For the collectors, three new Radio Broadcast BBC sessions LPs have popped up: The Sound’s “In Concert (BBC Radio One)”, Killing Joke’s “BBC Radio Sessions 1981”, and a new pressing for The Sisters of Mercy’s “BBC Sessions 1982-1984”.

Note that all three are unofficial releases aka bootlegs.

The Sound release is released as a 140 gram black-vinyl issue built from the band’s BBC Radio One “In Concert” recording from November 11, 1981 at Paris Studios in Lower Regent Street, London. The tracklist supplied for this edition is the following: “Pete Drummond Intro”, “Unwritten Law”, “Skeletons”, “Fatal Flaw”, “Winning”, “Sense of Purpose”, “Heartland”, and “New Dark Age”.

The Killing Joke LP compiles three BBC sessions from 1981 plus a bonus track recorded for John Peel in 1979. The tracklist : “The Fall of Because”, “Tension”, “Butcher”, “The Hum”, “Empire Song”, “We Have Joy”, “Chop Chop”, “Tension”, “Unspeakable”, “Exit”, and “Wardance”.

The Sisters of Mercy title is not a brand-new issue but a repressing. “BBC Sessions 1982-1984” holds 11 tracks: “1969”, “Alice”, “Good Things”, “Floorshow”, “Heartland”, “Jolene”, “Valentine”, “Burn”, “Walk Away”, “Poison Door”, and “No Time to Cry”. Note that an official Warner/Rhino version of “BBC Sessions 1982-1984” was also issued in 2021, so this Radio Broadcast pressing sits beside already-existing authorized BBC-era Sisters material.

We previously covered another unofficial Radio Broadcast title, The Sound’s 1982 Utrecht “No Nukes Festival” set, and in 2015 we also reported on bootleg sales that included Sisters of Mercy material.

Note that these items are distributed by mailorders, major ecommerce platforms, and… several label mailorders. As such it is not surprising that these vinyl editions sell in rather high volumes.

About Radio Broadcast

Radio Broadcast is best described as an unofficial archival vinyl imprint focused on radio-derived material. It’s an unofficial label, and as Side-Line previously reported, it is an Italian label specializing in radio-broadcast releases, with other titles including Joy Division and New Order.

The label repackages live radio sessions, BBC material, and broadcast-derived recordings as standalone vinyl products with minimal rights-context on the packaging. That does not make every release automatically illegal everywhere, but it does mean these records should be treated as unofficial unless an artist, estate, broadcaster, or rights owner has explicitly authorized them, which they haven’t of course.

Here’s an idea of what they have released over the years.

• Chameleons, The – Peel Sessions 81-83 – LP
• Cure, The – BBC Radio One 1984 – LP
• Dead Can Dance – The John Peel Sessions 1983-1984 – LP
• Depeche Mode – Radio Broadcast 1994 (Honolulu, Hi) – LP
• Echo & The Bunnymen – The John Peel Sessions 1979-1980 – LP
• Jam – BBC Sessions 1977-1979 – LP
• Joy Division – 1979 BBC Recordings – LP
• Manson, Marilyn – The Ultimate Broadcast 1999 – LP
• New Order – 81-82 BBC Recordings – LP
• Pink Floyd – BBC Radio One (London, September 30th, 1971) – LP
• Pink Floyd – Live At Pompeii – 2LP
• Pink Floyd – Live At Pompeii – CD
• Pink Floyd – Radio Sessions 1969 – Deluxe Reissue – LPL
• Police – WBCN, Boston – November 1979 – LP
• Siouxsie & The Banshees – The Peel Sessions 1977-1978 – LP
• Smiths, The – BBC Radio One 1986 – LP
• Wire – The Complete 1978 Peel Sessions – LP

Are these bootlegs legal in Europe and in the USA?

In Europe, the answer is not a simple yes. EU-related-rights rules are layered. Belgium’s FPS Economy states that neighboring rights generally last 50 years, except for music performances fixed on phonograms, where the term is 70 years, and it also states that broadcasters’ related rights run from the first broadcast.

The European Commission’s 2025 report on the Term Extension Directive likewise says that the EU extended protection for music performances fixed on phonograms and phonogram producers’ rights from 50 to 70 years. As a practical reading of those rules, BBC music recordings from 1981 to 1984 are not safely treated as public-domain material across Europe today.

A radio broadcast can involve multiple right layers at once: performer rights, phonogram rights where a protected recording exists, composition rights, and broadcaster rights. A shop listing in one EU country does not prove the same item is lawful to sell, import, or distribute in another territory.

In the United States, the position is tighter. Federal law states that anyone who, without the performers’ consent, fixes a live musical performance, reproduces it, or sells or traffics in it is subject to copyright-style remedies. Separately, the U.S. Copyright Office says the Music Modernization Act’s Classics Protection and Access Act brought pre-1972 sound recordings partially into the federal system and extended federal remedies for unauthorized use. These Radio Broadcast LPs are based on 1980s performances, so they should not be assumed lawful for U.S. sale or import unless there is clear authorization from the relevant rights holders.

In short, in both Europe and the U.S., these records are grey-market or unofficial broadcast releases.

Only Germany enforces hard. Selling bootlegs there is unlawful and can trigger injunctions, damages and even criminal liability (§§ 97–98, 106 UrhG). German law firms routinely issue takedowns/abmahnungen against bootleg sellers. That’s why many retailers mark these as “not for Germany.”

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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Here’s some history which few people remember but since Ben Watkins (Juno Reactor) mentioned it on his Facebook page – and since many think it’s an April Fools joke – we are going to unearth some old history also including Alan Wilder (ex-Depeche Mode, Recoil) and a band called The Hitmen.

The Hitmen were an English new wave band formed in 1979. They released seven singles and two albums on the Columbia label. Members of the band would later go on to have successful careers in other notable bands and in music production.

The band was formed in 1979 and consisted of members Ben Watkins (vocals, guitar), Pete Glenister (guitar), Stan Shaw (keyboards), Neil Brockbank (bass) and Mike Gaffey (drums). Shaw and Brockbank were later replaced by Alan Wilder (indeed) and John Jay (of Ian Mitchell Band) respectively. Alan Wilder had ended up with the band after playing in the bands The Dragons, Daphne & The Tenderspots, Real to Real and The Flatbackers.

In Australia, the band were known as The London Hitmen due to a naming conflict with the local band of the same name.

The band released two studio albums; “Aim for the Feet” in 1980 and “Torn Together” in 1981. The 1981 single “Bates Motel” became a minor hit, being played widely on UK radio and having its video featured on the newly-launched MTV channel in the United States.

After The Hitmen Ben Watkins went on to join Brilliant then later form the electronic bands the Flowerpot Men and Juno Reactor, as well as working with Killing Joke’s Martin ‘Youth’ Glover in the duo The Empty Quarter. Pete Glenister went on to play guitar, write and produce for other artists such as Kirsty MacColl, Alison Moyet, Terence Trent D’Arby, Anni-Frid Lyngstad, Bruce Foxton, Fischer-Z and Bryan Ferry, among many others. Alan Wilder became the keyboardist for Depeche Mode in 1982, produced Nitzer Ebb and then continued his solo project Recoil (which he had started in 1986) after leaving the band in 1995. Neil Brockbank became an audio engineer and producer for many artists including Nick Lowe, Mary Coughlan, Alison Moyet, Tanita Tikaram, Bryan Ferry and Ocean Colour Scene. He died in 2017 of cancer.

Here are two tracks featuring Alan Wilder and Ben Watkins.

Further production work and collaborations from Alan Wilder

Throughout his career, Alan Wilder has been involved in numerous collaborations. In 1989, he produced the Euro-Tech Version of Toni Halliday’s “Time Turns Around”. Two years later, in 1991, Wilder created the Wilder Mix Full Version of Nitzer Ebb’s “I Give to You” and mixed Nitzer Ebb’s “Come Alive” for their “As Is” EP. That same year, Wilder and Flood joined forces to produce Nitzer Ebb’s “Ebbhead” album.

Fast forward to 2001, Wilder contributed strings and ambient sounds to the song “Polaroid” from the album “Gift” by Curve. A couple of years later, in 2003, he provided strings and sounds for The Digital Intervention’s track “Coma Idyllique” from the album “Capture”. One of its members is ‘PK’, a longtime collaborator of Recoil, which also includes Olivia Louvel.

In 2010, he produced a remix for Nitzer Ebb’s “I Am Undone”. Following that, in 2011, he revisited his Depeche Mode roots by remixing their song “In Chains”, which became an instant fan favourite. That same year, he also created the Expansion Mix for Sonoio’s “Minutes.”

In 2012, Wilder took part in covering two tracks for a Talk Talk tribute album (double) CD/book set called “Spirit of Talk Talk”. The tracks were “Inheritance” featuring Linton Kwesi Johnson & Paul Marshall and “Dum Dum Girl” featuring Shara Worden. Additionally, he became the executive music producer for the album.

In 2016, Wilder provided music and arrangements for “Calling the Clock” by Dede, featuring his contributions as well.

About Ben Watkins

In 1979 Ben Watkins fronted the London new wave band The Hitmen, singing and playing guitar. The group released the albums “Aim for the Feet” in 1980 and “Torn Together” in 1981, while the single “Bates Motel” became their best-known release. After The Hitmen, Watkins moved briefly into Brilliant, the band formed by Martin “Youth” Glover after leaving Killing Joke.

That period led directly into Watkins’ first fully electronic work. He met Youth in 1982, joined Brilliant for a short spell, toured the UK and Spain, and then recorded with him as The Youth & Ben Watkins on “The Empty Quarter”. That 1984 release was issued as the soundtrack to Jonathan Moore’s stage play “Street Captives”. A second album, “Delirium”, followed under the name The Empty Quarter and musically went further into a rhythm-led electronic direction.

Watkins then formed The Flowerpot Men with Adam Peters. That project produced the singles and EPs “Jo’s So Mean”, “Walk On Gilded Splinters”, “Alligator Bait”, and “Watching the Pharoahs”. The duo toured with Dead Or Alive and Siouxsie and the Banshees. Not surprisingly Steven Severin produced their debut single. The Flowerpot Men also recorded “Beat City”, which was used in “Ferris Bueller’s Day Off”. When Watkins and Peters signed to Polydor, they continued as Sunsonic and released the album “Melting Down On Motor Angel” in 1990.

Juno Reactor began in 1990 as Watkins’ art-driven project, with the first single “Laughing Gas” arriving in 1993 followed by the albums “Transmissions” (1993), “Luciana” (1994), “Beyond the Infinite” (1995), “Bible of Dreams” (1997), “Shango” (2000), “Labyrinth” (2004), “Gods & Monsters” (2008), “The Golden Sun of the Great East” (2013), and “The Mutant Theatre” (2018). Across that period, Juno Reactor released material through NovaMute, Inter-Modo, Blue Room Released, and later Metropolis Records.

Watkins’ work with Juno Reactor later entered film on a larger scale through “The Matrix Reloaded” and “The Matrix Revolutions”, which is why “Mona Lisa Overdrive” remains one of the key titles in his catalogue.

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 goth rock act Midnight Configuration releases “Radford”, a collection of rare and previously unreleased tracks recorded between 1993 and 1995. Discovered during a reorganization of the Nightbreed Recordings studio archives, these tracks document the band’s early sound development.

Recorded on a 4-track porta-studio at 13 Osbourne Street in Radford, Nottingham, the tracks capture the band’s initial sound, influenced by Chrome, Killing Joke, Play Dead, and Hawkwind. The music carries a heavier tone than the band’s debut album, “Gothtec”, with lower-pitched, distorted vocals.

Despite the effects of time on the tapes, the music remains intact. These restored tracks, mastered at Nightbreed Studio in August 2024, thus provide an authentic record of the band’s formative years.

Radford is the first of two volumes and out now. The next release will feature early versions of songs from “Gothtec” and “The Kissing Skull”.

About Midnight Configuration

Midnight Configuration emerged in the early 1990s as one of the defining bands of the UK gothic and industrial underground. Founded by Trev Bamford in Nottingham, England, the band formed under the umbrella of Bamford’s own label, Nightbreed Recordings. With a sound that fused darkwave atmospheres, gothic aesthetics, and industrial beats, Midnight Configuration carved out a distinct niche in the gothic subculture.

The origins of Midnight Configuration trace back to Trev Bamford’s involvement in various gothic and post-punk projects during the late 1980s and early 1990s. Bamford had already established Nightbreed Recordings as a label dedicated to supporting and promoting dark alternative music. Midnight Configuration allowed Bamford to experiment with merging industrial and gothic elements, drawing influence from bands like Killing Joke, Chrome, Hawkwind, and Play Dead.

Initially, the band’s music leaned heavily into darkwave and post-punk roots, combining dense, atmospheric synthesizers with drum machines and heavily distorted guitars. These early influences also extended into lyrical themes, exploring death, occultism, and societal decay, themes that would become central to the band’s identity. Bamford’s vocal style in the early recordings was marked by deep, distorted vocals.

In 1994, Midnight Configuration released their debut album “Gothtec” that blended gothic rock with industrial and electronic music.

Following the success of “Gothtec”, Midnight Configuration released “The Kissing Skull” (1995). This album expanded on their sound with more complex song structures, while continuing to explore themes of occultism, death, and sexual politics.

Throughout the 1990s and early 2000s, Midnight Configuration released several more albums, including “Funeral Nation” (1998) and “Dark Hours of the Southern Cross” (2004).

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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Alaska’s only goth rock duo, Cliff and Ivy, have launched their album “Sinister Stars”. It is their first release on vinyl, available on CD and all major digital platforms, including Bandcamp and Spotify. Thematically the album delves into creativity, love’s redemption, death, magic, and breaking free from oppression.

Cliff and Ivy have taken full advantage of their diverse recording environments, splitting production between their House of Extreme Darkness Studio in Anchorage, Alaska, and studios in Los Angeles, Chicago, and New Jersey.

Good to know, “Sinister Stars” features collaborations with several well known collaborators:

• Paul Roessler (The Screamers, Nina Hagen Band) served as the album’s producer and synthesizer expert, recording tracks at Kitten Robot Studio in Los Angeles. Roessler is known for his work in LA’s punk and industrial scenes.
• Martin Atkins (Public Image Limited, Nine Inch Nails, Killing Joke) contributed live drums and bongos on various tracks, recorded at his Post-Punk Industrial Museum (PPIM) in Chicago.
• Jim Babjak, lead guitarist of The Smithereens, plays on the song “We Ignite”.
• Kurt Reil (The Gripweeds) handled mastering at House of Vibes Studio in New Jersey.

You can order the album below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. 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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Inertia are back with a brand-new album, “Estranged Icon”. Fronted by Reza Udhin (Killing Joke / Black Volition / The Devout), Inertia’s new album offers singles like “New Format” with Seiben’s Matt Howden on violins along with “Scowl” including guitar work from Steve White of KMFDM and PIG.

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

About Inertia

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

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

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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American artist Mark Pistel (Meat Beat Manifesto, Consolidated) has joined San Francisco post-punk outfit Octavian Winters for the double single “Nebula / Velveteen (Mark Pistel Remix)”. Now his “Velveteen” remix also gets the video treatment thanks to filmmaker David Kruschke.

Mark Pistel is best known as founder of Consolidated and as a member of Meat Beat Manifesto since 1997. He has also worked with such artists as The Disposable Heroes of Hiphoprisy, Grace Jones, Therapy?, MC 900 Foot Jesus, Machines of Loving Grace, Hector Zazou, Mark Stewart, Lee Scratch Perry, Cabaret Voltaire’s Stephen Mallinder and Fishbone’s Angelo Moore.

Formed in 2022, Octavian Winters is guitarist Stephan Salit (Thrill of The Pull), drummer Randy Gzebb (Thrill of The Pull, Love Club), bassist Jay Denton and Ria (Amenti) Aursjoen on vocals and keyboards.

Pistel explains, “Randy Gzebb called me about remixing one of the tracks off ‘The Line or the Curve’ EP. I was excited to do so, as we’d recorded some of these vocals at my Room 5 Studio in San Francisco. I chose to do ‘Velveteen’ as I already loved the track with its fantastic vocal melody and Stephan’s unstoppable guitar hook! I took on the track with pulsing analog synths and a slamming dance floor beat for the clubs.”

The A-side to this 2-track release, called “Nebula” began as an experiment: “I kept envisioning a sort of “last day at the end of the world” — what would the sky look like? Would we know and understand what was happening? There is this broadly Gnostic idea of the universe as unfolding and unfolding through what are called Aeons, essentially levels of manifestation, until we get this world we live in here. I imagined this world reaching the fullness of its life, that whole cycle ending — and then everything reversing, refolding back to the start to make way for the next universe,” says Ria Aursjoen.

This is not the first time Octavian Winters has worked with Pistel. Their debut EP “The Line or Curve” (released in late 2023) was mostly recorded at his Room 5 Recording before being mixed and mastered it at 13 Studio in Chicago, and co-produced by the band and William Faith (The Bellwether Syndicate, Faith & the Muse, Christian Death). Octavian Winters’ members have a rich history of collaborating and touring with notable artists, including Nine Inch Nails, Killing Joke, Lords of the New Church, Savage Republic, Christian Death, The Frozen Autumn, Everything Goes Cold and Black Tape for a Blue Girl.

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 Sigtryggur Ari Johannsson) Out now is Paddan’s new EP “Fluid Time” on the Washington D.C.-based label Lovitt Records. We already reported about this release in March when a first track was revealed, and now the full EP is out. Behind Paddan we find the Icelandic musicians Birgir and Sigtryggur (members of Sugarcubes, KUKL).

Birgir and Sigtryggur formed Paddan during the 2010s, and their EP “Fluid Time” has been inspired by their perception of time and space. Birgir Mogensen says, “As a duo, we trusted our musical intuition and were guided by allowing the first idea to remain unchanged during the recording process.”

Recorded, produced, and arranged by the pair, Sigtryggur and Birgir play basses and drums along with various other instruments. All recordings are played on live instruments except a modular synth which is programmed in the background of two tracks The duo is joined by the harmonica and lap steel player Gaukur Davidsson on “Vaguely” and “Bug”, and trumpet player Eirikur Orri Ólafsson on “Splash”, not to mention Vaccines bassist Arni Hjörvar Árnason on mixing duties for the tracks “Bug,” “Splash”, and “Kokka”, and sound-mixer Albert Finnbogason on “Vaguely”.

The release is also out as a 12″ vinyl.

About Paddan

Paddan’s Sigtryggur Baldursson and Birgir Mogensen are lifelong friends from Kópavogur, Iceland, who started as mates on the local football team, then graduated to making music together as teenagers, and even later as young men doing time in the experimental punk collective KUKL, from 1983 – 1986. KUKL was populated by survivors of the post-punk scene in Iceland in the early 80s, which is well documented in the film “Rock in Reykjavik” from 1982.

The band was released by the Crass collective in London and featured members, apart from Birgir and Sigtryggur, like Guðlaugur Óttarsson, Einar Melax, Björk and Einar Örn, some of whom would become better known later in outfits like the Sugarcubes and their respective solo work and other collaborations.

Sigtryggur has a long career in music, having worked with among others, Emiliana Torrini, Howie B, Les Negresses Vertes, Tomas R. Einarsson, Petur Ben, KK, Kaktus Einarsson, and many many others. He also produces an award-winning documentary music show for RUV called Hljómskálinn.

Birgir Mogensen is a classically trained classical guitarist and bass player who has worked through the years with artists ranging from KUKL to Killing Joke to Spilafifl and Inferno5.

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 Abby Laspia) Today, Cleopatra Records has reissued the Spahn Ranch album “The Coiled One”. “The Coiled One” by the Los Angeles-based electro-industrial act was originally released in 1995, and now comes with 8 bonus tracks that include album recording session outtakes that have previously never been released in any form.

The material on this reissue was digitally remastered by Jürgen Engler of Die Krupps and is now available for the first time on vinyl in a limited edition colored version that includes the original 10 songs, as well as a limited digipak “The Coiled One: Deluxe Edition” CD version (that contains the 8 bonus tracks). “The Coiled One” will also be available on all digital and streaming platforms.

Additionally, a seldom seen video created by a European fan for the song “Heretic’s Fork,” is now available once more.

“The Coiled One” was Spahn Ranch’s second studio album. Co-produced and engineered by Judson Leach, the album also included programming by Matt Green and Rob Morton, with vocals by Athan Maroulis (currently of NØIR).

About Spahn Ranch

Spahn Ranch was established in 1992 in Los Angeles by Matt Green and Rob Morton, his collaborator from New York. They pooled their savings to launch the band, having already worked together musically for the previous five years. That year, they inked a deal with Cleopatra Records and debuted with a self-titled EP featuring four tracks, with Scott “Chopper” Franklin—who would later join The Cramps as a bassist—on vocals. Franklin had left another band to join Spahn Ranch on vocals.

In 1993, Athan Maroulis joined Spahn Ranch as a vocalist, and the band recorded their first album, “Collateral Damage”. Maroulis had previously formed the New York-based group Fahrenheit 451 (1984–1986), with whom he recorded his first commercially available album. Over the ensuing years, Maroulis established himself in a number of alternative musical genres including gothic, industrial and electronic. Stints with the Philadelphia-based Executive Slacks (1987–1990), as well as Tubalcain (1991–1993), followed.

They released their second album, “The Coiled One”, in 1995 amidst Morton’s exit from the band over creative and logistical clashes. Following his departure, the lineup grew to include Christian Death’s drummer David Glass, Screams for Tina guitarist Kent Bancroft, and Tubalcain drummer Harry Lewis. This expansion ushered in a darker, more diverse electro-industrial sound that became Spahn Ranch’s hallmark. By 1997, the band had streamlined to a trio comprising Green, Maroulis, and Lewis.

Throughout the late 1990s, Spahn Ranch continued producing music. Their 1997 album “Architecture” featured contributions from Killing Joke/Prong bassist Paul Raven and Rockats/Nancy Sinatra guitarist Danny B. Harvey, taking a more experimental turn with the introduction of drum and bass, dub, and live guitar elements. “Beat Noir”, released in 1998, furthered this experimental direction and included collaborations with Bauhaus/Love & Rockets bassist David J. In 2000, the band released “Anthology 1992–1994”, a compilation including their first four releases and previously unreleased tracks.

Their final album, “Closure”, was recorded in 2000 and released in 2001.

In less than 8 years, Spahn Ranch completed a total of 5 studio albums, 4 EPs and performed more than 200 concerts in over a dozen countries before calling it a day in late 2000.

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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Metropolis Records welcomes the legendary 16volt on its roster. The new release “NegativeOnArrivals” features a selection of tracks from the band’s two self-released albums, “The Negative Space” and “Dead on Arrivals”, that have been selected by the band themselves.

In addition 16volt’s founder, songwriter, lead vocalist, programmer, and rhythm guitarist Eric Powell, is working on a new album that is slated for release later this year, to be released under the title “More of Less”. “NegativeOnArrivals” is available today via Metropolis Records on CD and through all digital and streaming platforms.

About 16volt

Eric Powell signed his first record deal in 1991 at a very young age and subsequently delivered three albums: “Wisdom” (1993), “Skin” (1994), and “LetDownCrush” (1996). On those albums he worked with several co-producers including David Ogilvie (Nine Inch Nails, Skinny Puppy), Keith “Fluffy” Auerbach (Ministry), Jeff “Critter” Newell (Ministry, Angels & Airwaves, Blink-182), and special guests William Tucker (Ministry), Marc LaCorte (Schecter Guitars), and Bryan Black (Black Asteroid).

16volt then brought on producer Bill Kennedy (Nine Inch Nails, Megadeth, Sepultura, Mötley Crüe) to make the album “SuperCoolNothing” (1998, Mercury/PolyGram) featuring film composer and musician Joseph Bishara (Insidious, The Conjuring, Marylin Manson, Danzig), Chris Vrenna (Nine Inch Nails), Mike Peoples (Skrew), and Kraig Tyler (Crazytown). With Polygram being acquired by Seagrams shortly before the album release, 16volt found themselves in the middle of a legal battle while Mercury lost all funding and moved the album to Island Records as a catalog item.

In the end the band bought the rights to the album in 2000 and signed an agreement with Sony Entertainment to feature the album within the Playstation game “Primal” as well as being a double release in Europe with the game on one disc and the album on another. The band was also skinned into the game as characters and included in interviews as in-game bonus material.

In 2007 16volt signed a multi-album deal with Metropolis Records and released “FullBlackHabit” (2007), “American Porn Songs” (2009), and “Beating Dead Horses” (2012) with guests such as Paul Raven (Ministry, Killing Joke, Prong); Steve White (KMFDM); Bildeaux (Lance Herbstrong) and mix engineer Shaun Thingvold (Strapping Young Lad, Lamb of God).

In early 2016 16volt entered the recording studio in Portland, Oregon to begin writing and recording a new album with producer Marc Jordan (Velvet Revolver, The Cult, Stitched Up Heart, The Mowglis, Hyro Da Hero, Bleached, Die Antwoord). The new album titled “The Negative Space” was released independently on September 14, 2016. In early 2017, 16volt entered the studio to begin work on their 10th album effort “Dead On Arrivals” which was self-produced and released in October of 2017.

During the summer of 2021, Eric began working on material again in his private studio. In the Fall of 2022, 16volt announced resigning with Metropolis Records and began work on a new album titled “More of Less” slated for a 2024 release. In addition, Metropolis now re-issues a combined version with select tracks of the albums “The Negative Space” and “Dead On Arrivals” titled “NegativeOnArrivals”.

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 brand new single from La Carte Records’ own Julia Gaeta. On “Hangin On A Dream” the Paris-based musician blends post-punk, dark synth-pop and industrial. The single announces a new EP (including a collaboration with Perturbator) called “Blur Divine” which will be out on July 2nd. This already Julia Gaeta’s second single from her upcoming EP “Blur Divine”.

About “Hangin On A Dream,” she says: “It is about coming to terms with your desires, and realizing you may have never had them fulfilled. You’re grasping at something and it slips away, leaving you hanging, confused, wondering. The verses were written on the spot in a studio in Portugal. This is a dual-part song, one that begins very intimately and floaty, and then swells deeper into a trance-like state.”

For the upcoming EP Gaeta has been inspired by personal events, stories of those around her, and what she calls “the push-pull energy of gritty Paris nights”.

The EP was mostly written between two locations in Paris, beginning in 2020 pandemic lockdowns, after Gaeta had just moved to Paris from Berlin. In late 2021, Gaeta linked up with James “Perturbator” Kent, who took an interest in the track’s dark trip-hop sound. He produced and mixed the track, which coincided with a video by filmmaker David Fitt – an ode to Paris nights.

The EP was finally completed in 2023 and further produced by LA-based producer Alex DeGroot (Zola Jesus). You can already pre-order it below.

About Julia Gaeta

Growing up listening to metal, grunge, post-punk and goth music, Gaeta carries with her the influences of bands such as Alice in Chains, Depeche Mode and Killing Joke mixed with a deep love of ‘90s and early ‘00s pop and hip-hop. After playing guitar in bands for nearly a decade, Gaeta dropped her first solo single, “Weight of You”, in early 2022 – which featured a production and mixing appearance from James “Perturbator” Kent. “Weight of You” is set to be included as a B-Side on Blur Divine.

Julia Gaeta plans to tour her EP in the second half of 2024 and into 2025 and she is also beginning work on an LP.

Here is the title track of the upcoming 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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Out on May 3rd via Metropolis Records is the release of the 16Volt album”NegativeOnArrivals”.

It holds condensed versions of the two most recent albums are being reissued on 3rd May as the single disc “NegativeOnArrivals”, with Powell stating: “I am excited to get this material out to a larger base through Metropolis! The collection of tracks was created during a hard time in my life and to feel them set free together is a great exorcism, I hope everyone enjoys them as we get warmed up for our new album.”

You can pre-order the album right here. Below is the artwork.

In further news, after a period of inactivity that saw 16Volt unable to tour, Powell began working on new material in his studio and re-signed with Metropolis Records for a brand new album entitled “More Of Less” to be issued later in 2024.

Here’s already the video for “The Last Time” featured on the new album.

About 16Volt

With roots dating back to the early days of the industrial rock genre, 16Volt have been successfully crossing over into multiple related genres for over three decades and retained a healthy worldwide fanbase while doing so.

Group founder, songwriter, lead vocalist, programmer and rhythm guitarist Eric Powell actually signed his first record deal in 1991 while still in his teens and delivered three albums in swift succession – “Wisdom” (1993), “Skin” (1994) and “LetDownCrush” (1996) – that saw him working alongside co-producers such as David Ogilvie (Nine Inch Nails, Skinny Puppy), Keith ‘Fluffy’ Auerbach (Ministry) and Jeff ‘Critter’ Newell (Ministry, Angels & Airwaves, blink-182), as well as guest musicians like William Tucker (Ministry), Marc LaCorte (Schecter Guitars) and Bryan Black (Black Asteroid). Earning both critical praise and pole positions on the US Alternative Chart and at College Radio, the band also built a significant live following as they toured extensively around North America and eventuallly signed a major deal with Mercury Records.

Producer Bill Kennedy (Nine Inch Nails, Megadeth, Sepultura, Mötley Crüe) was hired to help make “SuperCoolNothing” (1998), which featured appearances from film composer Joseph Bishara (Insidious, The Conjuring, Marylin Manson, Danzig), Chris Vrenna (Nine Inch Nails), Mike Peoples (Skrew) and Kraig Tyler (Crazytown), but the group soon found themselves in the middle of a legal battle shortly before album release when their label was bought by Seagram and its funding was cut. However, in a genius move, Powell was able to buy back the rights and made a deal with Sony to feature it within the Playstation game “Primal” as well as a two-disc European release that included both the album and the game with the band skinned in as characters and utilised as in-game bonus material.

The mid-’00s saw 16Volt sign to Metropolis Records and release the albums “FullBlackHabit” (2007), “American Porn Songs” (2009) and “Beating Dead Horses” (2012), which featured guests such as Paul Raven (Ministry, Killing Joke, Prong), Steve White (KMFDM) and Bildeaux (Lance Herbstrong), as well as mix engineer Shaun Thingvold (Strapping Young Lad, Lamb of God).

Meanwhile, an extensive touring schedule was maintained that included stints with KMFDM, Korn, Filter, Chemlab, Orgy, Prong, Stabbing Westward, Revolting Cocks, Fear Factory, Front Line Assembly, My Life with the Thrill Kill Kult, Front 242 and more, as well as multiple successful headlining tours in their own right.

2016 saw the release of “The Negative Space”, produced by Marc Jordan (Velvet Revolver, The Cult, Hyro Da Hero, Die Antwoord), with “Dead On Arrivals” following a year later.

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 Sigtryggur Ari Johannsson) On May 10, Icelandic duo Paddan will release their new EP “Fluid Time” on the Washington D.C.-based label Lovitt Records. Today the band shares “Bug,” the first single, and its accompanying video, to be released from the forthcoming EP. Behind Paddan we find Birgir and Sigtryggur (members of Sugarcubes, KUKL).

On the song, the band’s Sigtryggur Baldursson says: “On ‘Bug’ we are working with the concept of using ideas very directly, documenting musical performances and using them more or less naturally, as they come. You could say we are putting our faith in the saying that first impressions are often correct. There is one modular synth in the background but everything else is played live on various instruments. Apart from bass, drums, and guitars we also have a harmonica and lap steel popping up in various places, played by Gaukur Davidsson.”

The material was recorded, produced, and arranged by the pair, Sigtryggur and Birgir play basses and drums along with various other instruments. All recordings are played on live instruments except a modular synth which is programmed in the background of two tracks The duo is joined by the harmonica and lap steel player Gaukur Davidsson on “Vaguely” and “Bug”, and trumpet player Eirikur Orri Ólafsson on “Splash”. You’ll also find Vaccines bassist Arni Hjörvar Árnason on mixing for “Bug,” “Splash” and “Kokka”, while sound-mixer Albert Finnbogason was active on “Vaguely.”

About Paddan

Paddan’s Sigtryggur Baldursson and Birgir Mogensen are lifelong friends from Kópavogur, Iceland, who started as mates on the local football team, then graduated to making music together as teenagers, and even later as young men doing time in the experimental punk collective KUKL, from 1983 – 1986. KUKL was populated by survivors of the post-punk scene in Iceland in the early 80s, which is well documented in the film “Rock in Reykjavik” from 1982. The band was released by the Crass collective in London and featured members, apart from Birgir and Sigtryggur, like Guðlaugur Óttarsson, Einar Melax, Björk and Einar Örn, some of whom would become better known later in outfits like the Sugarcubes and their respective solo work and other collaborations. Sigtryggur has a long career in music, having worked with among others, Emiliana Torrini, Howie B, Les Negresses Vertes, Tomas R. Einarsson, Petur Ben, KK, Kaktus Einarsson, and many many others. He also produces an award-winning documentary music show for RUV called Hljómskálinn.

Birgir Mogensen is a classically trained classical guitarist and bass player who has worked through the years with artists ranging from KUKL to Killing Joke to Spilafifl and Inferno5. Regarding the EP Birgir Mogensen says, “As a duo, we trusted our musical intuition and were guided by allowing the first idea to remain unchanged during the recording process”

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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Killing Joke has announced the death of its iconic guitarist, Kevin “Geordie” Walker. The statement reads as follows: “With deep sadness, we announce that Kevin ‘Geordie’ Walker passed away at 6:30am on 26th November 2023 in Prague. He was in the presence of his family when he succumbed to a stroke. We are heartbroken. Rest in peace, brother.”

Kevin “Geordie” Walker passed away on Sunday, November 26, in Prague, Czech Republic. He had suffered a massive stroke two days prior and was only 64 years old.

Luca Signorelli, a close friend of Walker, confirmed the news, stating on Facebook: “This morning, I learned that Kevin ‘Geordie’ Walker died a few hours ago in Prague, following a massive stroke last Friday.” Signorelli described Geordie as his closest friend outside of his family, adding that Walker was known for his straightforwardness and selectiveness in social interactions. Martin Atkins from Killing Joke also acknowledged Walker’s passing, expressing his grief by sharing a music video and posting on X (formerly Twitter), with the hashtag “#GodBless Geordie Walker”.

God bless #GeordieWalker my @Killingjokeband murderinc #damagemanual band mate – tell Paul Raven I said hi xxxx pic.twitter.com/XMtwPu3mFr

— Martin Atkins (@marteeeen) November 26, 2023

Walker, along with Jaz Coleman (vocals, keyboards), were constants in Killing Joke’s lineup, and they had been performing with founding members Paul Ferguson (drums) and Martin “Youth” Glover (bass) since 2008. In a 2006 MTV interview, Coleman spoke highly of Walker, comparing their relationship to that of brothers. Walker, in a Metal Assault interview a decade ago, discussed the evolution of his guitar style, emphasizing his preference for hollow body guitars and a more refined playing technique.

Jimmy Page of Led Zeppelin hailed Walker’s guitar sound as “really strong”, while peer Kevin Shields of My Bloody Valentine praised Walker’s guitar playing, which he described as “this effortless playing producing a monstrous sound”.

Recently, in March, Killing Joke released a new single, “Full Spectrum Dominance”, to celebrate their sold-out show at London’s Royal Albert Hall. The track, mixed by Tom Dalgety, was part of a special event titled “Killing Joke – Follow The Leaders”, where the band performed its first two albums in full, along with several warm-up shows, including one at London’s 100 Club.

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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Trans-Atlantic dark music duo, Johnathan|Christian, have released their new single, “Résistance, Mon Amie”. “The song is dedicated to advocating for the rights of the LGBTQ+ community”, so the band says. The duo will donate the proceeds of the 3-track single to The Trevor Project, an American nonprofit organization that focuses on suicide prevention.

Written and composed by Christian and Johnathan, “Résistance Mon Amie” was collaboratively produced by Johnathan and Tony Lewis in Redbank, New Jersey.

Speaking about the new single, Johnathan states: “This past summer was appalling for the gay community globally. EVERYONE has the right to be free! What right do the most hypocritical sinners of all think they THEY have the right to judge anyone, invoking their ‘godliness’, while spewing their hatred? In a world marred by hate crimes and discrimination, music’s universal language and the storytelling capacity of music videos become vital tools to inspire change, fostering empathy and hope.”

The single includes two remixes of the title song, the “Neon Nights Mix” by Lee Meadows as well as an official Martin Atkins (Public Image Ltd, Ministry, Nine Inch Nails, Pigface, Killing Joke) mix.

The video for the single was produced by Nick van Dyk with Purple Tree studio and tries to address the struggle while offering encouragement: “In the face of ongoing violence against the LGBTQ+ community, there’s a glimmer of hope through the power of music and visuals. Creating specific visuals for the “Resistance” track is a fantastic way to unite and amplify the LGBTQ+ movement’s message, redirecting energy away from violence.”

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 while back the US goth rock act The 69 Eyes covered The Cramps’ “Aloha From Hell”, today they give us a preview of their rendition of Rammstein’s “Feuer Frei!”. This track was originally released as the fifth single from Rammstein’s third album, “Mutter”, which debuted on April 2nd, 2001. On August 9th, 2002, “Feuer Frei!” made its film debut in the Rob Cohen action feature, “xXx”, starring Vin Diesel, and can be heard in its near entirety at the beginning of the film, which takes place at a Rammstein concert.

The tribute song is accompanied by a video which you can view below. Directed by the acclaimed Vicente Cordero, it shows fire performers IvorySith & Kay Von Kola.

The song itself is part of the “A Tribute To Rammstein” compilation – of which we already previewed various tracks – available worldwide on August 25th. Included on this compilation are other bands like Priest, Manntra, and Julien-K, Front Line Assembly, Laibach, Burton C. Bell (Fear Factory), Paul Ferguson (Killing Joke), and Skold (KMFDM/Shotgun Messiah).

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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Andy Rourke, bassist of The Smiths, has passed away at the age of 59. The news was shared today (May 19) by his former bandmate, Johnny Marr, via social media. According to Marr, Rourke’s passing was the result of an extended battle with pancreatic cancer. The last time Rourke played on stage was at Maddison Square Garden in September 2022 with his band.

Marr posted this on Twitter: “We are deeply saddened to report the passing of Andy Rourke after his prolonged battle with pancreatic cancer. Andy will be cherished for his kindness and beautiful spirit by those who personally knew him, and his exceptional musical talents will be remembered by music enthusiasts. We kindly ask for privacy during this difficult period.”

Rourke is primarily recognized for his role as the lead bassist for The Smiths from 1982 to 1986, and then again from 1986 to 1987. He contributed to all four of The Smiths’ studio albums: ‘The Smiths’ (1984), ‘Meat Is Murder’ (1985), ‘The Queen Is Dead’ (1986), and ‘Strangeways, Here We Come’ (1987).

Beyond The Smiths, Rourke co-founded and performed with supergroup Freebass, which included Peter Hook of New Order and Mani of the Stone Roses. He also recorded with The Pretenders for their 1994 album ‘Last of the Independents’, and collaborated with Killing Joke, as well as Moondog One, featuring former Oasis guitarist Bonehead.

Rourke and Marr met when they were 11 years old, bonding over music at their school. After graduating, Rourke co-founded The Smiths in Manchester in 1982, along with Marr, Morrissey, and drummer Mike Joyce. Johnny Marr: “Andy and I initially connected as schoolboys. We quickly became inseparable, spending our time studying music, enjoying ourselves, and striving to become the best musicians we could be.” Marr and Rourke would maintain their friendship after The Smiths disbanded.

Various musicians and music industry professionals have publicly expressed their condolences following Rourke’s death including Stephen Street, The Smiths’ producer, and fellow bassists Mat Osman from Suede and Tom Chapman from New Order.

Stephen Street wrote: “I am so saddened to hear this news! Andy was a superb musician and a lovely guy. I haven’t been able to read any other news about details yet but I send my deepest condolences and thoughts to his friends and family. RIP.”

Suede bassist Mat Osman: “A total one-off – a rare bassist whose sound you could recognise straight away. I remember so clearly playing that Barbarism break over and over, trying to learn the riff, and marvelling at this steely funk driving the track along.”

New Order bassist Tom Chapman: “A true inspiration to me and the reason I moved to Manchester to be a musician. One of the best bass players to come out of Manchester. If it wasn’t for him I probably wouldn’t be in New Order today. My thoughts go to his family and friends.”

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 showcases the talents of 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”.

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 Carlos Perez) Los Angeles-based darkwave act, Tigercide have released the “Remedy Remixes”, a collection of re-envisioned tracks from Tigercide’s “Remedy” EP.

The “Remedy Remixes” is an compilation of remixes following the release of Tigercide’s 2019 “Remedy” EP. The release features remixes from artists including Delta City (UK Synthwave) John Bechdel (Ministry, Fear Factory, Killing Joke) Palanese Summer (Dark Psy) Trace Amount (Industrial / EBM) Josex (Breakbeat) and Subtle Smiles (Indie-Electronic) and DJ Odeed (Hip-Hop).

The band comments: “The ‘Remedy’ EP was a special release, an incredibly personal look into a journey filled with beauty and pain; the burden of almost losing it all but somehow keeping it together, clawing through adversity. The duo of Shexist and St. Brendan reach to the sky and obtain its healing sound. Together through heartache and sheer will they be a force of change.”

Tigercide formed a decade ago in LA with Shexist on vocals and St. Brendan on music. You can get the release via the band’s website.

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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We are still getting quite a few questions regarding this, so here it is again. The “Celebrating David Bowie” tour has been postponed to the fall due to headliner Peter Murphy undergoing “an unexpected medical procedure that prevents his ability to travel as planned,” as announced by the his management. The Bauhaus frontman is recovering well and is expected to be fully fit to tour the U.S. in the fall.

The tour, which also features guitarist Adrian Belew and members of Spacehog and A Perfect Circle, was initially scheduled for April and May. The rescheduled dates now begin in October and continue through late November. The tour itinerary remains largely unchanged, albeit in a different order, and has expanded from 26 to 27 dates with the addition of a concert in Chicagoon November 21st. The planned San Antonio, Texas, stop has been moved to nearby Austin. More information can be found at celebratingdavidbowie.com.

The assembled musicians will highlight David Bowie’s greatest hits during the tour, with a strong emphasis on Ziggy Stardust, the Berlin trilogy (“Low”, “Heroes”, and “Lodger”), and his later Trent Reznor-inspired years. Murphy and Belew, who have both played with Bowie and Nine Inch Nails, will be joined on stage by guitarist Scrote, Spacehog frontman Royston Langdon, A Perfect Circle members Matt McJunkins (bass) and Jeff Friedl (drums), saxophonist Ron Dziubla, and guitarist Eric Schermerhorn, who played with Bowie’s Tin Machine.

Murphy had been touring with the reunited Bauhaus last year, but the journey fell apart when Murphy entered rehab in late August. The other members of Bauhaus have since agreed to reform as Love and Rockets.

Initial Rescheduled Appearances are:

• 10/10 Tacoma, WA Temple Theatre
• 10/11 Portland, OR Roseland Theater
• 10/14 San Francisco, CA The Regency Ballroom
• 10/16 Anaheim, CA City National Grove of Anaheim
• 10/17 San Diego, CA Music Box – San Diego
• 10/18 Phoenix, AZ Celebrity Theatre
• 10/20 Austin, TX ACL Live at The Moody Theater
• 10/21 Tulsa, OK Tulsa Theater
• 10/22 Grand Prairie, TX Texas Trust CU Theatre
• 10/24 Houston, TX House of Blues
• 10/25 New Orleans, LA House of Blues
• 10/26 Atlanta, GA Variety Playhouse
• 10/29 Ft. Lauderdale, FL Broward Center – Parker Playhouse
• 10/31 St. Petersburg, FL Mahaffey Theater
• 11/03 Chattanooga, TN Soldiers and Sailors Memorial Auditorium
• 11/05 Virginia Beach, VA Sandler Center for the Performing Arts
• 11/06 Washington D.C. The Hamilton Live
• 11/10 Glenside, PA Keswick Theatre
• 11/11 Ridgefield, CT Ridgefield Playhouse
• 11/12 Westbury, NY NYCB Theatre at Westbury
• 11/14 Red Bank, NJ Count Basie Center for the Arts
• 11/15 Englewood, NJ Bergen Performing Arts Center
• 11/16 Lynn, MA Lynn Auditorium
• 11/17 Staten Island, NY St. George Theatre
• 11/20 Munhall, PA Carnegie of Homestead Music Hall
• 11/21 Chicago, IL Copernicus Center %
• 11/22 Cincinnati, OH Taft Theatre

% – New Confirmed Performance – On-Sale 4/14

About Peter Murphy

Born on July 11, 1957, Peter Murphy is an English singer, songwriter, and musician. He is best known as the lead vocalist for the post-punk goth rock band Bauhaus. When Bauhaus initially split up, Murphy collaborated with Japan’s bassist Mick Karn to form Dali’s Car, releasing one album titled “The Waking Hour” (1984). Subsequently, Murphy embarked on a solo career, releasing several albums, such as “Should the World Fail to Fall Apart” (1986) and “Love Hysteria” (1988).

In 1990, Murphy found mainstream success with his hit single “Cuts You Up”, which topped the American Modern Rock Tracks for seven weeks, and the album “Deep” also achieved commercial success. In 1992, he released “Holy Smoke” along with the lead single “The Sweetest Drop”.

In 2002, Murphy collaborated with Turkish-Canadian composer and producer Mercan Dede on the – excellent – album “Dust”, which showcased a departure from his previous pop and rock styles. The album incorporated traditional Turkish instrumentation and songwriting, blending elements from progressive rock, trance, classical music, and Middle Eastern music with Dede’s signature atmospheric electronics. In 2014, Murphy released “Lion”, produced by Killing Joke’s Youth.

With his thin frame, striking cheekbones, deep baritone voice, and affinity for dark poetry, Murphy is often referred to as the “Godfather of Goth”.

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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Gothic rock band Girls Under Glass have unveiled their new music video “We Feel Alright” as the first single from their upcoming album “Backdraft”. Returning after a long hiatus, the Hamburg-based group presents a set of brand new tracks on the “Backdraft” album which is set to be released on June 2, 2023.

“We Feel Alright” is also available as a digital single, featuring two Girls Under Glass remixes, “Who the F*** Is Killing Joke?” and “Into the Shining Light”, on regular platforms. Watch the black and white music video for “We Feel Alright” right below.

Girls Under Glass describes their new album “Backdraft” as a “creative explosion, blending sounds from our previous works into a seamless record (…) the album transitions between catchy gothic rock, electronic dark wave, and melodic post-punk.”

The album title “Backdraft” is inspired by a phenomenon related to large fires, symbolizing “our creative energy being reignited.” Initially planning to compose a few new tracks for an EP, Girls Under Glass found themselves with a renewed creative spark, and the project expanded into a full-length album. The lyrics in “Backdraft” reflect dystopian themes relevant to today’s world, perfectly fitting the band’s powerful and sinister sound.

The album also marks the return of former vocalist Thomas “Tom” Lücke, who not only joined the band on stage but also recorded with them for the EP released alongside the album.

Girls Under Glass, formed in Hamburg in 1986, quickly became a leading force in the German gothic rock and dark wave scene. Between 1994 and 2006, they experimented with rock, crossover, and metal sounds, amassing an impressive discography. The current lineup consists of Volker Zacharias (vocals, guitar), Axel Ermes (synth, electronics), Falko Grau (bass), and Tom Lücke (vocals on all EP tracks). The album also features guest musician Mortiis on the track “Tainted.”

“Backdraft” was recorded, mixed, and produced by Axel Ermes and Volker Zacharias, mastered by Chris Harms at Chameleon Studios, with cover art by Greg Rolfes and graphic design and artwork by Ulrike Rank.

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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After parting ways with the post-punk powerhouse Public Image Ltd. in 1985, drummer Martin Atkins found himself in high demand, collaborating with numerous bands such as NIN, Killing Joke, and notably, William Rieflin of Revolting Cocks and Ministry. Together, Rieflin and Atkins embarked on their most ambitious project to date: an industrial music supergroup called Pigface, bringing together the talents of their various associates.

In 1990, Pigface released their debut album “Gub,” which includes the original version of “Suck” featuring Trent Reznor. Reznor later re-recorded this track for the 1992 NIN EP “Broken.” With contributions from artists such as Chris Connelly of Revolting Cocks, David Yow of The Jesus Lizard, Nivek Ogre of Skinny Puppy, Paul Barker of Ministry, En Esch of KMFDM, and Steve Albini, “Gub” has rightfully earned its reputation as one of the most daring sound recordings ever created.

Atkins reflects on the album, saying, “This was such a liberating time—bringing together this extraordinary group of musicians and not worrying about the outcome (although, of course, we did). We had the luxury of working in the legendary Chicago Trax studios with the talented Steve Albini to capture and convey it all. It’s fascinating to think that Trent’s involvement was even a topic of debate—NIN wasn’t well-known yet, and some suggested we could save $150 on a round-trip airfare from Cleveland by not involving him. I vetoed the idea. Bill Rieflin and I came up with the concept for the project during warm-ups for Ministry’s cage tour, and the immense contribution of Francesca Sundsten’s iconic artwork to the project cannot be overstated.”

The album is now receiving a deluxe reissue from Cleopatra Records, showcasing Francesca Sundsten’s restored artwork and a gatefold image of Pigface’s original promotional picture, assembled by Chris Connelly. This reissue also offers bonus remixes and extra track versions for the first time in a single release. The CD edition comes in a premium digipak, while the vinyl version is available in an array of colors.

The tracklist:

1. Tapeworm with Steve Albini
2. The Bushmaster with Trent Reznor & David Yow
3. Cylinder Head World
4. Point Blank with Steve Albini, Chris Connelly
5. Suck with Trent Reznor & Paul Barker
6. Symphony For Taps
7. The Greenhouse with Chris Connelly
8. Little Sisters with Chris Connelly, William Tucker
9. Tailor Made with Steve Albini, Paul Barker
10. War Ich Nicht Immer Ein Gutter Junge? War Ich Nicht Immer Schoen Und Nett? Ich Zerpfluckte Niemals Eine Spinne-War Neimals Frech Und Stahl with En Esch
11. Blood and Sand with Chris Connelly, Matt Schultz
12. Weightless with Chris Connelly
13. Tonight’s The Night (Little Sisters Remix)
14. Winnebago (Induced Tapeworm Remix) with Nivek Ogre
15. The Bushmaster (Bushmaster Remix)
16. War Ich Nicht Immer Ein Gutter Junge? War Ich Nicht Immer Schoen Und Nett? Ich Zerpfluckte Niemals Eine Spinne-War Neimals Frech Und Stahl (Remix)
17. Suck (VX Remix)
18. Suck (Reverse Sitar 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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(Black and white photo by Derick Smith) Ministry has a livestream concert set for November 20 at 3 PM PT/5 PM CT/6 PM ET/10 PM GMT. Tickets have gone on sale now at HITKOR.com (to both stream live and watch on demand). The special streaming event will be available in more than 30 countries and was planned with European Ministry fans in mind after the band had to cancel a multi-country tour this fall due to unforeseen circumstances.

Ministry’s Al Jourgensen says: “We never intended for Cleveland with NIN to be our last show this year. Due to circumstances beyond our control we had to cancel Europe but we didn’t want to end 2022 without one last show, and this will be one for the books.”

The live set will feature the full band and possible special guests. In addition to creator and founder Al Jourgensen, Ministry’s full band will appear in the livestream show, including drummer Roy Mayorga (Stone Sour, Soulfly, Nausea), guitarists Cesar Soto (Man The Mute) and Monte Pittman (Madonna, Prong), bassist Paul D’Amour (Tool, Feersum Ennjin), and keyboardist John Bechdel (Killing Joke, Fear Factory).

The show will also feature new tracks from the latest album, “Moral Hygiene”, out now on Nuclear Blast Records.

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 “Don’t Let the Night Die in Vain”, the brand-new video single from the French dark synth / industrial rock outfit Pure Obsessions & Red Nights. The track is taken from the “Let Your Obsessions Run Wild” album which was released on Les disques Rubicon in April 2022. The new video comes right on the heels of the band’s latest remix singles: “The Heartbeat of the Moon” featuring Entropy Zero, and “Love Like Knives” with Soul Machine.

The video for “Don’t Let the Night Die in Vain” was filmed in Switzerland and directed by VD Pictures which are long-time collaborators with the band and who have with such bands as Lord of the Lost and Powerwolf in the past. The shooting took place in an old paper factory in Switzerland.

Speaking of the album, founder and frontman Philippe Deschemin cites reference to Depeche Mode, The Cure, Tears For Fears, INXS, and Killing Joke: “After the industrial rock / gothic metal of the ‘Mr Strangler Trilogy’ (triple album released 2020), and the alt-rock / goth / post-punk of ‘We are the Stranglings’ (2021); I wanted to dive deeper into my eighties influences for this 100% synth-driven album.”

The album was produced using vintage synths and equipment to get a very warm, analogue sound, typical of the period. Philippe : “I tried to create something between my eighties influences and my industrial / goth-rock background – synthpop grooves and darkwave ambiances, but with an industrial rock energy. I think that this single, ‘Don’t Let the Night Die in Vain’, represents very well the essence of this album.”

You can check the album “Let Your Obsessions Run Wild” 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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Genre/Influences: Electro, IDM.

Format: Digital, CD.

Background/Info: Hailing from Colorado (USA) Shhadows is a solo-project driven by  Jason Timothy. This new production has been presented as an EP, but rather looks like a mini-album featuring seven songs. A few guests have been invited to achive this work.

Content: Shhadows invites the listeners to embark on a dreamy journey. The cadence remains slow and the electronics are leading the listener into an imaginary world. The female vocals inject a sensual touch, which is matched with the down tempo cadence. One of the most noticeable cuts is the cover version of the legendary New-Wave song “Love Like Blood” by Killing Joke.

+ + + : I like this production for its sensual exposure emerging from sound -and mainly cadence and deep bass lines, and the female vocals. The cover version of “Love Like Blood” is a challenge, but if you don’t know the original version you’ll  just discover a great, slow down cut.

– – – : The songs are nicely going on, but I’m afraid it’s the kind of music I’ll quickly forget. I’m missing a more personal touch while there’s no real climax.

Conclusion: Easy listening music without true highlights.

Best songs: “Daze Gone”, “Resurrection”, “Love Like Blood”.

Rate: 6½.

Artist: www.facebook.com/shhadowsmusic

Label: https://linktr.ee/remissionentertainment /  www.facebook.com/remissionentertainment

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

Shhadows is the project of Denver Colorado based producer Jason Timothy who has been making music under a variety of names since 1987. For Shhadows he blends his love of dark 80’s synth music with a modern electronic production.

The project debuted with “Renewal” featuring his versions of classics like Desire’s “Under Your Spell” and The Chameleons’ “Swamp Thing” next to original tracks like “Don’t need Knives (To Cut You Up)” and “Get it Right”.

Shhadows 2nd album “Bloodwork” is out now on Re:Mission Entertainment and picks up where “Renewal” left off and was made during the pandemic and also reflects that period. The album also holds a modern take on Killing Joke’s Classic “Love Like Blood” and a cover of the Spiritualized track “Pain Away” as you can hear below.

On vocal duties we find Rieya, SORROWS and Dru Allen (This Ascension/Mercury’s Antennae).

The release is available as download but also as a limited edition digipak (100 copies) with 3D glasses and autographed prints.

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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Chicago based Post-Punk duo Bellhead have unleashed their new single, “Nothing As It Seams”.

“Nothing As it Seems” brings Bellhead back to their industrial roots so they say: “We never really had an intention to be in a specific genre, or even to blend genres. We just wanted to make music that was enjoyable for us, and that we hoped people would also like. You’ll hear aspects of anything from Nine Inch Nails to Magazine, to Death from above, from Killing Joke to Johnny Cash with a lot of 70’s Bowie thrown in.”

Bellhead are planning their 2022 touring dates which include providing support for Christian Death, Powerman5000, Stoneburner, Chant, Empathy Test and the Los Angeles dark electronic duo Night Club.

“Nothing As It Seems” is available now in digital and limited CD formats via Bandcamp.

For the occasion Bellhead enlisted Dean Garcia (Curve / SPC ECO), American industrial rock band Stabbing Westward’s Walter Flakus, I:Scintilla and Shawn Brice (Loveless Love / Bloodwire).

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 Steve Gullick) Scotland’s The Jesus and Mary Chain have signed to the London-based independent label Fuzz Club Records. Fuzz Club are marking the new partnership by revealing upcoming reissues of the band’s 2017 studio album “Damage and Joy” complete with three new bonus tracks as well as their “Live at Barrowland” LP. On top of the reissues Fuzz Club will encompass reissues of their earlier works, new live releases and brand new studio material.

Originally released in 2017 on the band’s own label Artificial Plastic, “Damage And Joy” was The Jesus and Mary Chain’s first studio album in nearly two decades. Co-produced by Youth (Killing Joke) it also featured guest appearances from Scottish singer-songwriter Isobel Campbell and American alt-pop star Sky Ferreira. For the reissue the material was remastered by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher) and it now also includes “Ono Yoko” (originally only available on the Japanese CD version of the album), as well as alternative versions of “The Two Of Us” featuring Sky Ferreira and “Black And Blues” featuring Isobel Campbell.

The Jesus and Mary Chain have started recording an album just before COVID hit and returned back in the studio in October 2021 for the first time in two years.

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: Post-Punk, Dark-Rock, Cold-Wave.

Format: Digital, CD, Vinyl, Cassette.

Background/Info: Originally set up in the 80s, this UK band from Bradford struck back after a long hiatus and moved on releasing new work. This new album is the fourth full length album to date. Notice by the way there’s also a cassette version released by Cry Wolf Records.

Content: 1919 is mixing different influences together. You for sure and rapidly will notice the 80s influence, which for the hardest cuts of the album are reminding me of good-old Killing Joke. But you next will also discover slower cuts and more Dark-Rock driven compositions. The work features 9 songs, which are all  under 4 minutes.

+ + + : I definitely prefer this album to its predecessor (cf. “Futurecide”) and especially both last cuts are cool exposures. Both songs are more evoking the true 80s Cold-Wave and Post-Punk spirit. The guitar playing has something Killing Joke-like, which can’t leave you unmoved. The opening song “Borders” is another song in this 80s vein. In a slower style I also recommend listening to “Singing To The Universe”, which has also something more melancholic-like carried by a carrying chorus achieved with synth arrangements.  

– – – : I’m less convinced by the more Dark-Rock driven part of the work.

Conclusion: “Citizens Of Nowhere” is a cool piece of 80s Cold-Wave and Post-Punk nostalgia.

Best songs: “Sweet Blue Murder”, “A Gilded Cage”, “Singing To The Universe”, “Borders”.

Rate: 7½.

Artist: https://1919.co.uk / www.facebook.com/1919official

Label: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords

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, Post-Punk.

Format: Digital, CD, Vinyl.

Background/Info: Nox Novacula is a Seattle (USA) based formation, which previously released its official debut album by Bat-Cave Productions (CD) and Manic Depression Records (CD).

Content: The opening song sounds like the offspring between Placebo and Killing Joke with powerful female vocals on top. I can’t say the debut song is totally representative of “Ascension”, which progressively evolves towards Cold-Wave music. The songs are carried by dark bass lines and heavy guitar riffs while accomplished with some Electro arrangements. The female charismatic vocals are somewhere in between Siouxsie & The Banshees and The Skeleton Family.

+ + + : I never heard of the band before, but discovered a true promising formation. Charlotte Blythe is revealed to be a charismatic singer with a bewitching timbre of voice. She also injects a true passion in her vocals, which is perfectly matching with the powerful sound. The heavy guitar play comes through at “Pray For Sleep”, “Last Will And Testament” and “Victim”. These songs also have an elevating effect.

– – – : My single regret is that the work only features 8 songs; obviously pretty retro-like, but when you’re listening to a cool album you always need more.

Conclusion: Nox Novacula is a name to keep in mind; this debut album sounds like great Cold-Wave driven music.

Best songs: “Victim”,“Pray For Sleep”, “Last Will And Testament”, “Drug (Bitter Pill)”, “Against The Wall”.

Rate: 8.

Artist: www.facebook.com/nox.novacula

Label: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords

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

OSS have a new single/video out: “Disco Bombing”.

The track is taken from “Enter The Kettle”, the second album by Alex Paterson on The Orb’s new label Orbscure. It’s primarily a duo LP with him and old friend Fil Le Gonidec, who together are OSS. Other guests on the album include official-other-half-of-The Orb Michael Rendall, plus Jah Wobble, Roger Eno and George Holt – whose credits include Depeche Mode and Erasure.

Here’s the video.

About OSS

OSS were originally known as Orb Sound System – a half DJ/half live version of The Orb – and they are currently just OSS, which now stands for, have a guess, On Sum Shit.

The pair first met whilst both working as roadies for Killing Joke. Fil later lived for a period in Chicago above H-Gun Labs – base to the legendary video makers of the same name – whose credits later included the Orb’s “Toxygene” video, which starred Chris Connelly from Murder Inc (and Finitribe / Revoting Cocks / Ministry).

Fil roadied for Murder Inc, but was poached by the Orb who had started to take-off and flew him back to the UK, as they needed a reliable merch seller on tour.

Fil went on to feature on the albums “FFWD”, “Orbus Terrarum”, “Bicycles & Tricycles”, “Orblivion” and “Orbsessions Volume 1”. He has played live with The Orb many times, and also released industrial techno as Autolump on BadOrb and Mike Coles’ Malicious Damage.

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 Derick Smith) Ministry has released the music video for the new track “Search And Destroy” from the upcoming Ministry album “Moral Hygiene”, out October 1 via Nuclear Blast Records. The inspiration for the song, a take on The Stooges’ hit, is explained by Jourgensen in a new video featuring Billy Morrison (Billy Idol, Royal Machines) who worked on the cover.

Hear Al Jourgensen discuss “Search And Destroy” in detail in the new interview video right below. And you can see the music video for “Search And Destroy” (directed by Dean Karr) right after this.

“Moral Hygiene” was recorded with engineer Michael Rozon (also behind the boards on AmeriKKKant) at Scheisse Dog Studio, Jourgensen’s self-built home studio and creative lab. As with all Ministry albums, all songs are written and performed by Al Jourgensen. Additional contributions come from Billy Morrison (Billy Idol, Royal Machines), Cesar Soto (Man The Mute), John Bechdel (Killing Joke, Fear Factory), Roy Mayorga (Stonesour, Soulfly, Nausea), Paul D’Amour (Tool, Feersum Ennjin), Arabian Prince (N.W.A.), Jello Biafra (Dead Kennedys) and sitar player Flash.

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

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

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

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

Welcome back guys!

About Inertia

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

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

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

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

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

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

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

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

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 Derick Smith) “Moral Hygiene”, the 15th studio album by industrial act Mnistry will be released October 1 via Nuclear Blast Records. As a teaser a new single and video is released for “Good Trouble”. The song is inspired by late Congressman John Lewis and the BLM protests. The new video includes sampling from last year’s demonstrations in Los Angeles as captured by Jourgensen and his partner Liz Walton.

The 10-track album is a follow-up to 2018’s “AmeriKKKant” which their first release on Nuclear Blast, and marked the longest gap between studio albums in the group’s entire career; at five years, following “From Beer to Eternity” (2013).

The upcoming release includes a collaboration with Jello Biafra on “Sabotage Is Sex” and on the cover of The Stooges’ “Search And Destroy” that features guitarist Billy Morrison (Billy Idol/Royal Machines). Morrison is also featured on a number of other songs on the album. Additional contributions come from Cesar Soto (Man The Mute), John Bechdel (Killing Joke, Fear Factory), Roy Mayorga (Stone Sour, Soulfly, Nausea), Paul D’Amour (Tool, Feersum Ennjin), Arabian Prince (N.W.A.) and sitar player Flash.

“Moral Hygiene” was recorded with engineer Michael Rozon (also behind the boards on “AmeriKKKant”) at Scheisse Dog Studio, Jourgensen’s self-built home studio.

See the video for “Good Trouble” 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 is Planetdamage “Relapse Protocol – The Remixes” on the Black Pill Red Pill label. “Relapse Protocol – The Remixes” holds 8 tracks and as source material the album “Relapse Protocol” was used, that one was released in November 2020.

The following remixers participated: Aether Pilot, Spankthenun, Mach Fox of Zwaremachine, Freeze Etch, The Gothsicles, Chrome Corpse and Vandalaze. Mastering (and additional production on track 5) was done by Reza Udhin (Killing Joke, Implant) of Cryonica Audio Mastering.

You can hear the EP below.

Damage has been working as a producer for 5 years, landing 5 EPs and a number of remixes, collaborating with bands like First Aid 4 Souls or Black Nail Cabaret, having been remixed by musicians such as Haujobb, Leaether Strip or Attrition.

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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Back in 1991 I started writing my first reviews for Side-Line magazine. I would have never thought to go on writing reviews and making interviews non-stop for 30 years. So 2021 is a special year to me, a kind of ‘celebration year’. I got the idea to celebrate this special event by interviewing people from the scene who all have a special meaning to me. ‘Journalists’ have to remain neutral, but it doesn’t take a way we all have our own favorite artists. Juno Reactor is one of my all-time favorites. Instigator Ben Watkins is an artist who each time again takes me by surprise. His work is mixing influences like Psy-Trance, Tribal and Cinematographic music. The Juno Reactor sound has something special featuring elements you directly recognize; a true sound-DNA. I already got the opportunity to interview Ben Watkins before, but I’ve been deeply touched he accepted to answer questions for this special interview. Great artists aren’t only composing great music; they’re still accessible and humble persons. I’d an endless number of questions to ask. Ben took his time to answer and it finally resulted in one of the most informative and complete Juno Reactor interviews ever. Thanks Ben and respect!

(Courtesy by Inferno Sound Diaries)

‘I Was Smitten By Girls And Rock’

Q: What have been your first experiments as a musician? What have been the triggers and, which were your favorite bands as a teenager? 

Ben: I was born into a family of five kids, I was the second, my parents had both been actor’s. When I was between 5 and 6 years old I would wait for my brother in my classroom to finish his school -I would have about an hour, so about 10 of us kids and a teacher would do drawing, games etc. One day I suggested we do a “Top Of The Pops” (a popular TV show); I formed a band with air-minus-everything, sat my mate Jason down on drums as he had the biggest nose like Ringo Star, can’t remember the others; we would make what surely was a cacophony of made-up words and stamping to the beat. “She Loves You Yeah Yeah Yeah” must have rung out beyond the classroom as the headmaster, a demonstrative man, with a liking for beating kids with his sports shoe would appear at the window looking very irritated. As it was not the first time I had had the unwarranted shoe across my backside, a shiver would go down my back as his eyes and Hitler moustache bobbed above the door partition. 

These pleasant heady afternoons were soon banned due to the repetition of “She Loves You Yeah Yeah Yeah”. I noticed the rather large female teacher was pretty good at the piano, So I asked if I could have lessons, even her non-stop smoking didn’t not put me off. 

The headmaster had too much of a liking for giving me a sore ass, so I asked my parents if I could move school. I had joined the parish choir, the choirmaster was a man named Roy Massey. Roy Massey was cool and pushed me as he liked my voice. He suggested I go to a Cathedral Choir school and apply for a scholarship. 

First I went to audition at St Pauls Cathedral in London. It was a bleak audition, I didn’t prepare enough, and glad I escaped what reminded me of a Charles Dickens movie. Next was Chichester. I could breathe in this atmosphere, I passed the audition of 200 kids for one place and felt very puffed up with myself, knowing my parents didn’t have to pay for my education. 

Violin followed, along with daily practise -7 am wake up, 30 minutes piano or violin practise. 8 am breakfast, 8:30 practise piano violin, 9 am going to the classroom, 12:00 choir practise, lunch then school, sports, choir practise, choir service, dinner, do homework, play free games, practise then bed. This went on for 4 years along with a new disciplinary teacher who equally enjoyed punishment -this time a cane, up the wide massive stairs of the bishops palace, down a long dark corridor, knock, explain my crime, ‘Ben-d over Watkins’, a leather chair which when bent over lifted my behind into the perfect position. 6 whacks later, my hands firmly on my butt, dark bruises would appear later in the night. I had been born again to the boy I should have been in the first place. 

Music school and punishment always seemed interlinked. Even now it annoys me that the first headmaster refused to put my name on the scholarship board, what a cunt. His name was Mr. Sandford.

 I survived Chichester, I became the head of House, by this time I was no longer beaten, and had a champion in Mr. Ross, the disciplinary teacher, sports freak alto in the choir with a certain eye for pubescent males. I was good at winning in Rugby, as we had the biggest 13-year-old god or whoever made him, like a superhero he would destroy other schools and me riding on his coattails basked in his glory. Mr. Ross showed me how to take down a man, so we did with as much aggression as possible when he joined in. 

I left Chichester, a remnant from the stone age of how not to teach a dyslexic kid like me through corporal punishment on how to learn -I didn’t. My choirmaster at Chichester I must say was equally odd, looking like Eric Malcombe (a British comedian). He again had a draconian delight in making sure the boys of the choir feared him, his eyes would hover over you like the follow spots of a prison camp from high above us in the organ loft. He had two mirrors focused on us, and if you looked up, the Vampire of Bela Lugosi would be there. I can’t say I cried when he died a few years ago, as I still hold a dagger that was thrown too many times my way. 

So Wells Cathedral school was next, my introduction to the female sex… well, bye bye learning, OK practise the violin, do all the rest, then focus on bands, Led Zep, David Bowie, Marc Bolan, Alice Cooper, Queen, glam rock. I was smitten by girls and rock. My mate Simon Baggs was older and had a car, we would venture out of the school across to Glastonbury plateaus, a labyrinthian set of roads through old mash lands, country pubs to drink cider, smoke John Players Special fags, and listen to his 8 tracks (?) as the beams of his car entered the mists of the backcountry lanes. Alice Cooper’s “Love It To Death” album never sounded so sweet. I continued exploring musical possibilities by experimenting with my first band Spiritual Sky, influenced by David Bowie, whose concerts was the first I went to, the Aladdin Sane tour at the Earls Court Stadium.

‘I Was Listening To D.A.F. And I Realised This Is The Future’

Q: Hailing from London (UK) I can imagine the late 70s and 80s have been fascinating years when it comes to music and the (r)evolution of Electronic music. What did these years mean to you and do you still feel an impact today? 

Ben: I left school when I was 16/17 with the intent of going to a music college. At that time I played classical guitar, and would practise 8 hours a day, and got quite OK on it. I flunked the first audition as I didn’t present a second instrument. This depressing point changed the course of my life, I was so annoyed by myself, I stopped playing classical guitar and got more into songs of Dylan and people like John Martin. Smoked a ton of dope, started busking, went off to Paris with a semi pyscho guy called Lynn, a man with an addiction to Valium and a crushing right hand as a rhythm guitarist, and spent the summer playing on the streets of Saint Michelle and the Champs Elysée. After months of being arrested (and sometimes put into prison -the police were quite nice and would give me beers to play) I had had enough. I wanted to form a band! Due to my parents lengthily separation and all the conflicts attached to it, starting since I was 9, and final divorce shortly after my return home from Paris, life diverted and I ended up establishing a rehearsal room in the now deserted parental house, where I and my older brother would continue living alone, experiencing the newly found peace and evolving musical projects while rehearsing with my first band Panther. I started gigging, Punk-Rock was kicking off! I was playing, now with my band Rainstorm, the same pubs as the Sex Pistols, Japan, The Stranglers amongst others, we did a tour withThe Frankie Miller Band. A Glasgow singer that should have been born in Memphis -a great singer, wild and very much a Glaswegian. Back then I was booking shows from a red phone box -coins every 30 seconds. Rainstorm turning into I.O.U., we played pretty much every music pub in the country. I really wish I’d kept my bass player from I.O.U. for my next musical project, a guy named Ian Taylor, who I had a natural affinity with.

I was bored of being skint and driving up and down the country for 2 years in our Box Transit with 6 aircraft seats, a PA we had on HP (higher purchase/credit) and going nowhere, fun but nowhere. One time we had to be rescued by the police near Shropshire in Winter, heavy snow blocked the roads at midnight, and the Transit was stranded and being snowed in, the guitarist, also called Ben, had icicles forming on his moustache. I remember crossing fields alone to find a house, first one wouldn’t help us, onto another who did ring the rescue, six of us stuff into a police car -never felt so good.

I partnered up with some musicians an A&R man from CBS suggested. The A&R man was a guy called Chas de Whalley, the brother of a friend of mine from back in the days of the headmaster with a penchant for corporal punishment. We, The Hitmen, went on to be signed to CBS after a year of rehearsals and songs that sounded like a primitive AI had made for a pop audience. Much to the chagrin of CBS, the management and the band, we were incredibly unsuccessful despite all the money and machinery CBS provide. I hated it, the mentality of playing the same notes, in-jokes and seriously underwhelming emotions. I had to leave as I couldn’t stomach The Hitmen any more, the characters in the band were the antithesis of my mental state or desire. Luckily the second album decided to shoot itself in the head, due to too much fighting, no focus and CBS’s realisation The Hitmen were doomed.  

Phil Manzanero’s studio (the guitarist of Roxy Music) was a white circular house -I had never seen anything like it! The engineer was a guy called Ian Little. We had made the last Hitmen record there, and I got on with him well. We talked nearly the same language, as opposed to the disconnect with the band. He wanted to make an avant-garde album, free of doctrine -just do what you want. So for a few tracks I threw away all concern and I was to be David Bowie, imagining myself on an alternative “Lodger”-album. Nothing was written, all just improvised. The band was called New Asia… This set my brain off into new ways of writing, like Brian Eno, as studios were expensive and this gave me a chance to experiment. 

So in the ’70s and ’80s it felt like I was always playing catch up with what other people were doing. I had had the band signed to CBS – it sounded like another band (Elvis Costello mix), or my previous bands -we didn’t sound particularly individual. It was only when I was sick enough of all the ego’s, bullshit or the hatred that you got from possibly jealous band members, that when I got introduced to a drum machine and a sequencer I realised I could get rid of half the band. I was listening to D.A.F. -it was a two-piece and I realised this is the future.

I met Youth (the bass player of Killing Joke) in ’82, around the time when he had just left Killing Joke and was looking to start a new band, which became Brilliant. I was the only guy he knew with a sequencer so for a short time I joined. Toured UK and Spain. We went on to record under the Name The Youth & Ben Watkins on the “The Empty Quarter”-album and “The Empty Quarter” on the “Delirium” album. Both albums were extremely quick in making;  first album -the official soundtrack to Jonathan Moore’s stage play “Street Captives” -2 days. Written, recorded and mixed with predominantly pulsating bass lines, drums, early Greengate samplers and synthesizers. Second album -5 days. We recorded “Delirium”, focusing more on rhythms and Electronic elements with still some instrumental aspect, ranging from Tribal to Industrial to Gothic-Funk. So many funny stories with Youth -the time in Spain on the evacuation of the tour, as it all fell apart after Barcelona; we took all our equipment back on the train, decided to eat all of our dope before the French border. By the time we arrived at midnight, the French border police wanted to play games with this group of English stoners. ‘Who is this woman’ they said, referring to a passport. We all looked and couldn’t identify her? ‘Go find her…’ so we all went looking on the train platform, bewildered and laughing, about an hour later we returned to their pigeon hole and asked to look again, as no way was she still on the platform. Upon second look we realised it was me they were referring to… Ha. Ha.

I heard DAF and Suicide around this time, I was saved! This music spoke to me. My grandmother died and left me 200£ which I immediately spent on a Roland MC 202, a sequencer with one monophonic synth. On HP I bought a cheap drum machine and a Moog Rogue. I formed The Flowerpot Men with Adam Peters, a classical cellist, who later became Echo And The Bunnymen’s orchestrator. 

 Our first single sold well for an underground track. We toured with Dead Or Alive and Siouxsie And The Banshees. Steven Severin of the Banshee’s produced the first “Single Joe’s So Mean to Josephine”, a dark murderous story I had read in the papers. The police knew who had killed the woman in bed, but couldn’t work out how Joe had managed to tie himself up. For the track I expanded on the story a bit. The 202 was driving this with the added influences of T.Rex, sort of a suicide inspired track. It charted in the indie charts and you could hear it being played by John Peel on BBC Radio 1 and loads of underground Gothic Dj’s. “Jo’s So Mean (to Josephine)” was also on our own independent record label, Compost Records.

In 1985 we recorded a cover of Dr Johns “Walk On Gilded Splinters” with Dr John on guest vocals, at Run DMC’s Studio In Nostrand Ave, Brooklyn NY. The B side featured a track called “Melting Down On Motor Angel” which was an elongation of the new drug MDMA, which we sampled on a roof garden on 8th Street watching a shoot-out down below. “Melting Down On Motor Angel” was also the album title to Sunsonic’s only album.

Around this time also, Sigue Sigue Sputnik started turning up to our gigs in full dress, noting down all we were doing, later to make their own version of our madness. A single a year, then along came Ferris Bueller’s Day Off in 1986 completely out of the blue.

Another EP “Alligator Bait”, four songs inspired again by the time in New York… what wasn’t great about New York at that time? So much vibe, parties, gigs, the Danceteria, hanging out with artists, musicians, actors, painters, just walking down the street was like being in a Kojak episode, I loved it!

We were building a nice audience when Adam decided to go produce a Punk band in Denmark instead of headlining the Temple of Gothic achievement -the Camden Palace. The Flowerpot Men were no more.

 Yello had come into my life with the “80 – 85”-remix album, it never left the record player, Sonic Youth, Front 242, most of the Mute Records catalogue, Beggars Banquet label, ZTT were making records I could only dream of creating…

So rethink time, 9 months of thinking, writing; rave music came in 86/87, early parties hanging out with KLF in their squat. Sometimes engineering their remixes, or going on the highland adventures with the KLF, making a copy of “The Wicker Man” for all KLF’s licencees, flown onto a small island on the Western Isles (the same place they burnt a million pounds in the name of art and cocaine), so like a twat, as again I was skint I did the opposite of good, and tried and succeed in going and signing with another major label, this time Polydor Records and with my Flowerpot partner, I started Sunsonic. Part of the deal was they build us a studio to save on costs, so what seemed a cool idea -and was in some ways -was us investing into learning how (and not) to become an engineer, an album that should have taken a few months turned into two years and sounded like it: over thought under inspired.

I worked with Alex Paterson (The Orb) again and formed a short-lived band called Peace In The Middle East, same name as the track we created, a sort of goodwill floppy dance sounding workout, nothing special.

 When there was so much great quick music being made we were in creative limbo. So the impact changed. Find a new way to present a band, no longer did I want the ego of one partner, I wanted a collective or collaborators and keep the vibe and atmosphere good and exciting. 

Adam left for the USA, I stayed and started Juno Reactor.

‘Juno Reactor Was Set Up As An Art Collective’

Q: I think Juno Reactor was originally set up as an art collective/gallery, right? Who was involved? What was it all about and how did it finally become a music collective centred around you? 

Ben:  Juno Reactor was set up as an art collective, with writers, installation artists, filmmakers, etc. Norma Fetcher, my girlfriend, took a surface to air missile and we drove it around London down past Parliament Square, Big Ben, Whitehall on a flatbed truck, with armoured personal carriers front and back whilst dressed as Arabs -an anti Gulf War protest, and installed it into an art Gallery, the Diorama, that was owned by the Queen and had a perfect silo shape in the middle where the rocket was newly erected. For this, I wrote “Luciana” -really Juno Reactor’s first album, which was also a suggestion of Jimmy Cauty (KLF) that I should do an hour mix as he had just done, as an experiment. The trouble with art was funding and much easier for me to get musical backing so it folded as soon as it began. Although R&S Records did sponsor that show as I had released a track called “I Love You” under the name of Electrotete with future JR musician Stephan Holweck (who later became Total Eclipse), a crazy French guy and brilliant bass player who also lived in the Benio squat with Jimmy.

The main people in the first two Juno Reactor albums were: Mike Maquire, a great guy I met at the distribution company Greyhound, when releasing a self-released title “Pycho SlapHead”, a brutal rave track with a sense of murderous humour. Mike was great, he had been in India many times and loved the early scene where DJ’s were already playing my tracks. I had to find out more, so we went into my studio in Bowl Court and Mike turned me on to the current sound of India. As it was so close to my Electronic sound it was an easy hop onto a train – Sci-Fi Landscapes, my 202 still purring like a train, we made the track “High Energy Protons”. Mike took it to India and immediately it became a big track there and abroad: Japan, Greece, France, Germany and UK. Tracks kept on hoping out in two or three days, with Stephan Holweck and Mike and soon we had about nine or ten tracks, so I took them up to Mute Records, intending to only perhaps sell one track. They loved it and wanted the album!

No one knew what this music was, so they called it intelligent Techno, albums were selling, gigs were happening, I was feeling more comfortable about the debts of Sunsonic being paid off. 

‘For Me It Was A Sci-Fi Scene For Acid Party People’

Q: The singles “Laughing Gas” and “High Energy Protons” plus the debut album “Transmissions” (1993) were into Goa-Trance. Back in time this genre was something totally new and often introduced as ‘Electronics for hippies’. What did you keep in mind from this album and how did you see the Goa-Trance movement evolving? 

Ben: Well, I never saw it as music for hippies -for me it was a Sci-fi scene for acid party people, hippies were still listening to Dylan in my mind. I had come from the Industrial-Rock routes, with heavy sense or brutal Electronica, which was also being played out in India, so for me, it was not much of a diversion, more like an extension of what I had already been doing. So I hooked up with Mike and Johann Bley, a great writer and drummer, who lived in Goa for 6 months of the year whilst I stayed in the UK and carried on writing tracks. Youth by this time was also indulging in holidays out there. It was a great way to write with no commercial interest, and just get what was great feedback from India and the parties. Essentially it was a very positive way of producing after what was a rather grim time whilst with Sunsonic. 

“Transmissions” was the first real beginning of something special, Mike Maguire – Stephan Holweck – Johann Bley even Turnip the Swede Jens Walderbeck, had an important part to play in the new playground. Mike and Johann would go to Goa and live there for 6 months of the year, send feedback on tracks, that even in these days of fire hilltop communication, managed to pass on the vibe of the parties, as I worked on new tracks to send out, or wait for their return. I had no idea of the lazy days on the beaches, rented houses year round, with cleaners and cooks, small or large jungle parties where monkeys would be interactive with the monkeys our tracks (“Jungle High”) -I have sampled a lot of monkey sounds.

These new Cyber-Punks would network in the blessed out Goa sun, to return to their homelands, far away from paradise and the free love of this un-celebrated underground unknown music, their generation accepting of all ages, colours race. Would telegraph their passion, create parties in on hidden mountains in Japan, sex clubs in L.A, warehouse London, gymnasiums in Paris, disused airports in Germany, Outback volcanos in Australia. We were invisible to the industry of wannabe stars and bankrupt music.

This kinetic energy of knowing you were onto something new was the drug, like a secret society that anyone could join, if you had digested the shared psychedelic values.

Our new world was fresh, driven, invited around the world, “Transmissions” was transmitting on a global level, that music magazines and house DJs couldn’t fathom.

 The studio building was from the time of Jack the Ripper, a 3 story warehouse used for  god knows what, the atmosphere had not left it, along with some of the rather back street people you might expect in that area of London. Prostitutes would use the car park at the back, working their trade. Sometime city guys in suits would be aggressive and attack the women, so we kept a baseball bat by the door and if we heard their screams we would run out in the name of protection.

Q: Your next album “Luciana” (1994) was something totally different and not exactly the most familiar album from your discography. But I think there’re a few interesting things to say about this work; it revealed your interest in Soundtracks while it got released on Alex Paterson’s (The Orb) own label Inter-Modo. What brought you to write this album and how did you get in touch with Alex Paterson? 

Ben: This goes back to the Missile Project and the involvement in installation art. Alex (THE ORB) heard the album and loved it, he said ‘Can I release it?’, why not I thought, so I spent an afternoon with Alex in the studio, he added some elements over the stereo track and that became the album. I met Alex in 1986, as he is Youth oldest and best friend, an ex roadie of Killing Joke with an amazing record collection, a massive ability to smoke more than London can produce and speak in a way you need a hearing aid to listen. 

Q: I’ve always linked Juno Reactor with solid bass lines and transcendental drums. “Beyond The Infinite” (1995) perfectly symbolizes these elements, but also your interest to explore new ideas like Tribal drums. What did this work say about your perception of ‘sound’ and eventually your passion for drums? 

Ben: “Beyond The Infinite”, by this time Mute and cool London were not fans of Goa or Trance anymore, and decided to call it ‘Tarquin Techno’ in the media, because of the image that rich kids were behind the scene, which -looking at myself, was obviously bollocks, but in Goa there certainly were a few, and maybe the other scenes sensing danger, ridiculed it. They were about to steal the name of trance. Paul Oakenfold(like ‘Sique Sique Sputnick’) was hanging out at parties, listening, collecting ideas and tracks, the house was moving to Trance. Clever, to take this and add all the crap vocals and sell it off to the sheep… Their power and media savvy then became ‘Trance’. Not sure what our scene was, Psychedelic-Trance? Along come all these pigeon holes. Name it, sell it. We didn’t give a shit and stayed as far away from the cliché as possible. Mike was so great at this time, he had the best tunes of anyone, and was in great demand as an international DJ, from the USA to Japan and sometimes we would join him as a live three-piece. Brilliant days, we were a family. 

Q: I think you’re an artist with a very unique sound DNA! What I’m trying to say is that I instantly can recognize your work by the bass lines, the orchestral arrangements, the hypnotic drum sections… What makes this DNA and where does it come from? 

Ben: I have no idea. Like all musicians, I have collected and been inspired by what I needed and wanted. I love all types of music, still do, these DNA strands are unique, the hard part is how to lay them out for others to share and enjoy. I wanted to be a photographer when very young, my dad said it was too expensive, so film, TV, pictures, music all collided and formed whatever I am in my tastes for music.

‘I Decided To Become More Grounded In Earthly Sounds From The Percussion’

Q: It’s impossible not evoking “Bible Of Dreams” (1997), which revealed new ideas and collaborations. I consider this work as your magnum opus, which even today hasn’t lost its original magic. How do you look back at this work 24 years later and are there some aspects of the production you would do differently? 

Ben:  So the time of “Bible Of Dreams” came along. Robert Trunz, CEO of MELT2000 -the umbrella company which ran Blue Room, and Simon Ghahary, the managing director of Blue Room -a sub-label based in the UK specialising in Electronic music, had signed Juno Reactor to Blue Room/Melt 2000 for “Beyond The Infinite”, as Mute didn’t want it. Robert was a jazz freak, and he got me involved in his great love for African music. Robert and Simon were different, business was easy, as Robert was pretty loaded and loved to invest in his artists. He took over my shabby warehouse studio, put in a massive Raindurk Symphony Desk, massive monitors that would be anyone’s wet dream, 9 bass drivers aside, they blew the roof off. He took over landlord costs, God I was free of all these costs, and could make music without the fear of losing it all.  

I had been introduced to the African musicians on Melt 2000. All the scene was doing was still making chemical noises, and stick in an alien landscape for the acid heads. Although this is enjoyable, it became very repetitive. So I decided to become more grounded in earthly sounds from the percussion. The only percussionists I had been introduced to before Amampondo were generally white guys, flipping away on drums in a sloppy-sloppy fashion, or German-style timpani military way which I had found pretty useless and saw no advantage in it on a track. So my mind was blown away by Mabi -power, rhythmic complexity, fun, tradition, amazing rhythms that propelled the track! My eyes were opened and I felt stupid I had not seen what so many others had -say for example my favourite drummer Ginger Baker -why hadn’t I noticed African drumming that years before? Anyway, I was now awake to its potential in my world of cross over, not interested in world music in its pure form and wanted to create a fusion with electronic music and see what comes out. 

Working with Mabi was so instinctive, we both saw tracks in the same way as pictures and thoughts, I literally fell over him in a music studio corridor where he was asleep on the floor when I was producing a Zulu Band for Melt 2000 in South Africa. We got talking and I invited him and Amampondo to play all the percussion, so in a way, our future was laid out there.

I felt I knew what I was doing, none of my UK band wanted to tour the USA with Moby for just 30 minutes a night, so I called Mabi and Amampondo , did a few rehearsals and off on tour! This moment diverted the future of the project for the next 12 years where I would tour with Amampondo.

 “God Is God” could finally be added to a Juno Reactor album, as now JUNO RREACTOR was more interested in the earth sounds, leaving sci-fi behind. “God Is God” was written around the end of “Transmissions”, needed a better mix, but was ready. The album fell into place so easily. 

I wouldn’t touch “Bible Of Dreams” as it is a record of where I was musically at the time. I firmly believe people walk on our path for a reason, be it for a short or long period. How we interact with them is up to us. Some people unexpectedly turn out to be far more important than you could ever have imagined. Some you will love until you die, while other return to the mist of being.

Q: I read somewhere that after “Bible Of Dreams” you got the feeling to be done with Electronic music. What was it all about? Was it a kind of exhaustion or blank page syndrome?

Ben: It happens a lot to me, especially with Electronic music. Far too many people seem to be happy to create a platform. Be it Trance, Techno, Ambient, Drum’n’Bass, Bass music, whatever. It gets like an L.A motorway full of polluting gases all sounding the same. So I go left, maybe my mistake there, but as I am totally useless at being commercial, I prefer my way. And hope others enjoy it.

‘The Track Was Built Around My Love For Tarantino And Westerns, Clint Eastwood And “Once Upon A Time In The West”’

Q: The opening song “Pistolero” from the “Shango”-album (2000) probably became your biggest hit ever. It sounds differently because of this guitar play and yet it remains 100% Juno Reactor! I remember my reaction when I heard it for the very first time: ‘this guy is crazy’! Was this song a kind of antithesis to all what you’ve done before? And how did you imagine the future of the project right at the new millennium? 

Ben: On tour I met up with Steve Stevens. After speaking with him on the phone about the recent Traci Lords album that I produced, I invited him to play on a show in L.A, a great venue, like an old-fashioned sports hall with a running track above. Now, I think how freaked out he must have been, as I patched him into my desk, he would play, and I would cut him off at random, he kept on looking over as if to say ‘WHAT THE FUCK?!’, he must have thought I was crazy, he didn’t complain but you don’t do this to a Rock Legend. Anyway, we got on, he asked me to produce a track for his album – yep, “Pistolero”.

Steve wasn’t used to my regime of endless hours in the studio and I think after six days his eyes were somewhere down near his guitar swaying hips, exhausted he returned to the USA. He wasn’t that impressed, so I agreed to pay his costs, and I would release it. I worked on it a ton more, and out popped the track we know.

The track was built around my love for Tarantino and Westerns, Clint Eastwood and “Once Upon A Time In The West”. When it was released I named it the “Tarantino Radio Edit”. Quentin loved it and Robert Rodriguez and Tarantino then wrote “Once Upon A Time In Mexico” after being inspired by my “Pistolero” track, which they credited in the CD booklet.

Currently, I’m working on the new album, Steve Stevens, Sugizo and Amir Haddad will hopefully all on the same track.

Working with Amampondo was a dream, we never argued, just laughed a lot, after having lived in each other’s pockets on tour we got on well. I learnt more from them than they did of me. Their sense of rhythm, spontaneity, improvisation, the humour of dance, the humour of anything. We would do shows, stop the machines and go into full-on Tribal rhythms, songs of the Pondo’s. Every night was different. Mandla and Simpewe would perform acrobatics when we played “Feel The Universe”, crowds loved this, even though injuries happened, the next night they would do it again. I carried on working with them for 12 years until it became impossible to bring them from South Africa due to rising costs and falling promoters budgets. 

I should add that Traci Lords was also very cool to work with, and had several enjoyable sessions with her, which led to a top 5 USA billboard track titled “Control” and a number of movie syncs from these sessions.

‘“Matrix” Was Like Being Shot And Landing In Heaven With A Ticket Back To Earth’

Q: Your songs got more and more featured in movies and you wrote different songs for Soundtracks. I can imagine the “Matrix”-experiences must have been a kind of ultimate dream and accomplishment? But what has been the impact of all these experiences –and more especially “The Matrix”, on your career?

Ben: I love films, first of all, so for it to combine with my music is a dream job no matter what the film is. I will score a bug on a wall, and still enjoy it. “Matrix” was like being shot and landing in heaven with a ticket back to earth. After the initial meeting with the Wachowski’s I had to smash nails into my boots to keep me from flying off to the stars. Reality hit in a good way and was the toughest discipline mixed with the excitement of being able to please the directors and myself. What do I take away from it? A sense of achievement that I did something very special. I still get composers coming up to me and saying it is a landmark film for integration of Electronics and orchestra which is what the Wachowski’s wanted. It helped me believe in my writing al lot more, although confidence is like the wind, some days you have it others not.

The daily routine of waking up in heaven is not always as easy as it sounds, as even in my camp I would experience jealousy, I had brought with me a programmer (Stephan Holweck) an engineer (Greg Hunter) Singer (Taz) Stephan more turned into a cook and this frustrated his, as he wanted to be more involved, but the way out worked out there was no real room for him. Greg brought in his friend, which added to the annoyance of Greg; Greg would come in and say as I was working on “The Burly Brawl”, ‘that is a load of crap’ in-front of his friend as a light heated joke, which they all found very funny, I took Greg outside and suggested he return back to London as he wasn’t on my team, either buck up or go home. I should have sacked Greg as he would do things like after a mix was finished, he wanted to polish it more, so first time I agreed and I went back to the Paramore to sleep. I got a call from the dub stage early in the morning saying ‘what is this mix, it is horrible!!!’ I asked what time it was made they said 8 am, I replied please listen to mix from 1:00 am . They did and said thank you this is great.

Greg Hunter had in the hours between, added noises, effects I knew would be unwanted, and a rebalance uncalled for. He had become a liability to me, as now Warner were clocking his over times. I could not get rid of him as I didn’t know another great engineer in L.A. I would never use him again. These unexpected invasions add a colour I would have preferred had not happened, as these were not the only times he tried to unravel the job.

 Zig Gron (my Music Editor)  on the other hand, a man I did not know previously was my guardian angel. He walked me through all of the landmines, I asked him to teach me all he could, and I was in a 100 milesper hour world on information upload. Zig was funny, informative and such a bloody relief to have near me. God save Zig Gron and all who sail around him.

Q: The Soundtrack you composed for the “Brave Story”-animation film (2006) must have been something really special. For the very first time you composed the entire Soundtrack and here again I discovered some new aspects like the song “Juno Waltz”. How did you prepare and finally composed this work? 

Ben: This was composed under my name Ben Watkins rather than Juno Reactor. I had done another one, like “Beowulf”. I asked them why they wanted me to write for mainly orchestra, and they said we would like to hear how it sounds. So I sort of did my impression of ‘a man who knew what he was doing and what they were talking about’. There were a few production problems re-budget, as it wasn’t cheap for an Anime film. Once that was over, it was surprisingly easy, maybe a lot easier than writing for pure Electronics as the orchestra tone is defined by what you want, and once set, you have your pallet of sounds more or less. “Juno Waltz”, funny you mention that one, as it was the one I most feared to write, as again it has been so defined by other writers. I wrote it last, and it just popped out, it was also the one I felt the orchestra liked the most as they would tap their music stands like clapping. 

We recorded the Orchestra and choir in Bratislava, The Bratislavian Symphony Orchestra and a Vienna choir. I remember on the way to the massive radio sound stage all the older ladies at the bus stops had bright blue/purple hair. A hangover from communist times maybe, thought it looked great and definitely a way I wouldn’t mind my hair, like Quintan Crisp on acid.

Q: You also composed music for animation games. Does it need a different approach than for soundtracks? Any preference and/or favorite? 

Ben: “The Mark Of Kri” was a sort of nightmare, in as far as I had to create on each level two hours of non repeating music, on 0.5 MB, which now sounds insane huh. So you have an excitement engine, 0 – 100, fight mode is 50 plus. I had to build the macros to enable this. So deep learning curve, endless nights on the phone to Scott in San Francisco. This is a bit like the early beginning maybe of programs like WWise.com -which is a sampler on Crack, and hold so many possibilities for AI and VR, which makes me really excited for the future of music and sonic displacement for composers. My preference for games is really to write and hand over in stereo or 5.1. 

“PS4 Gran Turismo” -I made special mixes of tracks from the not so soon to be released album “The Mutant Theatre”, I didn’t have much involvement on this as they loved the tracks I presented and it was done.

Thanks of the Galaxy was a scored mobile game. Despite it being for mobile-only, I really enjoyed working with the team in Finland, in which I presented a Sci-fi industrial orchestral score made from orchestra libraries by George Strezov well worth checking out.

www.strezov.net  www.strezov-sampling.com

‘“Navras” Is The Biggest Track I Have Written’

Q: “Labyrinth” (2004), “Gods & Monsters” (2008), “Inside The Reactor” (2011), “The Golden Sun Of The Great East” (2013) and “The Mutant Theatre” (2018) are the studio-albums released after 2000. How would you analyze the evolution of these productions considering items like influences, technology vs. production and new collaborations? 

Ben: “Labyrinth” is “The Matrix”-album, and after the experience of the last track for “The Matrix Revolutions”, “Navras”, I couldn’t write a thing. “Navras” is the biggest track I have written, or been involved in with 120-piece orchestra, 80-piece choir, soloists, percussionists… So for three months after that I was bashing my head against a wall back in the UK. I think mainly as I was still missing the vibe of L.A, the people always around, the buzz. Until “Conquistador” Parts 1 & 2 came to save me along with guitarist Eduardo Niebla. I was mainly working very analogue, real drums, humans playing, and I still do, but now I am 75% out of the box and 25% in the box. Loads of new software have enabled me to make it more expansive. 

“Gods & Monsters”-I wanted it less epic than “Labyrinth”, write some songs that spoke to me at the time, and try a sort of Jazzy feel to some of it. Not very popular with the Juno Reactor dance crowd at the time, I still love certain tracks. A lot of artists musicians feel constrained by the genre they are in, main thing to me is to stand by what you write, and try it, it ain’t going to kill you. 

One track for example, “Tanta Pena” from “Gods & Monsters” -I was driving to the studio at Ridge Farm when a voice came on the BBC world music show, I had to stop and listen. A cross between a butterfly and a thunderstorm, it took the wind out of my lungs. As soon as the song was over I rang the station and asked who it was. Yasmin Levy! I contacted her husband who was also her agent/manager and asked if she would be interested in recording with me. 

Yasmin and the manager arrived on a beautiful Summer’s day. Ridge Farm is in the Surrey countryside, an Elizabethan Estate with grounds, a swimming pool, beautifully landscaped gardens, all made possible by Frank Andrews never-ending building work on his estate. 

I had moved into Ridge Farm after “The Matrix” films when I heard the studio on the estate was laying bare. I was able to bring my equipment and use one of Englands classic studio’s. Muse, Queen, Ozzie Osbourne and so many more had recorded here… 

Yasmin was shy, and maybe only 20yrs old when she visited the farm. I played her my idea’s, talked a little, not much really and went into record! With one take it was done on both tracks, no need to do any more, she had nailed it! It is quite amazing when this happens, like Lakshmi Shankar on “Navras”. 

I carried on working the track to bring it to her level, with an amazing Zook player from Arminia, Tigran Aleksanyan with the merciless drumming of Greg Ellis, who, when I started working with him in the studio, sounded a bit like a session player. His appearance was that of a typical tattoed L.A drummer, calm, spiritually balanced in appearance -and a very amiable personality.

I asked Greg to let his rage out for this track, really hit those fuckers! I unleashed a beast, a monster, his whole countenance changed, Fire and brimstone drumming, an apocalypse of anger and frustration came out! Drum skins didn’t last long, an inverted blister would appear on the snare within one take! Greg loved this approach, which you can also hear on “The Immaculate Crucifixion”. After this, “Tanta Pena” was complete. 

The original song dates back to the time when the Spanish ejected the Jewish population or made them convert to Christianity around 1492. It is sung in Ladino by Yasmin Levy whose father was a famous archivist of Ladino music, “No More Blood” –“Tanta Pena”.

 “Golden Sun Of The Great East” -I went to India to record a lot of the soloists, and this opened up my world to new horizons, as I found Bombay very “Blade Runner”-ish, ancient and modern all running parallel, crazy, mad, tragic and beautiful. 

Magical things happen, even when you are not looking, I was on a day trip around the studio’s of Mumbai with a potential agent for me in India. We entered a black and gold studio, very camp, I would expect Freddie Mercury of Queen to pop out and say ‘Hello darlings, welcome to my fuck fest!’ instead it was a wonderful Panjabi singer being recorded for a film. Our next appointment was with the Mozart of Indian film music, A R Rahmen. Excited I jumped in the taxi, horns blaring, rain falling, a bright night journey. Next to me in the taxi was the Panjabi singer, ‘Hey can you sing me a song into my zoom recorder, as we wait for my agent to say his goodbyes’. 4 minutes later, a song that never varied off its pitch, was in my data control. Leaving out the A R Rahmen meeting as it was nice, but nothing special, I returned to the hotel where eagles would fly high above in the morning light, I listened back, to the Mumbai traffic and the voice of a celestial being. I started writing “Invisible”, the second track on the album.

“The Mutant Theatre” was written for the show -a Sci-Fi extravaganza where choreographed performance really took over the direction. 

For me, the last two albums speak to me how I want to hear them, and possibly my favourite albums.

“The Mutant Theatre” was designed as a show album. In 2015 I was asked by the Ozora Festival to come back the next year with a new show, I had thought of a show to be called “The Mutant Theatre” 5 years before when in Russia and working with two amazing Performance groups, Agnivo, from Moscow, and Stigma Show from St.Petersburg. I presented this idea in pictures to Ozora, which they loved. It was expensive as it involved around 18 people.

Eyal Yankovich had been my agent for 5 years or so, also the head of Hommega Records. He was an OK agent, getting me the occasional gig or tour, what he was really good at was igniting my imagination with tunes, and suggest I listen to many great tracks, ‘How about a new “Pistolero” Ben?’

Eyal Hung himself before he could listen to the final “Return Of The Pistolero”-version or the album, which still a saddens me.

 Sanja Music, our tour manager, started to really help me, not only from a business perspective, but also from a listening view point. Despite being unable to discuss in a musical language, she would always hit it on the head, find a way to describe the best versions, enthusiasm, insights, referenced insights how fans can view it, how it might work on stage. Spend hours discussing and evolving ideas. I met Sanja many years before in Slovenia when we were playing with Laibach. A tall shiny girl in Japanese fashion appeared solo waiting for the doors to open, a Sugizo fan I believed. We stayed in contact through Myspace and later meeting up in Japan when I was having tours there. She came to the 2015 Ozora Festival and I’ve asked her to photograph Juno Reactor. After we went to Budapest to sight see the city, when I realised what a great addition she would me to Juno Reactor, little did I know how central to my thinking and the project she would become.

‘I Want To Give Something To The Audience That They Might Not Have Seen Before’

Q: You’ve always worked and composed your albums with guest musicians and –singers while going on tour with dance companies, drummers ao. It all feels a bit like the initial goal of creating a ‘collective’ has never changed. What did you learn from all these meetings, collaborations and exchanges? 

Ben: I want to give something to the audience that they might not have seen before. Maybe this goes back to my days of loving David Bowie, and his great performances, always looking for a new way. I feel a sense of family when we are on the road, not always possible with some people, but when it is good it is great. I am still learning how best to be, and how to navigate the waters of human interaction. I feel most comfortable in my studio along with all the other me’s talking.

Q: Your brother Simon Watkins has been often involved in the artwork of Juno Reactor. It all looks like arts is a family thing. Where does it come from and is there a next Watkins generation to hold on this artistic fire? 

Ben: Simon, my brother, helped me focus on art and how to look at it. He always had an unusual taste, a black comedy in his work that I loved. My parents were actors, and despite we were a family of 5 kids, and totally squint, I have no clue why our blood directs us to the arts, as it would be much simpler if we had just wanted a normal life. My parents gave up on their careers too early I always felt, and so I have to live with the musical sword in my hand.

Django, my younger son, is at film university learning the art of script writing and direction, Tim, my older son, is a great musician and records tracks I love. Scarlet and her friend wrote a track for a Japanese singer that was pretty successful. Scarlet at one time wanted to take over Juno Reactor, maybe she still does who knows, but she has chose marine photography for now.

‘AI, VR & AR Have So Much Potential For Young Musicians To Escape The Old Models Of Creation And Start A New Chapter In Music’

Q: A lot of things have changed/evolved since the early Juno Reactor years; think about technology, new equipment & music programs, streaming, social media etc… What have been the pros and cons? 

Ben: I started out on an MC 202 and now I have a museum, a laboratory, loads of instruments that I play. I miss the hangouts in the studio, as everyone has a studio, so we became moles. I love the independence of starting a Juno Reactor label, which I and Sanja Karin Music, who is my manager and for a number of years has also collaborated on artwork, future NFTs on knownorigin.io and other platforms, and a variety of creative projects and activities, which we will be rolling out in the coming year.

The new possibilities of NFT’s and blockchain, which might well help the independent musician into a new economic model. AI, VR & AR have so much potential for young musicians to escape the old models of creation and start a new chapter in music, independent from middlemen and greedy manipulators from the dark alleys of the old music industry. A new world awaits in the decade to come, and I am excited by it, and what it will become. This doesn’t in any way exclude the old ways, or purity of the orchestra, classical musicians, just a new voice in the galaxy.

Q: Covid-19 has seriously affected artistic activities all over the world. How did you keep yourself busy and what are you actually working on? 

Ben: I am learning the Viola, this has kept me in focus at times, writing new tracks with this has been very enjoyable, as well as testing, as I am still learning, and it will take me a long time to play the way I would like. I swim in the sea, this I love when I can afford the time -a sea swim now takes me about 2:30 hours compared to the pool of 1 hour. It blows all the cobwebs and bad thoughts away -of which there have been many through the past year, no question. I think a lot of artists had a very hard time, a lot of artists might have been forced to stop doing what they love, which is very sad. Like many others as well, I have been forced to look into the paperwork side of the project and face all the different misdemeanours and manipulations from a number of people I preferred not to face while gigs were still bringing in enough money to keep going.

‘Sooner Or Later An Autobiography Could Certainly Happen’

Q: I read in a post you got the idea to write an autobiography, which I think is a real interesting idea. Is it something concrete and are there some next ‘big’ dreams you want to accomplish?  

Ben: Well, it is odd, as I have lived long enough to tell stories other people find interesting, or so they say. Sometimes I get caught up in them, and it reminds me of talking to family members before they died. As you can ask them a historic question of how life was, and you can see their eyes glaze over as they reminisce as if they are walking the streets and cafes they used to. It is beautiful to see and hear. I don’t want to become a broken record and recite story after story, so maybe one time if I can write it OK, it might be interesting. My manager Sanja has been pushing me to write down or talk about times in my life and slowly collect all these to be turned into an entity at some point, so sooner or later an autobiography could certainly happen. It might have been silly of me to suggest I’m writing it on a simple social media travel picture that looked to me like a book cover, but perhaps having the public know and expect it will give me an extra boost to keep working on it, with my managers help, as an dyslexic person I was surprised to find that I’m really enjoying this process.

‘The Older I Get The More I Want To Do Music, Scuba, Swim, And Exploring New Horizons’

Q: An interesting item for the autobiography could be to know what you would have done in life without music? And do you have specific hobbies/passions next to music? 

Ben: I remember one day my father said ‘If you pass this exam, I will buy you a pony’. I tried my best, but still failed, and thus had to grow up pony-less. I wonder what would have happened had I passed the exam. Would I really have gotten a pony? Would I perhaps be in a completely different profession today? I should ring up my dad and ask if he actually planned to get that pony …

A lot of people through-out my life have mistook my dreamy exterior to think I am lazy, when in fact my brain has never stopped talking, the conversations I have in my mind seem to me to be more interesting than the ones outside, so I can be non responsive, come over as aloof. The reality is I have drifted off into my own world again. Where I might think I have answered a question asked by someone, just to realise it was only answered in my head. Dyslexia has strange traits, and for me it is this, I am word blinded sometimes that also raises my pulse to a train, panic. I envy people who can be logical, and competent in social exchanges. Stage is my way out, a sort of nether world between reality and dreams where I feel confident of its power.

Without music, I would be a shadow, maybe worked in a stable or farm all my life, something that didn’t need a searching brain. The older I get the more I want to do music, scuba, swim, and exploring new horizons.

Q: “Pistolero” is the Juno Reactor-song I make people listen to, who aren’t familiar with your work. Which one would you choose? 

Ben: At the moment, Ummm my latest one: “Coyote You Me And The Stars”. As it was written for a very special moment and one I will forever remember. I bought an amazing keyboard at the beginning of the crisis, which has been my main frame and primary sound source, the Quantum keyboard by Waldorf, it is such an unusual instrument. It is possible to create sonic textures I haven’t heard before, a 3D motion I have been looking for, this along with the viola.

I am more interested in how I can hold the sound in the stereo field to give depth and spatial pleasures. Political events don’t usually invade my thoughts yet this has been unavoidable.

Witten by: Ben Watkins

Co-editor: Sanja Karin Music (management & shrink services)

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

Die Krupps have just released a brand new single from their upcoming cover album “Songs from the Dark Side of Heaven”. Out now is their version of Gang Of Four’s “To Hell With Poverty” featuring a special guest appearance from Killing Joke co-founder and drummer Big Paul Ferguson. You can check it out below.

The cover album will be out on May 28th and holds reworks of those tracks that influenced them over the years. Included on this album which sees a vinyl and CD release are covers from Sparks, The Neon Judgement, Devo, Blue Öyster Cult, Gang Of Four, The Stranglers, Queen, B-Movie, Fad Gadget, Herringer & Siciliano.

The album also holds special guest appearances by – as mentioned above – Killing Joke’s Big Paul Ferguson, The Stooges’ James Williamson, The 69 Eyes’ Jyrki 69 and The Dictators’/Manowar’s Ross The Boss.

The artwork is of course a clear reference to Pink Floyd’s 1973 album “The Dark Side of the Moon” as created by George Hardie which depicts the light refracting from a triangular prism.

Tracks (same for CD and Vinyl):

1. The Number One Song in Heaven (originally by Sparks)
2. Chinese Black feat. Jyrki 69 (originally by The Neon Judgement)
3. Whip it (originally by Devo)
4. (Don’t fear) The Reaper feat. James Williamson (originally by Blue Öyster Cult)
5. To Hell with Poverty! feat. Big Paul Ferguson (originally by Gang Of Four)
6. No more Heroes feat. Ross The Boss (originally by The Stranglers)
7. Another One bites the Dust (originally by Queen)
8. Marilyn Dreams (originally by B-Movie)
9. Collapsing New People (originally by Fad Gadget)
10. New York (Version 9/11) (originally by Herringer & Siciliano)

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

Out on May 28th is the first ever cover album by Die Krupps, well, the second actually since they did the “A Tribute To Metallica” after all. On the album they are reworking those tracks that influenced them over the years. Included on this album which sees a vinyl and CD release are covers from Sparks, The Neon Judgement, Devo, Blue Öyster Cult, Gang Of Four, The Stranglers, Queen, B-Movie, Fad Gadget, Herringer & Siciliano.

The album also holds special guest appearances by Killing Joke’s Big Paul Ferguson, The Stooges’ James Williamson, The 69 Eyes’ Jyrki 69 and The Dictators’/Manowar’s Ross The Boss.

Tracks (same for CD and Vinyl):

1. The Number One Song in Heaven (originally by Sparks)
2. Chinese Black feat. Jyrki 69 (originally by The Neon Judgement)
3. Whip it (originally by Devo)
4. (Don’t fear) The Reaper feat. James Williamson (originally by Blue Öyster Cult)
5. To Hell with Poverty! feat. Big Paul Ferguson (originally by Gang Of Four)
6. No more Heroes feat. Ross The Boss (originally by The Stranglers)
7. Another One bites the Dust (originally by Queen)
8. Marilyn Dreams (originally by B-Movie)
9. Collapsing New People (originally by Fad Gadget)
10. New York (Version 9/11) (originally by Herringer & Siciliano)

The following 3 singles were already released announcing this 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!

side-line.com

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

Format: Digital, CD, Vinyl, Cassette.

Background/Info: The Mars Model is a Franco-Belgian formation, which explains the title of their debut EP “FrancoBelge”. The work features four songs, which are available on different formats. The cassette has been released on Kick Out The Jams while other formats are released on Wool-E Discs.

Content: “FrancoBelge” is not exactly the most accessible work and yet it clearly refers to some Post-Punk and Cold-Wave influences. The songs are ‘hard’ and supported with a dark touch. There’s a hint of Killing Joke running through their songs, which mainly comes through in the solid guitar play. On top of the composition you’ll notice Electronic arrangements.

+ + + : The work will definitely appeal for lovers of harder Roc/Wave & Post-Punk music. There’s a noticeable 80s touch, but adapted into a very personal interpretation. I especially like the songs “My Beautiful Amazon” and “Lifewire”, which both have something extra in the chorus. The guitar playing appears to be the main strength of this band, like building up an imaginary, dense wall of sound. 

– – – : Unfortunately the tracklist of the EP has been inverted, which I think is a pity for a debuting band. The last song is the first one etc.

Conclusion: “FrancoBelge” is an interesting debut for The Mars Model.

Best songs: “My Beautiful Amazon”, “Lifewire”.

Rate: (7).

Artist: www.facebook.com/themarsmodel.official

Label: www.wool-e-discs.be / www.facebook.com/woolediscs

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

(Photo by Glen Burrows) Killing Joke bassist and producer Youth has announced that he will launch a new record label in December 2020.

The Youth Sounds imprint will release a varied array of artists on vinyl, CD and DVD over the next six months and beyond, beginning with “I Have A Voice”, a 12 inch vinyl EP from Vivien Goldman.

It’s a taste of what to expect from Goldman’s label debut album “Next Is Now” which is due early next year. “I Have A Voice” also comes with additional mixes by Youth and Toby Andersen together with a whattodo V’s Massive dub re-work.

More releases in 2021

January and February 2021 will see the release of “Interstellar Energy” an album Youth has recorded with Hawkwind’s Nik Turner, and the Youth Meets Jah Wobble album “Acid Punk Dub Apocalypse” which also includes singers and players such as Hollie Cook, Richard Dudanski, Andrew Weatherall, Nina Walsh, and The Orb’s Alex Paterson.

The label will furthermore release new records from Blue Pearl, Mad Professor, Lee Scratch Perry, Big Paul Ferguson (Killing Joke) and “Youth – Sketch, Drugs & Rock N Roll” The latter is a DVD that charts the life of Youth himself with contributions from Boy George, Paul McCartney, David Gilmour and Alan McGee.

Next Spring will also see the arrival of Youth’s debut album – the first ever solo outing from Youth (aka Martin Glover), the musician, producer and mixer after a genre-bursting career that spans forty years including work with Alien Sex Fiend, Art of Noise, The Charlatans, The Cult, Erasure, Marilyn Manson, The Orb, Siouxsie and the Banshees, The Sugarcubes, U2, The Verve etc..

And that’s just a small list of what Youth has been up to. He was for instance – and not many people will know this – also behind Butterfly Records, the label that has produced artists such as Take That, Wet Wet Wet, Tom Jones, The Orb, System 7, Maria McKee and Heather Nova. From gothic icon to popstars, Youth knows all about it.

More info at https://youthsounds.net .

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

Swedish formation Then Comes Silence this year released their fourth full length album entitled ”Machine” (SPV Oblivion & Metropolis Records). The band is active since a couple of years now, but strikes back with a renewed line-up. Alex Svenson (vocals, bass, synthesizers), Jonas Fransson (drums), Mattias Ruejas Jonson (guitars) and Hugo Zombie (guitars) worked together with producer Alex Svenson while the album has been mixed by Stefan Glaumann (who already worked together with bands such Rammstein, Clawfinger, The 69 Eyes, Killing Joke ao). The result is a fully accomplished post-punk and cold-wave driven work, which will become without a shadow of a doubt one of the best albums of 2020. I got in touch with the band asking them a few questions.

(Courtesy by Inferno Sound Diaries)

Q: Your new album “Machine” also is the first one with a ‘new’ line-up. Can you give us more details about ‘Then Comes Silence V.2’ and do you notice main differences/changes with the old line-up?

Jonas: Mattias (previously in A Projection) and Hugo (previously in Los Carniceros Del Norte) joined us between ”Blood” and ”Machine”. The new line-up feels really good, we have become close friends and we are working very well together. They are both great musicians and now it feels like we are all moving in the same direction with Then Comes Silence.

Q: What have been the main ideas and themes for the new album? Did you encounter challenges and/or main difficulties in the writing process?

Alex: ”Machine” follows the same theme as the previous albums, like death, finity, mortality and the human  ego. If you want to write you need dedication, energy and discipline. Inspiration is all around us. All the time and everywhere. You can’t wait for a perfect moment, you just have to start working and the ideas will come.

Q: I honestly didn’t hear any minus point on “Machine”, but do you hear some aspects to improve and/or eventually elements you wanted different and/or better? And what are the criteria to know a song/album is finished?

Mattias: I haven’t listened so much on the album since it got released, but I do play some stuff differently live compared to the album. It has more to do with my way of expression than that I want to improve my work on the album.

A good rule is to give the album/song a specific amount of time to come to fruition and when the time is up, the album/song is done.

Q: I’ve been always fascinated by the mix of influences featured in your work, but the 80s cold-wave and post-punk elements both remain very present. What does the 80s mean to you in terms of inspiration and major artists? And how do you put all these influences together?

Hugo: I think that we have more influences from the 50s, 60s and 70s than from the 80s. So maybe we sound like 80s artists because we have the same influences they had back then, not because we try to sound like them. 

About putting the influences together, well, I think is kinda like being in a kitchen: Influences are the ingredients, Alex is the chef and the band are the cook’s assistants. You can use the same ingredients as other people, but your dish will always have your personal touch.

Q: Your album has been mixed by Stefan Glaumann, but I think most music lovers don’t always realize how important a good mix can be. Tell us a bit more about this essential aspect of a recording and how did the collaboration with Stefan Glaumann happened? Anything to add about the production process?

Alex: The mix is very important. It can be compared to film editing when making a movie. There’s a camera man, a story, a director etc… but the editing can be decisive for the result of the film. The same goes for the mix of an album.

We knew about Stefan Glaumann, but had never met him. We wanted a colder sound with a punch. That’s what you get working with him. He is a master of the metal sound. He knew about us and liked my voice so he was excited to work on ”Machine”.

Even though I don’t play metal and probably never will, I believe the scene has many qualities. We payed a visit in their garden to see what flowers we could bring with us. It was probably something that came to my mind when we worked with Nuclear Blast in the past. I have always wanted to get into the metal club. I grew up with it along with many other genres, but they would probably just call me a poser. The metal scene can be quite conservative and strict.

I did the music production of the album and took care of the recording. I tried to make it as easy as possible for Glaumann to take over the wheel in the mix.

Q: Because of the Covid 19 pandemic, gigs, tours and festivals have been cancelled and/or postponed. What’s the impact of it all on the new album and what’s your experience with the live streams?

Hugo: It sucks and the impact of it all has been huge. We were waiting like one year for the album to be released, and then we release it just the day the world stopped. So it’s very difficult to promote a new album without touring, but anyway we are overwhelmed by the support we have from people buying the new album, merch… that’s really helping us and our labels to keep on keepin’ on.

We did a live stream in May, and it was weird but I had a really good time, and it was even better when I read a lot of messages from friends saying that thanks to the stream they were able to forget about all the shit happening around us for one hour. Anyway, the most important thing at the moment is that everyone stay safe and healthy, we’ll have fun soon.

Jonas: The album release worked fine, it’s just super annoying not to be able to do gigs and tours, we really miss it a lot. The last month we’ve been busy with building a new rehearsal studio, that has been a nice change from just sitting at home and doing nothing. The studio is very close to be finished and soon we can start making music again.

Mattias: We did a proper live stream with a full crew taking care of everything just to be able to put out a proper live stream for everyone to enjoy, we even engaged the audience and let them decide the set list and people seems to have enjoyed it.

Alex: We should be lucky to have social media. Imagine this same situation 15 or 20 years ago. Even though we won’t be able to play and tour like we usually do, the new album gets good attention on the social platforms. To me ”Machine” has become very much connected to 2020 and it was released on the same day almost all of Europe got into lockdown.

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: Post-punk, rock-goth, cold-wave.

Format: Digital, CD, Vinyl.

Background/Info: Swedish formation Then Comes Silence has already been active for a couple of years now. “Machine” is the band’s fourth full length, released in Europe by PSP/Oblivion and in the US by Metropolis. Alex Svenson (vocals, bass and synthesizers), Jonas Fransson (drums), Mattias Ruejas Jonson (guitars) and Hugo Zombie (guitars) worked together with producer Alex Svenson while the album has been mixed by Stefan Glaumann (who already worked together with bands such Rammstein, Clawfinger, The 69 Eyes, Killing Joke ao).

Content: “Machine” moves on there where previous albums stopped. You’ll rapidly recognize the band’s main influences, which are moving from typical post-punk and cold-wave music towards rock-goth. I’ve always recognized some elements in the composition –and still in the way of singing, reminding me of The Mission. It’s not that different for “Machine”, but I think it’s mainly because of the mixed influences. The songs are carried by solid guitar parts, injecting the true spirit of Then Comes Silence in the songs. It’s even fascinating to hear the way guitar playing can bring you into trance, “In Your Name” being the ultimate cut in the genre. This album stands for power, rage and darkness.

+ + + : This album stands for a great production devoted to the so-called post-punk genre. The guitar parts are simply amazing. The mewing guitar parts are leading the songs towards a higher dimension. I already mentioned the sublime “In your Name”, but “Ritual” featuring duo vocals with Karolina Engdahl is another outstanding cut. Both songs are leading the album towards climaxes and that’s precisely what makes music lovers happy when listening to music. A few more songs are featuring female backing vocals –by guest singers, which each time again are injecting a heavenly touch to the work.

– – – : I don’t see any significant minor point to mention.

Conclusion: “Machine” is what I would label as a ‘great’ album when it comes to evoke post-punk, cold-wave and related music genres.

Best songs: “In Your Name”, “Ritual”, “I Gave you Everything”, “Dark End”, “Devil”.

Rate: (9).

Artist: www.facebook.com/thencomessilence

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

Inferno Sound Diaries

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

www.side-line.com

A few days ago we announced that Swedish post punk goth rockers Then Comes Silence had joined Metropolis Records for North and Central America and thus leaving Nuclear Blast who had released their last album “Blood” worldwide. Today we can announce that Oblivion has signed the band for the EU market.

The new album, “Machine”, will be out on March 13th and was mixed by the Stefan Glaumann (Rammstein, Killing Joke, Deathstars, The 69 Eyes).

Check out “Strangers”

And here’s “We lose the Night”

Then Comes Silence was formed in Stockholm in 2012. The same year they released a self-titled album “Then Comes Silence” on Novoton. It was followed the year after by “Then Comes Silence II” and in 2015 by “Nyctophillian”. Their 4th album, “Blood”, was the first (and only) one on Nuclear Blast.

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: Industrial-metal, industrial-rock

Background/Info: Al Jourgensen is the charismatic pioneer, musical genius, innovator and iconic founder of the industrial-metal genre (the fusion of repeating metal guitar riffs, samples, keyboards and distorted vocals on a danceable beat). This fully authorized visual history with 248 pages of rare and unseen photos, artwork, and other stuff that spans Ministry’s entire career, shows how the band (that everyone wanted to sound like) evolved from ’80s synth-pop, over EBM/industrial to trash-metal. Ministry has been nominated six times for a Grammy award and is definitely a band you must have seen live at least once in your life!

Content: The four-pages introduction is done by Al’s good old friend Jello Biafra, explaining some hilarious anecdotes. Then this limited 9″ x 9″ casebound book is divided into six chronological chapters starting from the early Wax Trax! era (1981) until the latest release “AmeriKKKant”. We get to see lots of nice rare (promo and live) pictures, cut-outs, artwork, flyers and posters. On almost every page there are interesting quotes or anecdotes from befriended artists like Charlie Clouser (Nine Inch Nails), Moby, Billy Corgan (Smashing Pumpkins), Ian MacKaye (Fugazi), Gary Numan, Perry Ferrell (Jane’s Addiction), Jaz Coleman (Killing Joke), Phildo Owen (Skatenigs), Jeordie White (Marilyn Manson), Alexander Hacke (Einsturzende Neubauten), David J (Bauhaus), Robin Zander (Cheap Trick), Paul D’Amour (Tool), Page Hamilton (Helmet), Scott Ian (Anthrax), Franz Treichler (The Young Gods), Gibby Haynes (Butthole Surfers), Sean Yseult (White Zombie), Dave Lombardo (Slayer), Billy Gibbons (ZZ Top), Till Lindemann (Rammstein), Mark Gemini Thwaite (The Mission), Chris Connelly (Revolting Cocks) and many more. Just like the music of Ministry changed from soft to very hard, it is clearly shown how Al’s style has changed all over the years ending up with dreadlocks, tattoos and piercings. The author of the book is Aaron Tanner (who also created a visual history for Pixies) and features artwork from Brian Shanley and Paul Elledge.

+ + + : We get an exclusive look at Uncle Al’s personal collection of behind-the-scenes pictures together with contributions from band members past and present.

– – – : Although many well-known artists are featured in this book, some (expected ones) are missing …

Conclusion: There’s only one thing we can conclude: Ministry has had a huge influence on many artists and Al is still going strong after all these years! This book is definitely a must have for the fans!

Artist: www.ministryband.com / www.facebook.com/WeAreMinistry
Label: www.melodicvirtue.com / www.facebook.com/melodicvirtue

Genre/Influences: Industrial-metal, industrial-rock

Background/Info: John Bechdel is an American keyboard-player, known for his work with the industrial-metal acts Ministry, Prong, Fear Factory, Killing Joke, Murder Inc, Ascension Of The Watchers and False Icons.

Content: A bit later than expected (but better late than never) we finally present this review. Director/producer Darryl Hell was so kind to send us 3 dvd’s with not only the 2 hours documentary but also 4 hours (!) of extra interviews (including a 50 minutes talk with Al Jourgensen of Ministry), raw footage and pictures. “Killing The Joke: The John Bechdel story” features more exclusive interviews with Burton C. Bell (Fear Factory), Alison Bechdel (FUN HOME / award winning writer), Greta Brinkman (L7, Pigface, Debbie Harry, Moby), Charlie Clouser (Nine Inch Nails, Marilyn Manson), Martin Atkins (Public Image Limited, Killing Joke), Sean Roberts (Wax Trax! / TVT Records) and others. There’s also a lot of backstage footage in the venue (The Fillmore, Washington DC) and on the tourbus, meet & greets with fans, interviews with John in his home studio and we also get to see the other Ministry members Sin Quirin, AAron Rossi, Tony Campos and Cesar Soto. Everyone knows John in their own special way, some for more than 30 years! Those connections are explained clearly without any scrupules.

+ + + : The Director’s Cut features 3 dvd’s and contains a lot of extra footage to watch. Going behind the scenes is always fun and shows another side of the artist. The documentary is also available as digital download (video on demand) on Vimeo.

– – – : Just because of the overload of footage it takes a lot of time to watch all the stuff so one might lose the track a bit.

Conclusion: This documentary shows a clear image of John Bechdel as artist but also as a father, family-man and friend. It is definitely not the usual tour-story that you expect!

Label: www.s6k.com

Today the American industrial-metal pioneers Ministry released their authorized 248 pages book ‘Ministry – Prescripture: The Visual History’ via Melodic Virtue. It is a collection of rare and unseen photos from the very beginning in 1981 until today, behind the scene pictures of Al Jourgensen’s personal collection and stuff coming from past and present members of the band.

The author of the book is Aaron Tanner (who also created a visual history for Pixies) and features artwork from Brian Shanley and Paul Elledge. The book opens with an introduction by Jello Biafra. Many exclusive quotes are featured from members of Smashing Pumpkins, ZZ Top, Cheap Trick, NWA, Ramones, Nine Inch Nails, Tool, Megadeth, AFI, Slayer, Jane’s Addiction, Rammstein, The Flaming Lips, Devo, Butthole Surfers, Static-X, Anthrax, White Zombie, Death Grips, Bauhaus, Killing Joke, High on Fire, GWAR, Einstürzende Neubauten, Revolting Cocks, and many more!

This exclusive book is limited to 2000 copies and also has a deluxe edition (500 copies only) including a t-shirt and vinyl single. Definitely a must have for the fans! You can order the book here.

Genre/Influences: Industrial-rock, crossover

Background/Info: After a promising self-titled and self-released album released in 2017, this American formation went on with another self-released album with remixes. This year they signed to Cleopatra Records to unleash their official debut album, which has been produced by John Bechdel (keyboardist of Ministry, ex-Fear Factory, ex-Killing Joke).

Content: “Wrtchd Thngs” is a diversified piece of music. It takes off with an intro followed by an electro cut reminding me of the good-old days of Skinny Puppy. But the album rapidly moves into the familiar industrial-rock style of the band. The songs are driven by heavy guitar riffs and enraged vocals. Some cuts might appeal for fans of KMFDM while other songs are more into an atmospheric approach.

+ + + : Chmcl Str8jckt has a typical industrial sound and it’s not surprising the band claims to be inspired by some Wax Trax band. They have a similar approach although I have to say the album is pretty diversified. I like the electro-driven “Ode To Peckinpah (Bloody Sam)”, and also the KMFDM-reminding “Bomb Cyclone” for its right balance between guitar and electronics. Another fascinating cut is “Black Vulture”, which moves crescendo till a furious final part. Chmcl Str8jckt has improved most aspects of the production, which result in a meaningful work.

– – – : Even if “Ode To Peckinpah (Bloody Sam)” is definitely my favorite song (I’m mainly an electro-lover!) it’s not entirely representative for the approach of the band. The album is however a solid and accomplished piece of music, but without an absolute hit!

Conclusion: Chmcl Str8jckt is what I would call ‘controlled power’; it sounds heavy and powerful, but never becomes industrial mayhem.

Best songs: “Ode To Peckinpah (Bloody Sam)”, “Baphomet”, “Fantasy”, “Black Vulture”.

Rate: (7).

Artist: www.facebook.com/chmclstr8jckt

Label: www.cleopatrarecords.com / www.facebook.com/CleopatraRecords

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

A documentary film exploring the birth, rise, fall and moderate rebirth of American industrial music is nearing completion. This film explores the mid-to-late 1980’s birth of a form of aggressive dance music that incorporated: sampled noises, synthesizers, howling vocals and big dance beats.

Launched now is a Kickstarter for 60 days to deliver the final round of funding. The trailer for the film is available below.

What is the film about?

The film talks to the players who were then and there: Al Jourgensen (Ministry/RevCo), Joe Shanahan (Metro/Smart Bar), Jim Marcus (producer/Die Warzau), Marston Daley (aka Buzz McCoy of Thrill Kill Kult), Jason Novak (Acumen/Cold Waves Festival), Reid Hyams (Chicago Trax) and Martin Atkins (Pigface/Killing Joke) just to name a few.

The movie also talks with music historians, musicians who watched in awe from afar and others whose lives were forever-changed by the music, fashion, and way of life.

This movie has been a labor of love for director Chris Harris who started production almost 10 years ago: “This story is so fascinating, so original – the players such characters – the story had to be told.” To make the documentary Harris has assembled a team of production veterans who have worked on music docu-series and for networks such as HGTV, Discovery and more.

Bernard - Side-Line Staff

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

Genre/Influences: New-wave, gothic, goth-rock, indie-rock. 

Background/Info: “Oceans” is the third full length album released by the Stockholm-based Principe Valiente. The opus has been also released as vinyl format by Manic Depression Records. The original edit has been released in 2017 and now re-released as a ‘Deluxe’-edition featuring the entire tracklist plus the remixes, which were only available as download. The artwork has been re-edited as well. 

Content: “Oceans” feels a bit like bringing the good-old new-wave spirit back to life. Some of the guitar parts remind me of The Cure (“The Head On The Door”-period), but I also can mention Killing Joke for the harder cuts. But Principe Valiente also add a very own touch and more contemporary approach, which I think might appeal to fans of Placebo. Frontman and singer Fernando Honorato also has a very typical-, kind of deep timbre of voice, which is totally fitting with the dark and evasive style of the music. A few female vocals can be noticed as well. 

The album features 8 songs plus 4 remixes by Mister Monell, Big city Bright Light and New Canyons (2 remixes). The last song is a live piano version of “When I Learned To Crawl”. 

+ + + : Principe Valiente stands for the reincarnation of new-wave music. You can still hear the 80s spirit hanging over the songs while there also is a more personal and contemporary element. The elevating guitar playing is one of the main strengths from this work. But it’s more than simply a great guitarist and talented singer; there’s a great songwriting and global production emerging from this work. That’s why you’ll discover many noticeable songs. There also is a great progression in the structure of the songs. Among the remixes I especially want to recommend the remix of “Strangers In the Night” by  Mister Monell. 

– – – : My only single regret about this album is that there are only 8 songs. I would like to have got more tracks because this work sounds great. I think it could have been cool for this ‘Deluxe’-edit to get at least one exclusive ‘new’ song. 

Conclusion: “Oceans” sounds like a modern new-wave production. But the most important thing is not how you would define this album; it simply is a great piece of music composed by a band, which deserves more recognition!

Best songs: “Untouchable”, “Strangers In The Night”, “When I Learned To Crawl”, “No Time”. 

Rate: (8).

Artist: https://principevaliente.com / www.facebook.com/principesweden 

Label: https://shop.af-music.com 

Inferno Sound Diaries

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

www.side-line.com

The 4th edition of the W-Festival will take place from 15th until 18th August 2019 in Waregem Expo, Belgium. About 70 new wave, EBM, industrial, post-punk, synth-pop and eighties bands are featured on 3 stages.

This year the line-up includes: The Stranglers, Echo & The Bunnymen, Killing Joke, Nitzer Ebb, And One, VNV Nation, Apoptygma Berzerk, Peter Hook & The Light, Blutengel, New Model Army, She Wants Revenge, Lebanon Hanover, Portion Control, Tyske Ludder, Mesh, Whispering Sons, Kaelan Mikla, Collection d’Arnell-Andréa, DaGeist, Pink Turns Blue, Red Zebra, Siglo XX, Merciful Nuns, Then Comes Silence, The Human League, Jimmy Somerville, Lene Lovich band, Blaine L. Reininger plays Tuxedomoon, Nik Kershaw, Howard Jones, Tony Hadley, Schmutz, Allez Allez and more!

On the camping area are a lot of special availabilities like B and Bee, Luxury Lodge and WaveTents. Other extra’s on the festival are silent disco, outdoor quiet zone, wellness, merchandise and more!

Tickets and VIP-tickets can be ordered here.

Kris Kylven (Junor Reactor’s Drummer / Collaborator / The 69 Eyes Remixer & Ex-Killing Joke) returns with his trance / industrial project Ultimate Xperience with a brand new full-length double-CD album “The Realm Of A New Dawn”.

The record will be available as a 2CD set divided like this:

• CD 1 “Lazarus Rising” contains 7 songs that include a remix / rework of classic Juno Reactor’s “High Energy Protons” and a revisited movie version of Kraftwerk’s “Radio-Activity”
• CD2 “Ad Vitam Aeternam” features 8 songs where Kris introduces collaborations with well-known and established artists such as Francesca Genco (Elysium OST), Bo Ian Wook (KaliWood), Sandro (Blazing Noise), Odiolab and Amir John Haddad (Juno Reactor, Hans Zimmer band), with whom he covered The Sisters Of Mercy classic “Temple Of Love”.

The limited 2 cd set/sticker/t-shirt/talisman are available at the Neogoa Records Bandcamp page.

And here are some videos:

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