siouxsie and the Banshees and Rozz Williams. The group nevertheless produced a last album under the name Corpus, with industrial, mechanical sounds, having no common feature with their previous works.

After the split Chrys (Christophe Baudrion) formed an industrial music project named Kom-Intern on the Brume Records label and Sebastian (Sébastien Pietrapiana) embarked on an indie pop/rock solo project, Kuta, Frank in Curl (D-Monic Records). Franck (Franck Amendola) and Chrys also formed Press Gang Metropol, a rock band in the tradition of Joy Division, The Cure, Interpol and Editors and were joined by Eric Chabaud on drums and Sebastian on vocals. A first album was released in early 2012 on the D-Monic Records label.

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. 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!

side-line.com

Set up in Paris (France) Je T’Aime released their debut single “The Sound” in 2018. This song also was the opening track of their self-titled debut album released in 2019 by Manic Depression Records and Icy Cold Records. It was a successful work featuring explicit 80s Cold-Wave elements. Early this year the band released the new album “Passive” again by the same French labels. Dany Boy, Tall Bastard and Crazy Z confirmed their strong potential achieving a work which will appeal for lovers of 80s icons such as The Cure and The Smiths.

(Picture credits by Anaïs Novembre / Interview courtesy by Inferno Sound Diaries)

Q: Let’s take off by the origins of Je T’Aime. How did you guys meet and what brought you to set up JE T’Aime? And why this band name?

dBoy: With Tall Bastard we met in 2014 when he was the bassist for the band Saigon Blue Rain. I was doing their live sound (among other joys). The plan to make the Goths of Europe dance came after a dinner together. After a few glasses of red wine, we went to my studio to have some fun and that’s how “The Sound” came to be, in the early morning. We kept telling each other: I love you man! That’s why we’re called JE T’Aime.

Tall Bastard: The song was written in emergency and fun. We’ve always tried to keep this spirit for the next sessions.

Q: Your sound is clearly evoking good-old 80s Dark-Wave bands. Tell us a bit more about your sources of inspiration and what made the 80s that special to you?

dBoy: The 80’s remind me of my childhood so it’s quite natural for me to go back to it. Having lived in Atlanta (USA) as a child from 1984 onwards I was overwhelmed by this New-Wave culture. It was a given that I would end up singing this genre of music at some point.

Tall Bastard: The Cure, Depeche Mode, The Sisters Of Mercy, And Also The Trees and Joy Division are the bands I used to listen when I was a teenager. I’ve learned playing music with their songs. I was playing in the Cold-Wave band Saigon Blue Rain before forming JE T’Aime. New-Wave is definitely in my DNA.

Q: How did the transition happened from your self-titled debut album towards “Passive”? Did you try to improve and/or change specific elements of the production and how did the album come true?

dBoy: First of all, we selected everything we liked in the first album, we wanted to keep certain sounds to find a certain artistic coherence. With Crazy Z. we really like a lot of different musical styles, it’s impossible for us to restrict ourselves to one musical style. So, the idea was to modernize our sound without betraying the first album and its musical purpose. I also wrote the first lyrics very quickly, which told the story of the adventures of this guy who is completely lost in life, whom we meet on the first album. So, it quickly became clear to us that we wanted to write a sequel to this first album.

Tall Bastard: For the first album, we were creating our sound. So in fact there were not so much questions. The songs were coming naturally. For “Passive” almost each song came with a question mark : Is this where we want to go? Is it not too close to what we’ve already done? …

Q: Tell us a bit more about the writing process of “Passive”? What’s the input of each member and how was it working composing an album in times of lockdown and this ongoing pandemic?

dBoy: As for the first album, we went to write this double album in Brittany, in Tall Bastard’s holiday home. It’s a very nice place, quiet, and far from the noise and fury of the city. It helps us to stay focused. The first album was written together with Tall and me. On this double album “Passive/Aggressive”, Crazy Z. was part of the writing process, so it took a bit of time to get everyone to understand each other and move in the same direction. But in reality, it went very fast. The songs went together very quickly. We usually write and record two or three songs a day, music and lyrics.

Tall Bastard: Most of the time, we start a new song by defining the mood and the rhythm.  As soon as we have the drum and the bass, everything is going nice and easy. We often have to make a choice between all the ideas that we can have.

Q: What does the title of the album refers to and what are your main sources of inspiration for the lyrical content of “Passive”?

dBoy: Passive-aggressive behavior is a set of so-called passive attitudes that indirectly express a hidden hostility that is not openly assumed or remains unconscious to the subject.

This double album tells the continuation of the adventures of the hero of the first album. A lost guy, suffering from Peter Pan syndrome, separated from his wife and father of a young girl who hates him. Our music is full of ‘joie de vivre’.

Q: In between both studio albums you also self-released a live album which makes me say live shows are very important for JE T’Aime. What are your favorite aspects in live shows and what might we expect to see when JE T’Aime is on stage?

dBoy: Oh yes, for me the stage is a bit like a big pirate ship. It goes through a thousand storms and never has to sink. It must always be cherished and cared for. The stage is an exciting thing, it’s a place to let off steam but also a place full of philosophy and even science. The science of movement, the science of communication, the science of sound and light. In 2005, I had the chance to work with the French scenographer Philippe Albaret, a well of science on the subject of concerts and the attitude to have on stage. It was a real shock in my head. The world of the Music Hall hides thousands of little secrets to be beautiful on stage. A real magic that takes years to master.

Tall Bastard: Our first purpose was to play live as much as we can and meet our audience. So we give everything we have at each concert. We just love it. And those night when the audience is giving us back this energy, for me this is pure joy. I feel completely empty and full at the same time. Intense.

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

H/P are the initials of Happiness Project. The French Electro-Pop project signed on BOREDOMproduct is already busy for years and this year released the first album as H/P. Driven by Christelle Fournioux, Cyrille Tuyeras and Fred Tuyeras the new work entitled  “Programma” moves on there where previous Happiness Project albums stopped. Pure Electro minimalism reminding legendary 80s formations but with a more explicit vintage sound on top. “Programma” is a fascinating and achieved production which might serve as a referential opus for H/P. I got in touch with all members for this interview.

(Courtesy by Inferno Sound Diaries)

Q: What made you change the name into H/P and what are the main differences with Happiness Project?

Fred: That was something we had in mind for quite a long time, and that was an idea of our label, who wanted some change. But however, we have always named ourselves H/P, when we were talking about the band.

Cyrille: Our latest album before “Programma” was named “Mutation”, so it meant that something was expected to change after this album. When we started to record and produce “Programma” with BOERDOMproduct, we thought it was time to change and simplify our name which was not always easy to understand for people who didn’t know us and our music. We chose the initials of our name H/P to make understand that our music will become more minimalist and will go rapidly to its purpose. But the soul of H/P doesn’t not change at all, we’re still the same and I think one can hear this in our music.

Q: Tell us a bit more about the way “Programma” saw the daylight? How did this new work took shape and what kind of album did you want to accomplish?

Fred: “Programma” started with a very clear idea of the music we wanted to make. We wanted to sound much more minimal than the two previous albums. The reason was we wanted a big change. But from the original versions of the songs, to their final aspect, things took some time, because there were a lot of back and forth movements between the band and the label. This is usual work, I guess when you are in the production process?

Christelle: Simplicity was the idea for this album, and I think we reached this purpose with our label which made a great work of production to give to our music this minimalism which contains a true depth either. And we wanted to change the way to sing and the position of voices in our music. Voices are more present and maybe dark either and are in real harmony with our music. All this was the programma for our album !  

Q: What makes the 80s sound that special and how did you incorporate this influence into your own composition? Do you have 80s standards?

Fred: The 80’s are so meaningful to us! Especially, because that was when we were musically born! I mean there was so much going on and so many extraordinary bands. Of course, we have so many standards from the 80’s ! The most important ones to us are Joy Division, New Order, In The Nursery, Dead Can Dance, Cocteau Twins… But we have also been influenced by bands from the 1970’s, too! Kraftwerk and Space, to name two of them!

Q: You invited Alain Seghir from the legendary formation Martin Dupont to play bass guitar on one of the songs. How did this meeting and collaboration happened? And are there international 80s artists you also would like to work with?

Fred: Well, of course, Martin Dupont! We could have mentioned them before!! That’s such a long story. As fans, we bought all their albums, as they were coming out. Then Cyrille got in touch with Alain Séghir, via Myspace, who obviously enjoyed some of our creations. Then, we met at a concert in 2019, in Cognac, France. That was such a good moment. And as artists, we made the cover of “Just Because” for BOREDOM’s tribute album “Broken Memories”. The idea of having him on one of our songs naturally came to Cyrille who had an idea for a bass-guitar melody. He took a chance, sent an email to Alain and it worked out! 

Cyrille: Martin Dupont is one of our big influence. We had all their albums at home and I am still listening to their albums now. It was a dream which came true when we covered their song “Just Because”. When this song was produced on the tribute album “Broken Memory” Alain Seghir sent us an email to tell us that he enjoyed a lot our version. We were so happy that we decided to make an unofficial video of the track, because this song means so much to us. And if you take a look of this video you will see in the latest seconds that we announce in a certain way the change of our band’s name! So to continue this wonderful adventure I decided to invite Alain Seghir to play bass on our track “Vicinities” because I have always loved the way this great singer plays bass too. And the result is so cool, we love it.

If we could create another track with another legend of the 80’s, personally I would enjoy to create something with In The Nursery, Brendan Perry or New Order.

Q: What did you try to express by the album title “Programma” and the lyrical themes of the album? Can you also tell us a bit more about the artwork of “Programma”?

Fred: As for the artwork, this picture was issued from a series of works, which question the human place in an expansive urban world. It was made by a friend of ours, Stéphane Coubret. With the title “Programma” we wanted something which could evoke a certain idea of technological advance. Therefore, a word which did not exist, this could be the name of a retro-futuristic place, like in the picture or the name of a computer program. As for the lyrics, they were all inspired by this idea and the situation, we were all living in: confinement! 

Q: I noticed the reviews you already got for “Programma” are very positive. That brings me to ask you about the importance and impact of reviews, magazines and journalists? And do you sometimes consider to do things a different way because of reviews you get? And how critical are you with your own work?

Fred: We have never created any album as a response to former press reviews… at least, not consciously. Of course, we are sensitive to feedback but we have always created our music as a continuing pathway… and our goal has always been to not make the same album twice. We are critical with our own work, because we often feel doubt, uncertainty, but also willingness throughout the creation process. We do question ourselves a lot.

Cyrille: We create music to be listened and each feedback is very important for us and meaningful. When we have good reviews, it does not make everything, but encourage us to continue the long story of H/P. It gives us the will to celebrate our twentieth anniversary in 2023.

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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(Photo by Jaron Baker) The Los Angeles based post-punk band Still has released their new EP, “A Symptom Of Fate”. The EP release follows recent single “Daylight” which was accompanied by a music video of the band performing the song in a natural landscape as a rainy night transitions into the foggy morning.

“The Symptom of Fate” EP follows the band’s debut self-titled EP “Still” from 2019. The EP holds 3 tracks: “Daylight”, “Misplaced Devotion” and “In Vain”. Here’s the video for “Daylight”.

About Still

Still formed when lead vocalist Daniel McDonough was looking to put together a band to turn the song ideas he was beginning to put together on piano into a full band post-punk sound, and reached out to Adrian Johnson and Julian Johnson who had both been playing in bands since they were high school classmates of Daniel, recruiting Wesley Wheeler shortly after to be their drummer.

The band cites influences like The Cure, Cocteau Twins, and Joy Division, as well as various revival bands since like Interpol and Beach Fossils.

The band began sporadically recording the new EP during 2020 at the home studio of Neil Popkins, after producer Nick Launay (Nick Cave, Gang of Four, Yeah Yeah Yeahs) introduced the band to Neil and recommended they record together while Nick was occupied with other projects. Towards the end of the recording process, Nick Launay himself came back to add his production touch and polish the final mix.

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. 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!

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Like What is a dark wave project based in New York. The music itself is entirely created on an iPad and a guitar in the style of the dark 80s with bands like Depeche Mode and Joy Division being the biggest inspiration.

Out already since early January is the project’s newest single “Out Alive’, the follow-up to October’s “Unplug!” EP. Next to being available on all major platforms, there is also a video for the single which you can view 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. 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!

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The Norwegian post-punk act Permafrost follows up its recent release “Come Back To Surprise” with the Pyxis remix of the track which is out on Friday the 18th on their own Fear of Music label. Pyxis is the remix moniker of producer/mixer Paul Corkett.

You can check out a trailer for the new single below.

Permafrost is a post-punk band, originally from Molde in Norway, which was formed in 1982 by school friends Frode Heggdal Larsen & Kåre Steinsbu. Robert Heggdal & Trond Tornes joined in 2001 and Daryl Bamonte in 2016. They take their name from a song by Magazine and other influences are Joy Division, The Cure, Talking Heads, Pere Ubu, Yello, Fad Gadget, The Residents, Wire and Wolfgang Press.

To date they have released the “Godtment” EP (on a limited edition of 50 numbered cassettes) in 1983, the “Permafrost EP” on vinyl in 2019 and digitally in 2021, and three singles in 2021 being “Femme Fatale”, “Closed Eyes” and “Restore Us”.

About Paul Corkett

Paul Corkett got his start as an engineer in the mid-1980s, engineering singles and albums for bands as varied as ABC, The Chameleons, Twelfth Night and The Heart Throbs. He landed his first big engineering gig in 1992, recording the single “China” for Tori Amos’s debut album “Little Earthquakes”.

In 1994 he produced his first full album, the second album by Adorable. His engineering work on The Cure’s tenth album “Wild Mood Swings” led to him producing the band’s next album, “Bloodflowers”, released in 2000. After engineering Placebo’s second album “Without You I’m Nothing”, in 1999 Corkett was invited to produce the band’s third album “Black Market Music”.

The early 2000s saw him producing albums for small alternative British bands The Cooper Temple Clause, Biffy Clyro and Queenadreena. In 2012 he teamed up with Love Amongst Ruin frontman Steve Hewitt to engineer albums for French band Lys and Italian band Spiral 69.

Corkett often works at Moles Studio in Bath, having recorded albums by Billy No Mates, Queenadreena, Dionysos, Fiction Plane and Love Amongst Ruin there.

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. 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!

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