The Greek dark electro band Inline Sex Terror (IST) has announced the release of its third full-length album, “Re:boot”. The new album is set to launch on November 1, 2024, via the German Minusbeat label.

The album marks the band’s return after a 13-year hiatus, bringing a fresh take on old-school industrial EBM. The 11-track album, including titles like “No Regrets (No Rewind),” “Pulse of the Machine,” and “Grime and Gears”, explores themes of restarting, reflecting on past decisions, and embracing the inevitable changes that shape the future.

To support the album, Inline Sex Terror is preparing to release two music videos ahead of the album’s release and is planning a tour—their first in over a decade. You can already check out the title track below.

About Inline Sex Terror

Inline Sex Terror, originally formed in 2002 under the name Zerstorwut, began as a solo project by George.h, a DJ and promoter in Athens, Greece.

After five years, DV/h shifted his focus to music production and in 2008, the project was rebranded as Inline Sex Terror (IST), and the debut album “11:11” was released. The album, signed under the German label Danse Macabre Records, was followed by a first European tour, opening for Das Ich. The project also remixed the Das Ich song “Kannibale” for the Kannibale EP in 2008.

In 2010, Inline Sex Terror released the “Distorted Life” EP, which featured three new tracks and ten remixes by various artists, including Leather Strip and C-Lekktor. A second album, “The Architecture of Madness”, followed the next year and was released under the labels DSBP and Minusbeat.

In 2011 the project took a break largely due to personal issues DV/h faced and only two new songs were released during this period. In 2024 the project was revived the new album “Re:boot”. It will be followed by a European tour.

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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Glis, the electronic music project founded by Shaun Frandsen in 2001, made an unexpected triumphant comeback with the release of the “Gateway To Oblivion” album, a manifestation of the artist’s DNA, blending the raw energy of industrial music with the infectious melodies of future pop. The new album was produced by Sebastian Komor and also features guest vocals by his good old friend AYRIA, and is a strong candidate to be the best future pop album of the year… We did not resist call Seattle for a chat with Shaun…

The album is out now as download and streaming, including from Bandcamp, and on CD, available via the Alfa Matrix webstore.

SL: “Gateway To Oblivion” marks your unexpected return after many years. What motivated you to revive GLIS, and what themes or messages did you want to convey with this new album?

S. It’s partly the 20-25 year anniversary syndrome. I was feeling like I should do something to commemorate the passing of time. The main spark was last summer during a family vacation in Mexico. I was drinking margaritas and talking to my brother-in-law (who’s also a musician in the folk rock scene) about how music is the language of the cosmos and how important it is to create new things. When I returned home I finished “Sunrise v3.0” and then started working on brand new music.

SL:  The album blends industrial music with future pop, showcasing your versatility as a producer, vocalist, songwriter, and instrumentalist. Can you describe your creative process in developing such a diverse and spontaneous sound?

S. I feel like GLIS has always been a blend of different electronic sub-genres. Some albums more than others, but on this one I wanted to kind of showcase the overall aesthetic of the sound throughout the years. I feel you can get a reflection of each of the previous albums on this new album.

SL: Tracks like “Into the Flames” nod to influences such as NIN and DEPECHE MODE. How did these influences shape the mood and direction of “Gateway To Oblivion”?

S. Those are two bands that have been huge influences on me throughout the years (and both still making great music to this day). “Into the Flames” is a kind of intro track that I imagined would also be the intro to the live gig as well. Yes, we want to play live again too! I think you can definitely hear both NIN and DM influences in this track. A bit of “Songs of Faith and Devotion” and “The Fragile”…

SL: Songs like “Ascension” and “Mexico” evoke a straight-up early 2000s synth pop vibe. How do you balance nostalgic elements with contemporary sounds to create something fresh and relevant?

S. Well, I don’t tend hide my influences. “Ascension” is a straight up ode to ICON OF COIL. I met them in 2001 while supporting them in Seattle during their tour with VNV NATION. That’s when I first met Sebastian who helped produce this album and Andy who I worked with a lot in COMBICHRIST. Mexico” is simply supposed to invoke the party vacation vibe in Puerto Vallarta (Mexico). That’s where I decided I was going to bring back GLIS again. Sebastian Komor had a heavy hand in the production of that track. My original demo was more DEPECHE MODE sounding. He made it a lot groovier.

SL: “Cut Away the Demons” and “Damaged” dive into oppressive industrial noise and powerful EBM. What inspired these tracks, and how do they fit into the overall narrative of the album?

G. “Cut Away the Demons” is supposed to be a track that could have been on the “Nemesis” album. Its lyrics and cadence are inspired by Jean-Luc De Meyer’s vocal contribution to that album. It’s about someone who’s overcome by the darkness of addiction and their resolve to conquer it. “Damaged” is a kind of protest track and a musical nod to late 90’s electro-industrial bands such as :WUMPSCUT: and LEATHER STRIP. Two bands I listened to a lot back in the late 90s.

SL: The album features a unique guest appearance by Jennifer Parkin of AYRIA on “Dream Chaser.” How did this collaboration come about, and what was it like working together again?

G. Jenn and I have always kept in touch throughout the years after I produced her first album. We had an amazing time touring together. We even brought her along when I was in COMBICHRIST. We’ve always tried to catch up when she came to town with AYRIA. Last time she was here (in Seattle) in October I told her I was making new music and she said she would love to collaborate again. It was like old times. A full circle moment as she contributed guest vocals on one of my first releases in 2003, which turned into the first AYRIA album soon after.

SL: Like you mentioned it, Sebastian Komor played a pivotal role in shaping the album’s sound. How did his involvement influence the final production, and what elements did he bring to the table?

S. Sebastian went above and beyond what I thought was going to happen when I gave him my original versions of the tracks. He created sounds that we’re begging to evolve from the music. He added a lot of beat elements as well as melodic harmonies. I can’t tell you how happy I am with his work on this album. He took a lot of my tracks and completely boosted their sound quality. He’s a great producer.

SL: “Gateway To Oblivion” tackles themes around the ascension of mankind and the challenges posed by technology. Can you elaborate on these themes and how they reflect both personal and societal struggles?

S. I mean we can all see it happening before us each day. This merging of technologies with everyday life. We’ve basically become part machine by always having smartphones with us everywhere we go. And with the recent emergence of A.I. we’re facing all new challenges and problems as musicians. We’re at the point where we can choose to embrace it all or find some reason to hold back. Will we soon have to validate the fact that we’re human? We seem to be at another turning point in our existence and that’s the overall theme of “Gateway to Oblivion.” It’s a theme commonly addressed on the Industrial music genre, but more than ever it seems these days. We’re moving close to big changes. Are they all for the greater good? We’ll take a dive in and see.

Eldrina Mich

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

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

(Courtesy by Inferno Sound Diaries)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Inferno Sound Diaries

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

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Genre/Influences: EBM.

Format: Digital, CD.

Background/Info: American brothers Eric and Jeremy Hanes are back on track unleashing the third installment of “The Bunkertapes”-series. This album features eleven songs plus eleven remixes.

Content: If you’re familiar with this formation you probably know what to expect. The work moves on where the previous album left off; elaborated EBM songs covered with cold, Klinik-al atmospheres, solid bass lines, Industrial sound treatments, and powerful vocals. Remixes have been accomplished by Mirland, Grendel, Ext!ze, Moris Blak, Blak Emoji, Mechanical Vein, Anthony [H], Batavia, Moaan Exis and Chris Vienna. The digital format is featuring 3 more remixes.

+ + + : Spankthenun is a band with its own approach although the sound might remind you of Leather Strip -and that’s not really a surprise as Claus Larsen was featured on their previous work. This is a familiar EBM format achieved with a true sound intelligence. There are several cool songs and also some exciting remixes. The remixes are adding a real bonus.

– – – : The songs are elaborated although the sound formula remains quite similar for all the songs. I think this band is even able to do better.

Conclusion: If you like well-crafted and powerful EBM and if  you have never heard of this band before, I can strongly recommend listening to Spankthenun.

Best songs: “Blot Out The Sun”, “Fuck The Apocalypse”, “Crushing Blow”, “Madman”, “On The Run”, “The Grind” + “Chrome – Ext!Ze Remix”, “No One Survives – Grendel Remix”, “Blak Out The Sun – Moris Blak Remix”.

Rate: 8½.

Artist: www.facebook.com/spankthenun

About Spankthenun

Spankthenun is a self-released project set up by American brothers Eric and Jeremy Hanes in 2019. The duo works in EBM and Dark-Electro, driven by solid bass lines, icy sound treatments, danceable rhythms and harsh vocals. The band released a trilogy of albums under the title “The Bunkertapes”, closing the series with “The Bunkertapes Vol.3”, which features eleven songs and eleven remixes contributed by artists including Mirland, Grendel, Ext!ze, Moris Blak, Blak Emoji, Mechanical Vein, Batavia and Moaan Exis.

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: EBM.

Format: Digital, CD.

Background/Info: Active since 2009 the Danish duo Jannik Vittrup – Søren Brandstrup this year released their second full length album featuring ten songs.

Content: From the very first notes of the debut song you recognize the addiction to EBM. The music sounds dark and danceable, driven by aggressive bass lines and carried by cold tunes. The vocals are harsh but not too much.

+ + + : Monospore don’t reinvent the EBM sound but has great skills to compose it. “Into Darkness” features all essential EBM ingredients but has been accomplished with knowledge. Some passages might appeal for Leather Strip-lovers (maybe a typical Danish touch?) but Monospore also has their own approach. I’m addicted to the solid bass lines and cold tunes. The work features a few outstanding cuts like the aggressive “Fall” and “Going Down” carried by a deep, bouncing bass line.

– – – : I don’t see real minus points however the album doesn’t bring anything new not surprise.

Conclusion: If you don’t know Monospore yet and you’re in search of a cool and accomplished EBM album I can only but recommend purchasing “Into darkness”.

Best songs: “Fall”, “Going Down”, “Into Darkness”, “Next Generation”, “Alive”.

Rate: 8½.

Artist: www.monospore.com / www.facebook.com/Monospore

Label: www.delta-ego.com

About Monospore

Monospore is a Danish duo formed in 2009 by Jannik Vittrup and Soren Brandstrup, both previously involved in other music projects since the late 1980s. The duo released its debut album “Control The Game… Regain Control!!!” in 2012 on Delta-Ego, the label they formed the same year. “Into Darkness” (2023) is Monospore’s second full-length album.

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 Dallas, Texas-based dark electro act, SpankTheNun releases “The Bunker Tapes Vol. III”, thus bringing ‘The Bunker Tapes trilogy’ to its conclusion. The trilogy was – a quite interesting take on things – envisioned to represent a fictitious 30 year career of a band that never really existed, covering influences from 1994 – 2024.

Musically the trilogy see the start clearly rooted in early 90s Belgium and German EBM and dark electro with influences from Leather Strip, Skinny Puppy and Wumpscut. The second volume see’s that influence move towards the early 2000’s influences, adding in influences from new styles and sub-genre’s of industrial music. The final volume finds itself showcasing a more refined yet minimal sound, that is clearly influence by more modern approaches to dark dance music.

“The Bunker Tapes VOL III” covers themes of loss from the pandemic and real world virus that took millions of lives from us. The band envisioned a future where everything is destroyed and hundreds of years from now archeologists are digging in the dirt and find the ruins of Glitch Studios where SpankTheNun has recorded all of their work. They discover a long lost collection of digital audio tapes in this underground bunker and call them ‘The Bunker Tapes’.

For the first two ‘Bunker Tapes’ albums SpankTheNun enlisted Claus Larsen of Klute and Leather Strip. The third album the enlisted the talents of John Mirland to mix and master the new album.

Check out the trilogy 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: Dark-Wave, Gothic.

Format: Digital. 

Background/Info: This formation is a duo featuring Johnathan Mooney (USA) and Christian Granquist (Sweden). They already released several productions together and now strike back with this EP featuring seven songs. 

Content: We get 3 new songs plus 3 remixes of these songs and a kind of outro track. The sound is getting us back to Dark-Wave music driven by slow rhythms mixing guitar play and electronics. On top you’ll notice a singer with a deep timbre of voice. Remixes have been accomplished by John Bechdel, Leather Strip and Stoneburner.  

+ + + :  Speaking for myself I definitely prefer the remixes instead of the original songs. That’s not really a surprise as you realize the great and renowned artists they’ve asked. My favorite one is the title song remixed by John Bechdel (Ministry) who injected a dreamy and passionate touch to the track which evolves in a great, crescendo, way. 

– – – : I’m always disappointed a work where I prefer remixes instead of original songs. It doesn’t mean the originals are that worse but they’re missing substantial elements which you can find back in the different remixes. 

Conclusion: The remixes are making this EP interesting. 

Best songs: “Strip Me – John Bechdel Remix”, “This Too – Stoneburner Remix”. 

Rate: 6.

Listen to the EP:

Artist: www.jchristianmusic.com / www.facebook.com/jchristianmusic  Read the news on ‘Strip Me’.

About Johnathan|Christian

Johnathan|Christian is the trans-Atlantic post-punk duo of Los Angeles-based Johnathan Mooney and Stockholm’s Christian Granquist. The pair released the “Strip Me” EP in 2023, a seven-track collection built around a trilogy of songs, “Strip Me”, “Sway Back” and “This Too”, addressing the fear of rejection and the end of a relationship. The EP includes remixes by Ministry’s John Bechdel, Leather Strip and Steven Archer of Stoneburner and Ego Likeness, closing with “Cela Aussi (epilogue)”. The music video for “Strip Me” was directed by Purple Tree Creative’s Nick Van Dyk.

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: Gothic-Pop, Dark-Pop.

Format: Digital.

Background/Info: Metamorph is an American formation featuring front woman Margot Day (previously involved with The Plague). Margot’s daughter Julifer Day joined in as vocalist while Erik Gustafson (Adoration Destroyed) added some guitar, bass and beats while he also produced the work.

Content: “Kiss Of The Witch” features 6 songs plus 2 remixes. The sound brings different influences together; somewhere in between Gothic and Electro-Pop with flute play on top and fragile vocals. One of the songs is an adaptation of an old Plague-track. Remixes have been done by Xris SMack! (Mindswerve) and Spankthenun.

+ + +  : I like the singer’s fragile timbre of voice and the somewhat mystic flute parts adding a magical touch to the work. Metamorph is hard to define and definitely has a very own approach. The remix of the title song by Spankthenun is an absolute highlight for its Leather Strip-like bass line and Dark-Pop reminding me of Collide.

– – –  :  I sometimes get the feeling this band is still in search of its sound and style. The approach is however interesting.

Conclusion: I’m not totally convinced but this work features intriguing parts.

Best songs: “Kiss Of The Witch – Spankthenun Remix”, “Dream Curve”.

Rate: 6.

Artist: www.metamorphmusic.org / www.facebook.com/Metamorphmusic Read the news on ‘Kiss Of The Witch’.

Listen to “Kiss Of The Witch”:

About Metamorph

Metamorph is the project of Margot Day, previously frontwoman of the 1980s New York goth band The Plague, joined by her daughter Julifer Day on vocals. “Kiss Of The Witch” was written by Margot Day and produced by Erik Gustafson of Adoration Destroyed, and includes a remake of the Plague song “Empress” alongside remixes by Spankthenun and Xris SMack! (Mindswerve).

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: Future-Pop, EBM.

Format: Digital, CD.

Background/Info: Second mini-album in the “God & Sinners” series by Ruined Conflict, following “God & Sinners Part 1”. We get six new songs, two remixes and one reworked edit from an early song.

Content: This second part moves on in the line of the first one. Ruined Conflict becomes harder, harsher, and colder. It however remains very accessible music reminding the glorious days of Future-Pop. There are songs reminding me of the power of Leather Strip and yet it remains very Ruined Conflict-like. One of the main songs entitled “We’Ve Comde” has been remixed by Anthony H and SpankTheNun. Last but not least there’s a “2022”-edit of “Defiance” which was originally released at the debut album “A.R.M.O.R.” (2013).

+ + + : Where will Xavier Morales stop? I’m simply impressed by the way he non-stop improves his work, the global production becoming harder and more professional. The way he mixes harsh and powerful sound treatments and solid bass lines together with the melodic side of Future-Pop is simply impressive. “Anarchy”, “We’ve Come”, “Switch”, “Defiance 2022” and “Miracle” left me breathless. Power and melody are in pure harmony becoming a true Electronic symphony. On top of this production there still is the captivating vocals of Xavier Morales.

– – – : This is simply the best Ruined Conflict work to date. Both remixes are the less convincing part although these remixes aren’t bad at all.

Conclusion: The point has come Ruined Conflict simply excels in its art becoming one of the leading projects in contemporary Future-Pop music.

Best songs: “Anarchy”, “We’ve Come”, “Switch”, “Defiance 2022”, “Miracle”.

Rate: 8½.

Artist: www.ruinedconflict.com / www.facebook.com/RuinedConflict

Label: www.infacted-recordings.de / www.facebook.com/pages/Infacted-Recordings/124099254321690

About Ruined Conflict

Ruined Conflict is a Future-Pop and Synth-Pop project founded in Cleveland, Ohio in 2011 by producer Xavier Morales together with Eric Holzer. The project released its debut album “A.R.M.O.R.” in 2013, followed by “Revolutionary Mayhem” in 2014, “Triumphant” in 2017 and “Valediction” in 2019, moving from its industrial origins toward a more melodic Future-Pop and Synth-Pop sound. Ruined Conflict signed with Infacted Recordings for the “God & Sinners” mini-album series, which opened with “Part 1” and continued with “Part 2” in 2022, featuring new material alongside remixes and a reworked edit of “Defiance” from “A.R.M.O.R.”.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-Electro, EBM.

Format: Digital, CD.

Background/Info: After a disappointing self-titled debut album (2020) Mexican formation Depraved Priest strikes back with thirteen new songs.

Content: Influences are rather similar but I got the feeling listening to another formation. Depraved Priest deals with EBM and dark-Electronics. Vocals are now and then reminding me of Leather Strip. Sound-wise I noticed an instrumental song with Front 242 influences while another cut sounds like it was infused by early Ministry.

+ + + : The evolution and especially global improvement of the production is absolutely amazing. In no time Depraved Priest became a mature formation composing well-crafted and alluring Dark-EBM. They compose cool melody lines and reinforce their work with Industrial sound treatments. The instrumental “Down Below” is a great exposure of the band’s evolution in writing and might appeal to ‘242’-fans.

– – – : The production of the vocals can be more professional for a few songs.

Conclusion: Depraved Priest took me by surprise and I salute the efforts this band put in the writing and production of their songs. While the debut was forgettable we now better can keep an eye on this band.

Best songs: “Down Below”, “Nobody Knows”, “Mind Driller”, “United”, “Heretic”.

Rate: 8.

Artist: www.facebook.com/depravedpriest

Label: www.sector-industrial.com / www.facebook.com/sector.industrial.producciones

About Depraved Priest

Depraved Priest is a Mexican EBM and dark-electro act releasing through Sector Industrial Producciones. The band’s self-titled debut album appeared in 2020. “Obey”, the project’s second album, follows via the same label in November 2022, featuring thirteen new songs.

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

DI*ove is a Belgian EBM project set up and driven by Eric Manchiniste. He’s a great fan of Electronic music and  started composing music at the age of 12 by tinkering with his mother’s appliances. Later on he dreamed of having a synth rather than a moped like most of his friends. After his first fee as a singer in a Rock band he bought a drum machine and the adventure began… The band DI*ove is the inversion of E-void, a more Experimental project from the early 2000s. DI*ove’s first album “DI*ode” got released in 2013 by EK Product. Later on Eric started to self-release his works. The second album “DI*vided” was released in 2016 while several EP’s got released as well. The newest EP “DI*version/Phase I” is a great piece of music mixing traditional EBM influences together with Electroclash and Minimal-Electro. An introduction to DI*ove.(Picture credits by Valsdarkroom / Interview courtesy by Inferno Sound Diaries)

Q: DI*ove is already active for numerous years but don’t release new work at regular basis. How did it all started and what have been the main changes and evolutions throughout the years?

Eric: I thought DI*ove was releasing an album/EP on a regular basis (lol). For the past 13 years, the project has been releasing a record every 3/4 years except lately because of the pandemic.

In 2008, I had some instrumental recordings to work on. That’s when I met Lukk. As he had enjoyed a few tracks, I proposed him to add his voice. The result was very convincing. From there on was born the first EP released on Knovel Records.

Over the years I have enjoyed collaborating with other singers (Sacha, Nina) and from time to time I also stick to the exercise of placing my voice -a bit like Martin Gore on Depeche Mode albums (lol).

Q: I always experienced your sound as driven by good-old EBM influences but what are your sources of inspiration and possible bands/artists you see as true references? What does DI*ove stands for?

Eric: I grow up with the sound of the 80’s. Going from New-Romantic to New-Wave to EBM/Indus. In the 90’s, I also flirted with post New-Beat, House-Tech… I’m still interested in what’s currently being done musically. That’s why today I pick a little bit from everywhere. It is clear that the music of DI*ove is mainly driven by Dark-Electronic music like EBM but I also like to inject more contemporary sounds; not to remain only in the codes of the past.

Q: Your debut album “DI*ode” (2013) was released on EK Product while all productions after that debut were self-released. For most artists it all happens the other way round so what does this ‘do it yourself’ approach mean to you? And how do you manage all different aspects next to music, like promotion, distribution, management etc?

Eric: Let’s say that with age the desire for artistic freedom becomes greater. Then it happens that there is a big difference between what is written on a contract and the reality. Let’s add that ‘do it yourself’ is in fashion. Besides that, I’m the kind of artist who doesn’t fancy businessman’s tasks, but still has to achieve them. I’m used to manage the functions related to promotion, distribution, artwork, concert canvassing… But I must admit that my door remains open for external help. The call is launched.

Q: Tell us a bit more about your newest work “DI*version / Phase 1”. How did this EP –or is it a mini-album (?) saw the daylight? What did you try to express and what have been the main focus in the song writing?

Eric: “Di*version” was composed right after the lockdown. I was quite happy to see people again, to party again and especially to have perspectives like releasing an EP. Nina and I had gotten into the habit of having a drink on Friday nights while listening to vinyl records. One night she said to me: ‘what if we made music together?’ The next day I plugged in my machines again and took my pen.

We rethought all the Friday night conversation topics and put the most important ones back in writing. From the living room on Friday night, we moved to the home studio to record “DI*version”.

Q: You clearly seem to like working with guest artists/singers and you already collaborated with famous names like Claus Larsen, Plastic Noise Experience ao. How comes and what are the main criteria you use to work with other artists? How do these collaborations happened; I mean what’s the real impact and input of the guest artists/singers?

Eric: Indeed, I like to collaborate with other people. On the one hand it’s an opportunity to meet interesting people and on the other hand, a different approach to work. A formula that works very well for me.

I met Claus Kruse from PNE at the beginning of the Facebook era. He had liked our 2nd EP and especially a track he wanted to remix. I didn’t hesitate for a second, knowing Claus’ work. I accepted and agreed to propose the track for the compilation “Face The Beat Vol 1”. Then he sang on “Addictions” a track from our first album.

The other Claus Larsen from Leather Strip was pure luck. We were spending our vacations in the same city and we met in a bar that we used to visit for its special food (private joke!).

We talked about music, collaboration and insisted on keeping in touch after the vacations. That was it! I had a track ready and I sent it to him. Claus recorded the vocals to finalize the track “Fly Naked”.

I feel honored to have collaborated with these artists who are part of my musical library. The impact is also felt for DI*ove in terms of credibility and visibility. On a personal level, these meetings boost my satisfaction and my work in the future.

Q: Belgium remains a prolific ground for talented EBM artists, but it also is a country with a small scene for this music genre. How do you as an independent artist manage this important aspect and what brings the nearly future for DI*ove?

Eric: Belgium has very good press abroad. The actors of the scene are very enthusiastic when it comes to spreading our music. I also appreciate the complicity and the work of the people who still believe in this kind of music by putting it forward. I would like to mention JL Marchal (Synthpop80.com), Greg and Walter for their radio show “Sampler Et Sans Reproches”. Recently, I still thought that the language barrier in Belgium was a problem. None or few traces of our music in Flanders until I met the “Luminous Dash”-team.

DI*ove is actually finalizing “DI*version Phase 2” and is thinking more and more about getting back on stage.

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: EBM.

Format: Digital, CD.

Background/Info: After having released two albums and a few EP’s Belgian EBM project DI*ove is back on track unleashing “DI*version”. The work features six songs and guest vocals by Nina & Sacha + Leather Strip.

Content: DI*ove moves on exploring the path of EBM. Belgium remains a prolific ground for talented EBM artists and Eric Manchiniste clearly appears to be one of the best students from the class. The songs are elaborated and achieved with precious details and effects, but still featuring a few extra influences like Electroclash and Minimal-Electro.

+ + + : If there’s a Belgian project you really need to discover it for sure is DI*ove. The songs are well-crafted, powerful, danceable and featuring great guest vocals. Claus Larsen is for sure a great name, but I even prefer the ‘sterile’ vocal’s production of Nina singing on two tracks. Sound-wise I like the retro-strings. “Liberty” sounds like a great opening piece, but I also have to mention “EBM – Old Brew Mix” for the cold female backings and male backing vocals.

– – – : There’s one instrumental song, which sounds cool, but it would have been even better with vocals on it. DI*ove maybe has to consider working with a full time band singer and Nina would be a right choice.

Conclusion: EBM made with intelligence and for the greatest satisfaction of the fans in this music genre.

Best songs: “EBM – Old Brew Mix”, “Liberty”, “CQ!”, “After 4 AM”.

Rate: 8.

Artist: www.facebook.com/diovepage Read the news on ‘DI*version’.

About DI*ove

DI*ove is a Belgian electro project of Eric Manchiniste, working in a minimalistic electro style focused on eighties synthpop. Before “DI*version”, reviewed here, the project had released two albums and several EPs. DI*ove went on to release the EP “DI*ldo” in 2024.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-Electro, EBM.

Format: Digital, CD.

Background/Info: This is album number seven for the Belgian solo-project “Normative Conformity”. It also is the second work released by Russian label Insane Records.

Content: If you’re already familiar with the sound of this artist you’ll be pleased to discover a new dark and haunted production. The songs are switching between EBM and Dark-Electro. Imagine the bass lines of Leather Strip together with the darkness of Vomito Negro and the icy leads of Suicide Commando and you’ll get an idea about this work.

+ + + : Reality’s Despair is progressively growing in writing and global sound production. I like this album for its wider range of influences which are moving in between EBM and Dark-Electro. I noticed great bass lines and overwhelming, cold, melodic leads. The sound perfectly matches with the spooky production of the vocals. I’ll mention “The Other Side” and “A Great Resist” as absolute attention grabbers.

– – – : I’m sometimes missing a bit innovation with this kind of productions, but at the other side Reality’s Despair is simply improving itself in its beloved Dark-Electro & EBM style.

Conclusion: Reality’s Despair remains one of the most underrated bands from the Belgian Dark-Electro scene.

Best songs: “The Other Side”, “A Great Resist”, “Strahlenflught”, “Gulf Breeze”.

Rate: 8.

Artist: www.facebook.com/realitysdespair

Label: www.insane-records.com /  www.facebook.com/InsaneRecordsEU Read the news on ‘Normative Conformity’.

Listen to “Normative Conformity”:

About Reality’s Despair

Reality’s Despair is a Belgian one-man EBM and dark electro project run by Tom. It was formed in 1997 and independently released several titles over the following three years, after which the project was put on hold for eighteen years.

Tom picked the project back up in 2018 and self-released three further albums and a single. Insane Records signed him in 2021 and issued the label debut Perfidious Depopulation on 17 April 2021, an eleven-track album with three reworked versions, on CD and download.

“Normative Conformity” followed on 31 May 2022 as the project’s seventh album and its second for Insane Records. The CD edition was limited to 100 copies, with a digital release on the usual platforms. The album holds eleven new dark electro tracks plus three alternate versions of “Gulf Breeze”, “Conformity” and “When Your Eyes Are Closed”.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences:  Electro-Pop, Dance-Pop, Indie-Electro-Pop.

Format: Digital, 2CD.

Background/Info: “Bittersweet” is the final part of a trilogy which started with the album “Lightflare” (2018) followed by “Soul Searching” (2019). But the work is also meant to celebrate the twentieth anniversary of the Belgian project. There’s a bonus disc featuring fifteen surprising songs while the digital version  reveals fourteen extra tracks.

Content: The working formula of Psy’Aviah hasn’t really changed. Yves Schelpe composes the music while working with an impressive list of guest singers. The opening piece again features cavernous, spoken vocals by Dutch psychiatrist Dirk De Wachter. It’s a dark, dreamy intro followed by twelve, mainly, danceable cuts. The songs are meticulously elaborated and mainly Dance-driven, sometimes reminding me of the magic of Delerium. Olivya Nicole, Mari Kattman, Saydi Driggers, Lumi, Huong Su, Maysa, Marieke Lightband, Tina Forlorn, Eli Rho (2 songs), Rebecca Schneider and Addie Nicole contributed guest vocals while there also guest artists featured playing violin and cello. Notice by the way the tracklist features 2 ‘older’ reworked songs.

The bonus disc features Psy’Aviah songs taken from the wide discography of the band which have been all reworked -and in a way covered by an impressive list of artists. Madil Hardis, The Breath Of Life, Clairval, Your Life On Hold, IC434 (2 songs), Digital Factor, Aesthetische, KC Woong, Implant and Leather Strip contributed to this celebration while you’ll also hear collaborative tracks with Implant, Cat Hall and Bow Ever Down.

The digital format reveals extra songs featuring 808 Dot.Pop, Impulse Control Disorder, Fakzillity, Llumen, Miseram Mortem, Designer Violence, Hartung & Schleinitz, Y-Luk-O, Cosmic Armchair, Huilende Wolf, The Breath Of Life and Leather Strip plus 2 collaborative cuts together with Leather Strip and Implant.

+ + + : The main strength of “Bitter Sweet” is its ‘easy listening’ format. Psy’Aviah is nearly impossible to label -although hardly driven by a very personal approach of Dance music, but simply following its path. The project has seriously evolved throughout the years and the sound often appears a true challenge. The composition is well-crafted, styled, sensual for the slow rhythms and here again reveals an interesting and diversified list of talented singers. “Can we Make It Rhyme ” featuring Mari Kattman is a great piece of music reminding me a bit of Delerium. And I also want to mention “Tired” which is an older song that has been reworked and features passionate vocals by Addie Nicole (Hallocene).

I also have to salute the original concept of the bonus disc (and bonus songs for the digital edit) where the artists totally reworked the older Psy’Aviah songs while putting their own voice on it. The result is diversified but I especially recommend both cuts by IC434 and the one by Your Life On Hold.

– – – : The main strength of Psy’Aviah also appears to be its biggest weakness; hard to label and sometimes dangerously moving to the edge of pure ‘commercial’ Dance music. That’s why I often wonder if this is the right scene and label for this project? The bonus songs are a pretty cool commemoration although I’m missing Emélie Nicolaï who was the singer of the band during the first decade.

Conclusion: Psy’Aviah remains a true challenge although we can’t be unmoved by the creativity, ideas, concept and sound intelligence of this artist.

Best songs: “Can we Make It Rhyme”, “Tired – Rediscovered”, “Cold Summer Nights”, “The Wildness In Me” + “Broken Child” (IC 434), “Anger Management” (IC 434), “Our Common End” (Your Life On Hold), “The Worst In Me” (Leather Strip), “Wild Ride” (Llumen).

Rate: 8.

Artist: www.psyaviah.com / www.facebook.com/psyaviah

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Bittersweet’.

Listen to “Bittersweet (Bonus Version)”:

About Psy’Aviah

Psy’Aviah is an electronic music project from Antwerp, Belgium, founded in 2003 by producer and composer Yves Schelpe. The project blends genres such as industrial rock, trip hop, electropop, and electro-industrial.

Initially, Psy’Aviah featured vocalist Emélie Nicolaï and guitarist Kristof De Clerck. In 2008, they signed with Alfa Matrix and released their second album, “Entertainment Industries”. The single “Moments” featuring Suzi Q. Smith was selected as one of the 20 best submissions in the BBC Next Big Thing 2007 contest.

Over the years, Psy’Aviah has collaborated with various artists, including Jean-Luc De Meyer (Front 242), Jennifer Parkin (Ayria), and Kyoko Baertsoen (Lunascape, ex-Hooverphonic). Their discography includes albums like “Eclectric” (2010), “Introspection / Extrospection” (2011), and “The Xenogamous Endeavour” (2014).

Their music has also been featured in television series and commercials, such as the use of “Our Common Future” in episodes of a TV series aired on VRT’s Eén and “Tired” in a Microsoft campaign for Windows 7.

Alfa Matrix issued “Bittersweet” on 1 April 2022 as a limited double-CD digipak. The second disc carries the title “Rediscovered (20th Anniversary)” and the set was presented as a twentieth-anniversary edition, which sits one year ahead of the 2003 founding date given in the project’s own biography.

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: EBM.

Format: Digital, CD.

Background/Info: Spankthenun is an American duo set up in 2019 by Eric and Jeremy Hanes. The Hanes brothers seem to be prolific as they already released an impressive number of works in a rather short lapse of time. This new work features nine songs and four remixes. 

Content: The work takes off with a refreshing and powerful piece of EBM driven by guest singer Claus Larsen (Leather Strip). The album moves on revealing powerful songs built up with raw sound treatments, heavy blasts, some carrying choruses and EBM bass lines, which became more explicit during the work. 

Remixes have been done by Mirland (remixing the opening song with his good-old friend and partner in crime Claus Larsen), Nature Of Wires, Planet Damage and Psychosomatik. 

+ + + : The least I can say is that Spankthenun took me by surprise. This band deals with a mature and accomplished production. This is not just EBM, but an elaborated format with overwhelming, blasting sound treatments, menacing bass lines (especially during the second half of the album) and raw sound treatments. Claus Larsen is an extra element to pay attention to for this band, but the Danish Electro master seems to be very comfortable singing on “Off Beatings” –also released as a single. I don’t want to compare this band with Leather Strip, but I think they might catch the attention of the fans for their perfect mix between EBM and darker Electro elements. The song “Industrial Beats” is a great song and potential hit; powerful and driven by a vintage lead. Another amazing song is “The Smoking Gun”, which is driven by impressive, raw sound blasts. 

– – – : I can’t say that the remixes aren’t adding a bonus to the work, but the original versions are simply better. 

Conclusion: Spankthenun has the potential to become the next great surprise from the US. This is well-crafted EBM. 

Best songs: “Industrial Beats”, “The Smoking Gun”, “Off Beatings”, “Sick Pathos”, “I’m The Fire”. 

Rate: 8.

Artist: www.facebook.com/spankthenun 

About Spankthenun

Spankthenun is an industrial, EBM and electro darkwave band from Dallas, Texas, set up in 2019 by brothers Eric and Jeremy Hanes.

The duo self-released the EPs “Regression Complex” and “Spiderbaby [Construct V.01]” and the single “Slow Suicide” in 2019, followed by “Jingle Bells (A Slaying Song)” and “The Bunker Tapes Vol I.” in 2020, and the single “Dominate” in 2021. “The Bunker Tapes Vol II” appeared on CD the same year.

The series closed with “The Bunker Tapes III” in 2023. Spankthenun has also produced remixes for Psychosomatik, Blue Ant, Stahlschlag and Harsh R, and contributed to the 2024 Metropolis release “The Hush Of Cannons Cold” by Terminal.

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

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. EBM formation Armageddon Dildos  definitely is a band I had to interview. The German band, which started as a duo, composed a very dynamic EBM sound and got rapidly famous for their impressive live shows. The band never stopped to evolve and rapidly started experimenting with harder Industrial elements to finally move towards a more ‘Poppy’ production. Uwe Kanka kindly accepted to look back at the impressive career of ‘the dildos’.

(Courtesy by Inferno Sound Diaries)

Q: Armageddon Dildos  was originally set up in 1990 (!) by you and Dirk Krause. How did you guys meet and what was your music background? 

Uwe: Dirk and I met us in 1986 in the same rehearsal room in Kassel. I played guitar/vocals in a classic three-man band (Beat The Beat) and Dirk  keyboards/synths in a Synth-Pop group.

We liked each other immediately and very quickly it became clear to us that we wanted to explore new musical ways. Harder and more aggressive Electronic sounds and harder beats, that was the plan. After a few jam sessions, we knew that it worked great!

Q: Armageddon Dildos became an instant successful EBM band; you got directly signed to Zoth Ommog, releasing the EP’s “Never Mind / Pressure”, “East West”, “Resist” and of course the debut album “That’s Armageddon”. According to you what made the success formula of the early productions and what has been the impact of Talla 2XLC who produced your first works? 

Uwe: I am still firmly convinced that it was largely due to the symbiosis between Dirk and me – added to that the incredible energy of that time.

Actually, something new was always happening; musical as well as social (fall of the Berlin Wall) changes certainly played a part in it. It was an unbelievable dynamic, open and wild time. Being signed to Talla 2XLC and Musik Research/Zoth Ommog was a blessing for us. It was the perfect timing for Armageddon Dildos. Talla and its staff convinced us with their high level of competence and passion for music. Frankfurt and the Techno Club, for example, was, along with Berlin, the measure of all things in Germany for us at that time. Looking back, I am sure that the success of Armageddon Dildos was largely due to Talla 2XLC and his team. We were in the right place at the right time!

Q: Zoth Ommog was one of the absolute leading labels from the 90s Electro underground scene. How do you look back at this period, the 90s, Talla 2XLC,  the label and label mates? 

Uwe: Zoth Ommog was very important for the development and spread of Electronic music at that time worldwide. Label bands like Leather Strip, X Marks The Pedwalk, Bigod 20, Orange Sector, Consolidated, Psychopomps, The Armageddon Dildos to name a few, played an important role in the scene in the late 80s to the mid 90s. Those were very exciting times.

Through Talla’s contacts and our gigs at the New Music Seminar 1991 and 1993 in New-York, Howie Klein became aware of us and we got a contract with Sire Records in the U.S.A. Rüdiger Ladwig took over our management and booked our concerts. “Homicidal Dolls” was released by Sire Records in 1993 in The States and “Lost” followed in 1994. After the release of “Lost” we went on tour and played among others at the Zillo Festival in December 1994 at the Zeche Karl. We were accompanied at the Zillo gigs by Markus Hartmann, who would play an important role for us in the next few years.

Q: Quite progressively the band evolved towards harder music, still EBM driven, but with an Industrial input with guitar play and samplings. What made this evolution towards a more ‘Industrial’ sound? 

Uwe: We have always worked with samples. That was our usual way of working. Sampled speech, noises but also instruments like guitars were part of almost every production.

On some tracks I  played the guitars later myself. In 1994, for the production of “Lost”, we went to Chicago to Wax Trax Studio to work with Keith ‘Fluffy’ Auerbach (producer/sound engineer of Ministry, Revolting Cocks, Pigface, Skinny Puppy etc.). During this time we recorded guitars and drum sequences instead of sampling them. To bring the production to the stage, Vom, who now drums for The Toten Hosen, and Uwe Osterlehner, played guitars, joined the band.

Q: You also started working with another producer; Sevren Ni-Arb produced several productions and I remember a lot of bands wanted to record in his studio. What made him that special and what has been his true impact on the final production? Are you still in touch with him?

Uwe: Most of our albums/EP/singles from ’89 to ’99 were produced by different producers. However, Dirk and I were always significantly involved.

We met Andre Schmechta (Sevren Ni-Arb) through Talla in Frankfurt. We immediately got along really well, had a very consistent understanding of music and, not to be underestimated, a very similar sense of humor.  Therefore we decided to produce “Homicidal Dolls” with Andre. Working on the album was a lot of fun, full of energy and musical creativity. Later on we worked again with him on “Fear” and “Homicidal Maniac”. Besides, it always smelled wonderfully of freshly baked goods in the studio because there was a bakery in the neighborhood.

Unfortunately, we lost track of each other over the years and are no longer in contact.

Q: I got the impression the “Speed”-album (my favorite by the way) released in 1997 was a kind of turning point in the band’s early years. You signed to a major company (BMG), got produced by Bob Kraushaar and Andy Gill (Gang Of Four). The sound became ultra-professional, but how did you experience the “Speed”-album and the move to a major company? 

Uwe: Through Markus Hartmann (see above) we got the contract with Metronome and later also with BMG Ariola in Hamburg. The move from Zoth Ommog to a major label changed a lot for us: first of all, of course, the financial means for production, marketing etc.. We travelled to London in search of the right producer and met Bob Kraushaar (Pet Shop Boys, Paul McCartney, ABC etc.) among others. Bob had very concrete ideas about the production of the new Armageddon Dildos album and suggested to have one half of the CD produced by himself and the other half by Andy Gill, the legendary guitarist of Gang Of Four. We agreed immediately and went to London in the Summer of 1996 to produce “Speed”. But some tracks on the album were also produced at Skyline Studio in Düsseldorf. “Speed” is, and I agree with you 100%, a very professional production and an excellent album.

Q: Do you remember how much albums you were selling at that time and was it possible to earn a living from your music? 

Uwe: We had very good sales at times and could also live on it during such periods. However, the consistency was missing. I think many artists are in the same situation. You should always have a plan B in mind. But let’s be honest: there were never enough albums sold to be able to make a living from it in the long run.

Q: BMG became a one-shot experience, you get back to Zoth Ommog, revisiting some of your early songs by the album “Re:Match”. It also was the last work together with Dirk Krause. How do you explain the split of the band and are you still in touch with Dirk today? 

Uwe: In hindsight, I think the events following the completion of “Speed” were key to the band’s development. We had a fantastic team behind us at the Metronome, a killer production and a very good video for “Open Up Your Eyes” recorded in Kenya. Everything was great and then we got the devastating news: Metronome was dissolved!

What a bummer. We got the rights for “Speed” and ended up with BMG Ariola, but that didn’t work out. The label split up with us and we had to look for a new label. All that was hard stuff and the band didn’t take it too well.

Dirk decided to leave the Dildos to start a new project. I wanted to continue. We decided to do one last release together and that became “Re.Match” on Zoth Ommog in 1999. Dirk and I have hardly any contact today.

Q: “Morgengrauen” released in 2003 on Electric Blue was the first album you were totally involved in the song writing. That was something new and without offending you Uwe, I think the only Armageddon Dildos-album that couldn’t convince me. What’s your personal analysis about this work? 

Uwe: I underestimated, as I see it not only now, that this kind of music definitely does not fit to an EBM/Industrial band like The Armageddon Dildos.

I like “Morgengrauen”. It’s an Electro album with good songs, artwork and photos. However, I should have released it as a new project with a different name. But as we all know, hindsight is always the wiser!

Q: “Sangreal” got released in 2005 on Ausfahrt, but it finally was the “Untergrund”-album released in 2011 on Alfa Matrix that put you back on the map. You joined back hands with a leading label from the scene and for the very first time you also produced the album. What does this album mean to you and where do you place this work in the band’s discography? 

Uwe: “Untergrund” is a very important album for me. It combines interesting Electro sounds and beats with hard guitars without slipping too much into pure Industrial. Unfortunately, I could not convince Ausfahrt/Electric Blue with this production. I asked for a termination contract, got it and signed with Alfa Matrix a short time later. 

However, this is not the first independently produced album. I have been working with sound engineer and producer Mathias Black since 1997, who mixed and co-produced all Armageddon Dildos albums from “Re:Match” onwards.

Q:  After “Untergrund” it took your nine years to strike back with the “Dystopia”-album, which became one of the most achieved, diversified and professional albums. Do you feel this album as different from the others? And tell us a bit more about the ‘teamwork’ to achieve “Dystopia”? 

Uwe: “Dystopia” is the first Armageddon Dildos album where I did everything on my own until the mixing phase. From the composition/lyrics to the recording and programming of the instruments to the recording of the vocals including Malin’s vocals for “Neon”. I had quite clear ideas in which direction “Dystopia” should move. Mathias changed or added vocals and some sounds later while mixing the tracks. We had a very good division of labor. I am really satisfied with the result of this production!

Q: Armageddon Dildos always had a strong live reputation. How did you see the shows evolving throughout the years and what’s your connection with the fans?

Uwe: What has changed over the last thirty years is the number of musicians on stage: Dirk and I started in ’89 as a duo. In the mid-90s, there were four of us for a while with Vom and Uwe Osterlehner. After that with Vom it was three.

At the first gig without Dirk at the beginning of 2000, Malin and Dave Anderson were there with me. Then Ulf Häusgen joined on guitar/vocals. A short time later Rene Nowotny took over the keyboards. On our five-week U.S. tour with Inertia in 2007, Gabriel Shaw joined me and Ulf Häusgen.

And for almost ten years now, it’s been just the two of us on stage again: Uwe Kanka and Sven Mouhcine. Last but not least, it is very important to say that Mathias Black has been responsible for the sound of the Dildos as a member of the band for 99% of the gigs since 1996.

What has not changed at all during this time, thank God, is the energy and power of every Armageddon Dildos show, which also includes the very close contact to the audience and the fans.

Q: I remember there was an Armageddon Dildos fan-club. How important is it for a band to have a fan club? 

Uwe: I think that a fan club is very important for artists. In our case it was phenomenal. The Armageddon Dildos Fan Club was founded in Aachen after our gig in Übach-Palenberg on 24.06.1991. After that, regular meetings took place in Düsseldorf or Aachen. The fan club did unbelievably good public relations work, e.g. published an info letter. Members of the fan club were at almost all the band’s concerts until the middle of the ’90s. Due to personal changes and also due to the musical development of the band from the middle of 90s onwards, the interest of the members of the Fan Club in the band waned.

Q: If you had to introduce Armageddon Dildos  to people who never heard of the band before, what song and album would you choose first? 

Uwe: It depends on the people. I have friends who can’t do anything with our older songs; I would play “Stay” or similar tracks for them. People from the scene who don’t know us, mmhm, that’s not so easy. Maybe “I Can’t Remember” or “White Room”. But I could also think of pieces by “Speed” and “Homicidal Dolls”. I personally like “Gottland” very much.

Q: Do you’ve other passions in life next to music? 

Uwe: Ride a motorbike, skiing and enjoy the tranquility of nature.

Q: Did the success of the band had an impact on you as human being? 

Uwe: I don’t think so. Rather the failures. Because those were the ones that kept me going.

Q: What’s your best- and worst memory after more than thirty years Armageddon Dildos? And do you still have secret wishes and dreams? 

Uwe: I would like to mention two of the many wonderful memories: the fantastic concert in Übach-Palenberg together with And One, when we met the people from the later Fan Club, and our performance at the Roskilde Festival at midnight in front of about 10,000 spectators. That was gigantic.

The worst was definitely the moment when we were informed about the closure of Metronome. 

Secret wishes and dreams? Yes, I do. And they should be kept secret.

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 Dallas based dark electro-industrial act SpankTheNun returns with an all new album, “The Bunker Tapes Volume II”, which is the conceptual follow-up of “The Bunker Tapes Volume I” released in September 2020.

Says the band: “‘The Bunker Tapes Vol. II’ continues the journey of mid 90-influenced industrial beats and moves into a more dark electro territory, then finally to a pure EBM vision with tracks like ‘Industrial Beats’ and ‘Lockdown’.”

Like the previous album, “The Bunker Tapes Volume II” includes original tracks and remixes of tracks like “Off Beatings”, “I Self Me” and “Right Father”.

The physical CD carries an additional track from “The Bunker Tapes Vol I”, namely “Fight and Breed” with a special dual remix from Upon Eventual Collapse and Leather Strip.

You can check out the release below, it’s available as download and on CD via Bandcamp.

Bernard - Side-Line Staff

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

side-line.com

Out this Friday is a special steel box version of the Rustblade released tribute album to John Carpenter, “The Way Of Darkness”. This special Halloween release comes in a heavy steel deluxe box limited to just 33 copies only. It contains a special transparent marble orange vinyl, a silver poster of The Thing, Halloween silkscreen poster and a John Carpenter silkscreen poster.

This musical tribute combines some of Carpenter’s best musical atmospheres executed by Claudio Simonetti (Goblin), Leather Strip, Motion Kapture, Ketvector, as well as artists of the new retro wave scene such as Code Elektro, Tibia, Simulakrum Lab, Mythical Vigilante and Keith Mccoy.

Tracks covered include “Halloween”, “Matthew Ghost Story”, “Christine”, “Night”, “Laurie’s Theme”, “Assault On Precinct 13”, “The Fog”, “Chariots Of Pumpkins”, “The Thing” and “1997 Escape From New York”.

About John Carpenter

John Howard Carpenter is an American filmmaker, actor and composer. Although Carpenter has worked with various film genres, he is associated most commonly with horror, action, and science fiction films of the 1970s and 1980s. Carpenter is generally recognized as one of the greatest masters of the horror genre.

Most films of Carpenter’s career were initially commercial and critical failures, with the notable exceptions of “Halloween” (1978), “The Fog” (1980), “Escape from New York” (1981), and “Starman” (1984). However, many of Carpenter’s films from the 1970s and the 1980s have come to be considered as cult classics, and he has been acknowledged as an influential filmmaker.

The cult classics that Carpenter has directed include “Dark Star” (1974), “Assault on Precinct 13” (1976), our absolute favourite “The Thing” (1982), “Christine” (1983), “Big Trouble in Little China” (1986), “Prince of Darkness” (1987), “They Live” (1988), and “In the Mouth of Madness” (1995). He returned to the Halloween franchise as both composer and executive producer for the horror sequel “Halloween” (2018).

Carpenter composed or co-composed most of his films’ music. Carpenter has released four studio albums, titled “Lost Themes” (2015), “Lost Themes II” (2016), “Anthology: Movie Themes 1974–1998” (2017) and “Lost Themes III: Alive After Death” (2021).

Check the below trailer of “The Thing”.

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-Wave, Electro-Wave.

Format: Digital, CD.

Background/Info: Causenation is a Belgian formation, which has already been active for a couple of years now. They self-released a few singles and EP’s –and didn’t spare any effort, asking Claus Larsen (Leather Strip) to mix and master some songs. They now joined hands together with Wool-E Discs unleashing this work featuring eight songs. This (mini)-album has been mixed and mastered by Gazdag István (First Aid 4 Souls) who previously remixed one of their songs.

Content: The main sources of inspiration are clearly revealing 80s Electro-Wave music. The first part of the album stands for good-old Electro, but also for the Belgian Electro; dark and somewhat tormented. Some of the songs have been achieved with guitar sounds. The vocals are somewhat tenebrous reinforcing the dark expression of the production. Previously released songs like “Things You Promise” and “Black Lust” have been featured as well.

+ + + : The first part of the album sounds very promising; I like the dark sphere supporting the production, which also creates a perfect balance with the way of singing. Nothing really new, but accomplished songs with “Fear The Future” and “Demons Of The Night” are the absolute highlights.

– – – : The last 3 songs of the album –featuring the previously released “Black Lust” are somewhat ruining the promising debut part. These songs are unaccomplished.

Conclusion: I have mixed feelings listening to this work; a promising debut followed by a disappointing final. But there clearly is potential in this band.

Best songs: “Fear The Future”, “Demons Of The Night”, “The Things You Promise”.

Rate: (7).

Artist: www.facebook.com/causenation1

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

About Causenation

Causenation is a project from Antwerp, Belgium. Between 2018 and 2019 the act self-released a run of singles and EPs, among them “The Things You Promise”, “Black Lust” and “Demons Of The Night”, along with remix editions of those tracks. “Promises Of Hope And Fear”, released by Wool-E Discs in 2020, was mixed and mastered by Istvan Gazdag of First Aid 4 Souls. Causenation singer Vain Sacrosanct went on to feature on First Aid 4 Souls’ “Stainless Steel Eyes” album in 2021 and the “Laudator Temporis Acti” EP in 2023. Causenation itself returned in 2023 with the “Divided We Fall” EP and the single “Hearts Beat Strong”, followed by “The Remix Collection” on DressCode Black in 2024.

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

Alfa Matrix has been set up in 2001 by three friends. Séba Dolimont, Benoît Blanchart and Bernard Van Isacker were all involved with Side-Line magazine, but decided to start an Electronic label. The label became a home for artists dealing with EBM, Dark-Electro and Electro-Pop, but throughout the years the label welcomed other genres like Gothic, Ambient and Industrial. Front 242, Ayria, Pouppée Fabrikk, Plastic Noise Experience, Armageddon Dildos, Unter Null, Acylum, Implant, Metroland,  Zombie Girl, Helalyn Flowers, I:Scintilla, Mentallo And The Fixer, Leather Strip, Star Industry, Alien Vampires and many others joined the ‘matrix’. And I nearly forget to mention Aiboforcen which was set up by Benoît Blanchart and Séba Dolimont.

(Stéphane Froidcoeur / Courtesy by Inferno Sound Diaries)

Q: Was there a kind of ‘philosophy’ when you set up your label and did it evolve over the years? How would you define your label activities today?

Seba. Alfa Matrix was created in 2001 with 2 key values: running the label from an artist perspective in our collaboration approach, and focusing on a direct servicing of our customers. All this with the aim to support and market underground Electronic music with attitude with an eclectic approach. Twenty years later, and although the music market situation has drastically changed, we are still active on the same Indie music scene, we still dare signing newcomers and our repertoire confirms our quite open-minded sound range of interest. We do run the label in mutual respect and care with our roster of artists and developed a quite strong direct sales approach for both digital and physical releases.

So we quite sticked to our original mission and simply adapted our operational mode to the constantly evolving music consumption habits and we keep anticipating new trends in order to stay relevant and future proof.

Q: I can imagine you must have specific and explicit criteria to sign an artist/band. Can you give us more details about this aspect and how important is it for you to know the person(s) hiding behind the ‘artist(s)’?

Seba: Through the years, it has become harder and harder to open the gate of the ‘matrix’ simply because we want to stick to a certain maximum number of bands, but also because any new signing to the label should bring something new to the label family, add a new color to our sound/artistic palette. Also important for us is that any new addition to the label must get the green light form the 3 members of the label management team.

The art must touch us for sure, but personally, in my role of artists manager, I pay a lot of attention to the personalities of the artists, probably more today than 20 years ago! Simply because we believe in long term collaborations and to achieve such goal we better construct our relationship on solid foundations and values. So that personal click is also something I need to give my vote…

Bernard: Nowadays it takes time to launch a new unknown artist, and we work slowly, but steadily to get their music heard to the public. There is no magic formula to create instant success, it’s continuous work both by the label and the band. The first has to use the best channels to create the best value for the band while the bands have to work on social presence, and the interaction with fans on several platforms. It’s also why we have started releasing lots of singles, so bit by bit we reach a bigger audience this way via all platforms.

When we started the music market was already in decline so we had to start early on with a new model to get the word out. Know that there are many bands out there and if you actually look at it, too few labels to manage all those great talents.

Q: You are already active for numerous years now so you must have seen a lot of things changing and evolving; think about social media, streaming platforms, Youtube channels… but also economic crisis etc. What are the pros and cons of these changes/evolutions and in, which way did you had to adapt/change your strategy and activities?

Seba: As owners of a company several dozens of artists gave their trust to, the least we can do is running this company professionally through a strong overall financial management and anticipating business and market evolutions to remain future proof. This is why Alfa Matrix was one of the first labels from our scene to be on digital platforms, and I even remember some were laughing about us, especially when we decided to invest a lot in streaming that is still seen as a danger by some today. Like other labels we also went through some tough economic challenges when we faced several bankruptcies from big CD distributors in Germany or in America. But with our strategy of focusing on an international market rather than putting all eggs in one or two baskets, it was easier for us going through all this, and especially with the unmatchable force of having a strong fanbase buying in direct from our e-shops and giving us more financial independence.  So the decisions we make are more guided to the way we adapt our ‘go to market’ strategy: changing distribution channels, deciding how we spread our budgets and investments, etc…

Bernard: In respect to that, we have been continuously checking out new platforms to vet if they were adding value to our media mix or not. For instance Facebook was quickly used by us, but we also knew that this free ride would not continue and that at some point Facebook would close the open gates and restrict the organic reach from their pages. That happened, a bit later than we anticipated, but it did happen. The same for Instagram for example. The free rides are over and done and you can no longer count on getting free unpaid reach for every communication you do. During that process we continued to work on a direct relation with customers. So while some bands and labels have gone that far to only have Facebook as their window we never neglected the own properties we can manage for the full 100%: an own e-shop, a very active Bandcamp page which both have given that what we are looking for, namely a direct link with the fans. So, suppose that Facebook or any other social media platforms stops their activities, we won’t feel any impact as we have a direct link with customers. This under the hood approach has been working very well for us and is something we will continue to do. Social media for us are a nice extra, but nothing more than that, the real value lays elsewhere for us.

I also strongly believe in the streaming market for the future, it’s how most of the music will be digested by music fans alongside HQ audio which people will find on Bandcamp and via physical products. As far as YouTube is concerned, I share the same comment and idea which Dave Heckman made earlier this week to you. This Google moloch pays really peanuts, 10 times less than Spotify, it also offers poor audio, but surprise surprise… everybody wants to be on it. It’s maybe good for the image but not so good for your wallet in the end if you consider the production cost of a video versus the extremely low return you get from it. It doesn’t mean we don’t have to be present there, but I seriously doubt that a lot of money should be thrown at it, it’s not our preferred medium.

Q: The ongoing pandemic has affected all artistic life and activities so what’s the true impact on your label activities and do you think it will also affect your long term objectives?

Seba: First of all the pandemic affected every person behind our Alfa Matrix bands and the label staff itself, most probably first on a personal level, cos they themselves struggled against Covid-19 or lost loved ones around them. What obviously hurts the most is the recurrent cancellation of tours, festivals, shows… this is hard for all bands. The stage remains the ultimate place of communion between artist and fans. The duration of the pandemic crisis also makes it more and more complex for artists releasing new albums and not being able to perform the new songs live.

Economically, so far we have been working hard and increased our promotional efforts to support the bands. As a result we actually managed increasing our label turnover between 2019 and 2020 with over 15% although the lockdown hit us all heavily. It was a combination of efforts: we continued to deliver CD’s to shops in direct -when some of our distributors were obliged to keep doors closed for example, but also from our bands who released more digital music to also bring some nice entertaining moments to their fans in these difficult moments, but also from our fans who continued supporting us massively.

Now unfortunately we all know that the economic crisis that will follow will hurt at all levels, but we will only start experiencing the real impacts in the second half of this year. It’s then that more and more people will continue loosing their jobs, loosing a portion of budgets they usually put into art and leisure. I also hope that this sanitary crisis will lead more people to pay more attention to their health in general. So yes, the world will change for sure, and we will all need to adopt and adapt at some point.

Q: Do you think media (magazines, online platforms etc…) still have an impact and a role to play today? What’s your relationship with ‘journalists’ and how important is their work?

Seba: Media changed a lot in 20 years indeed! Print magazines have been going through tough times. The major challenge is remaining relevant as a print magazine coming out monthly while online news get published instantly and spread a few clicks further. Combining digital with print is not easy. Integrating social medias, streaming platforms, etc… in the overall journalistic equation is tricky.

It’s just like for music, the new generations tend to consider that art and information should be free of access. As a label, of course journalists still play an important role for a certain portion of music fans who still enjoy turning pages while reading and enjoying the pleasure of holding a magazine or a book in your hands. They then also reach out to the digital audience via their blogs and other websites. But the readers tend to identify themselves less than before to some specialized journalists, but will rather trust and follow the advise of some friends posting on social medias, other buyers leaving comments on webstores or other influencers. They also tend to trust themselves more and more and believe in algorithms recommending them the next music to play on their own music radar.

Bernard: Many online magazines do not publish news daily or even regularly which makes it difficult for them to stay relevant in these days of social media. In the past we were able to work with a lot of great web magazines, but these days we have to work with hundreds and most really have a very very small readership, while others have been smart enough to evolve, develop, stay relevant. Those online magazines from the past who did not evolve have seen their visitors go to Facebook and never have seen them back. Most also ceased all activity. It shows clearly that Facebook for instance is not the booster that most had hoped, on the contrary, and it also explains why many magazines are increasingly negative towards Facebook because they have now largely decided what you get to see, what you discuss about etc..  

As a label we must combine all these elements to reach out to our customers/fans and make choices based on gathered experience and acquired know-how, while exploring new grounds… 

Q: What do you consider as your biggest accomplishment(s)? Do you have specific goals/dreams you want to achieve and how do you prepare and see the future of the label(s)? And what are your biggest regret(s)?

Seba: I think our biggest accomplishment is to be talking with you today and celebrating 20 years of Alfa Matrix, each release from our music repertoire between 2001 and now each contributed to this success, from newcomer acts to living legends from our beloved music scene.

The only regrets I might have are first of all not to have 10 days in a week to do all I’d like to do, and maybe having put a couple of friendships in danger by starting a label collaboration with friends without having been enough aligned and synched together on strategic elements. As far as the future, I hope we will still be able supporting talents as long as possible and having the chance to release the great work from our artists, and working with experienced music supporters like you…

Bernard: I personally never expected that this story that started as an idea amongst friends would turn out to be that successful and long-lasting. Seba had the basic idea and then pitched it to Benoit and me. Since I knew Seba as a very trustworthy guy (you introduced him to me remember!) it didn’t take long for me to decide to get on board and invest in it.

As far as the future for the label, or any label, I guess that the love for what we and the bands do will be the biggest power behind it all. I still discover great music in this scene so we are not in desert modus. The biggest challenge will be to keep on making new people warm for this scene’s music. Not a simple task, but we’ll manage alright I think.

My biggest regret… we all know it’s very time consuming and it’s not always easy to find a good balance between family life and work. As far as my two colleagues is concerned, I know how to separate my private life from work, so even if we have some catfights about certain things (we have to agree all 3 on something or it doesn’t happen), we remain loyal friends above all. And as far as how we function together, you can say that the structured thinking of Seba combined with the fuzzy logic style of thinking of Benoit and myself is an ideal breeding platform for great adventures!

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

Metropolis Records was set up in 1994 by Dave Heckman. In no time the American label became a truly reference when it comes to Electronic and Industrial music. The label licensed –and still does, European productions, but also signed new artists. Among the Metropolis roster you’ll find bands as VNV Nation, Front 242, Front Line Assembly, Wumpsuct, Project Pitchfork, Juno Reactor, Assemblage 23, The Birthday Massacre, KMFDM, Numb, Haujobb, Leather Strip, Apoptygma Berzerk, Velvet Acid Christ, God Module, Covenant, Informatik and many, many more

(Stéphane Froidcoeur / Courtesy by Inferno Sound Diaries)

Q: Was there a kind of ‘philosophy’ when you set up your label and did it evolve over the years? How would you define your label activities today?

Dave: No philosophy per se. It was just something I wanted to do for a living, so I needed to go about things in a very professional manner and always stay focused on that goal.

I am going to presume you mean label activities as compared to my activities at the label, although I will go into both.

The first step is to find the talent and that has always been my job. I am the owner and the A&R guy. Then, of course, a deal needs to be worked out and again that has always been my job too.

After a deal is done, we have to assemble the assets for the release such as artwork, photos, masters, videos, and publishing information. This is all needed to setup the releases with our worldwide distributors and to manufacture the albums themselves.

Then comes promotion. Retail, club, radio, video, press, touring, social media, etc. A lot of this is done internally, but sometimes we hire outside companies, particularly for video, radio, press, and booking tours.

Finally, the royalty statements need to be processed and payments made. A tedious and important part of the business.

So, believe it or not, as much as the industry has changed, the setup and promotion is really quite similar to what it was years ago. The revenue just comes from different sources.

Q: I can imagine you must have specific and explicit criteria to sign an artist/band. Can you give us more details about this aspect and how important is it for you to know the person(s) hiding behind the ‘artist(s)’?

Dave: Not really. In general, I sign bands I like and there is no particular sound I am looking for. I cannot really tell you why I liked Numb or Project Pitchfork, I just did. When it comes to art, whether music, film, or paintings I cannot tell you why I like what I do. In some way it has to move me.

That said, I do have a tendency to like or lean towards things dark, edgy, and innovative. Some of the bands that I was interested in were never signed, because we could not come to an agreement. Sometimes the bands had higher expectations than I did and the advance they wanted was too large or we had different ideas on promotional aspects of a campaign.

Metropolis has released over 1200 albums with over 200 different artists, so I did not get to meet and know everyone. In the beginning I just licensed from a few European labels like Zoth Ommog, KK Records and Hyperium. So, my relationships were with my licensing partners. However, as things progressed and we brought the bands over to tour and I went overseas to festivals and conferences and finally met these artists, my relationships with them developed. Always liked to travel and visit the artists where they lived and liked hanging out with them during and after shows. As we got to know each other better it just made everything smoother.

Q: You are already active for numerous years now so you must have seen a lot of things changing and evolving; think about social media, streaming platforms, Youtube channels… but also economic crisis etc. What are the pros and cons of these changes/evolutions and in, which way did you had to adapt/change your strategy and activities?

Dave: The biggest change was the death of retail record stores. That was how I started consuming music as a 10 year old kid. I mean I just did not go there to buy music, but to discover it. The cool stores played cool music and I also would just go through the record bins to find something new that caught my eye. Retail was still a force in music in the 90’s, but went really downhill after 2002 or so. As I mentioned above, retail promotion was important, but now it is almost gone.

So, of course digital comes along and I knew tons of artists and labels that were vehemently opposed to the format. Don’t get me wrong I thought 128 bit rate MP3 played on a computer sucked compared to a Compact Disc on a good stereo system. However, that is the way people wanted to consume, so we sold digital downloads.

At present, hardly anyone buys downloads and streaming revenue is going through the roof. Of course, I have artists complaining about this. More arguments / discussions with artists about streaming than any other industry issue, but it has saved the industry not destroyed it. Illegal downloads and CD burning where the real culprits.

Spotify, Apple Music, Amazon Prime, Deezer, Pandora are great platforms. However, YouTube sucks. They pay a fraction of what everyone else does, but people are complaining about Spotify instead of them. That I do not understand.

The bottom line is to adapt fast to a changing industry.

The benefit of the digital world is the massive savings on manufacturing, storage, and shipping, which of course is also good for the environment.

As far as the economic downturn, we go through these all the time and readjust.

Q: The ongoing pandemic has affected all artistic life and activities so what’s the true impact on your label activities and do you think it will also affect your long term objectives?

Dave: The pandemic has hurt the industry considerably. We had a dozen tours lined up for last spring including Lords Of Acid, Clan Of Xymox, KMFDM, Front Line Assembly, The Birthday Massacre, and many more. All cancelled and the bands lost money to varying degrees. However, the recorded music industry saw their revenue grow since almost everything is digital or online even including physical sales. In the long run and this intermediate period, nothing will change much, people will go back to their old habits for the most part.

Q: Do you think media (magazines, online platforms etc…) still have an impact and a role to play today? What’s your relationship with ‘journalists’ and how important is their work?

Dave: Yes, that medium is still important. All promotional activity counts. You have to spread the word around wherever you can. However, I really cannot comment on my relationship with the journalists as I never really had one. I am talking about me, not the label. Publicity and press is one of the few things I have always delegated to someone else.

Q: What do you consider as your biggest accomplishment(s)? Do you have specific goals/dreams you want to achieve and how do you prepare and see the future of the label(s)? And what are your biggest regret(s)?

Dave: Even though I eventually worked with some big names in the industry what I liked most was taking bands that were once small and introduce them to the scene, promoting them and then selling reasonable amounts of records for them. Covenant, Haujobb, Velvet Acid Christ, Wumpscut, Combichrist, Apoptygma Berzerk, And One, Assemblage 23 were all selling just a couple thousand copies and eventually sold 20,000 to 50,000 albums in North America alone. These are good numbers for alternative music. VNV Nation sold even much more than that. Just to put it in perspective only one in a hundred artists sold over 10,000 copies back then no matter what the genre.

I have met my goals. As I mentioned I wanted to do this for a living and I did. Also, Metropolis has a good brand name and I got to meet a lot of great artists who are now my friends. I wish I could have pushed the boundaries more and could have done more outside the Goth / Industrial genre. However, that did not work out that well except with the a few bands like Mindless Self Indulgence and Electric Six.

I am content with the label’s accomplishments. The label is 27 years old and I was well into my thirties when I started in the music business. So, we will continue to do what we do and improve where we can, remembering that adopting to change is important.

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: EBM, Body-Pop.

Format: Digital, CD, Vinyl.

Background/Info: We all know Dimitri Berzerk as a ‘remixer’ and also as a label owner. He recently also started releasing his own stuff, taking off with the single/EP “My Love Is Electric” featuring Franco Doglioli. He last year struck back with a new EP featuring Claus Larsen (Leather Strip) as a guest singer. “Resist” has been released in different formats and reveals some differences in the tracklists.

Content: “Resist” sounds much more EBM-driven than “My Love Is Electric”. Claus Larsen sings on two songs injecting his enraged way of singing on top of efficient EBM songs with some catchy choruses. Next to these songs you’ll hear more new songs including a surprising cover version of Nena’s “Just A Dream” featuring the childish-like vocals of Mexican guest singer Pamuk.

The EP also features remixes by Orange Sector, C-Lekktor, SFX DJ, Bishop UPG and Technomancer feat. Angst Pop. As bonus tracks we get more remixes by Cid Project, Substaat, Larva + JP90, Delectro, Dramatic and Fortleben.

+ + + : Dimitri Berzerk deals with a well-crafted and efficient EBM format; solid EBM bass lines and somewhat catchy choruses. Claus Larsen brings his great and passionate vocals giving an extra boost to the songs. Both songs featuring Claus Larsen are the best ones, but I also have to mention the powerful remix of Orange Sector and another one by C-Lekktor. Among the bonus remixes you’ll find at the CD and vinyl I especially recommend the divine remix of the title song by Cid Project. There’s an irresistible, blasting sound running through the remix. And there also is a surprising Cold-Wave styled remix by Dramatic with the input of another singer. Last, but not least I also want to say a word about the great digipak of the CD and the green picture disc of the vinyl format.

– – – : The cover version of Nena is an original, but not exactly the most convincing cut. Another song that couldn’t totally convince me is the somewhat electro-Punk driven “Endurance”, which is the other song with Claus Larsen singing.

Conclusion: “Resist” is definitely more convincing than the previous EP so I think this artist is progressively ready to release a full length album!

Best songs: “Ctrl+Alt+Del – Single Version feat. Claus Larsen”, “Ctrl+Alt+Del – Cid Project Remix”, “Ctrl+Alt+Del – Dramatic Rework”,  “Ctrl+Alt+Del – Orange Sector Remix”, “Ctrl+Alt+Del – C-Lekktor Remix”.

Rate: (8½).

Artist: www.facebook.com/dimitri.berzerk

Label: www.sector-industrial.com / www.facebook.com/sector.industrial.producciones

About Dimitri Berzerk

Dimitri Berzerk is a DJ, producer and remixer based in Mexico City, and the owner of the label Sector Industrial Producciones. He also works as a remixer under the name DMT Berzerk, crediting more than 100 remixes for other artists. His artist name references the classic Atari video game “Berzerk” and the band Apoptygma Berzerk.

Berzerk began releasing his own material with the single/EP “My Love Is Electric”, featuring Franco Doglioli. “Resist”, covered here, followed with Claus Larsen of Leather Strip as guest vocalist, and was later collected in remix form on “Resist EP Remixes” and reworked on the conceptual EP “A.I.C.Q.T.I.L.”

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: EBM.

Format: Digital, CD.

Background/Info: Three years after their great debut album “Panacea” the American – Australian duo featuring Rob Early (Retrogramme) and Simeon Fitzpatrick (Project K11) is back on track unleashing the new opus “Humanicide”. The work features nine new songs plus five remixes. The band again worked with some guest singers. Roy Retrofit (Red This Ever), Alicia May, Rebekah Feng and Sarah Myers (Fake Boyfriend) contributed to this work.

Content: “Humanicide” moved on where “Panacea” stopped; an album featuring intelligent and sophisticated EBM. It clearly reminds me of Frontline Assembly and Skinny Puppy, which I think rather sounds as references to be compared to. The different singers inject their proper touch, intonation and passion to the work.

The remixes were accomplished by Psy’Aviah, Sebastian Komor, C1TZN.X, Leather Strip and Red This Ever.

+ + + : 11Grams doesn’t sound as the most accessible EBM format, but they let us discover a different kind of ‘body music’; music that has been composed with technical knowledge and certain passion to create great sound treatments. The album sounds maybe a bit less powerful than its predecessor, but it has been empowered with poignant atmospheres created by cool synth sounds. Some passages are clearly old-school driven and even space-like. There’s a great diversity and yet still a balance between the different singers. The title song for sure is an attention grabber, but I definitely prefer the “Static Noises 2.0” revealing impressive writing skills of 11Grams. Among the remixes I especially recommend listening to “Ice Man” remixed in a powerful way by Sebastian Komor and “Weaponized”, which is another powerful outburst, remixed by Leather Strip.

– – – : I don’t see real minor points about this new work, 11Grams simply confirming their natural talent to compose futuristic EBM, but I just regret this kind of band never gets the deserved recognition.

Conclusion: “Humanicide” confirms the great work revealed at the “Panacea”-album; this is styled EBM!

Best songs: “Satanic Noises”, “Artificial Lifeforms”, “Humanicide”, “Ice Man”, “”Ice Man – Sebastian Komor RMX”, “Weaponized – Leather strip RMX”.

Rate: (8).

Artist: http://11grams.com / www.facebook.com/11grams

Label: www.ekproduct.com / www.facebook.com/EKProduct Read the news on ‘Humanicide’.

About 11Grams

11Grams is an Australian-American EBM and electro-industrial project pairing Simeon Fitzpatrick (Project K11) with Rob Early (Retrogramme), mixing catchy bass riffs and synthpop melodies with electro-industrial production. The duo’s 2020 album “Humanicide” on EK Product follows the 2017 debut “Panacea” and features guest vocals from Roy Retrofit, Alicia May, Rebekah Feng and Sarah Myers, plus remixes by Psy’Aviah, Sebastian Komor, C1TZN.X, Leather Strip and Red This Ever.

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: EBM, Body-Pop.

Format: Digital.

Background/Info: We all know Dimitri Berzerk as a ‘remixer’ and also as a label owner. But he last year also released a very own single/EP (cf. “My Love Is Electric”) featuring Franco Doglioli. He now strikes back with a new EP and invites Claus Larsen (Leather Strip) to sing.

Content: “Resist” sounds much more EBM-driven than the previous EP. Claus Larsen sings on two songs injecting his enraged way of singing on top of efficient EBM songs with some catchy choruses. Next to these songs you’ll find two more new cuts plus a cover version of Nena’s “Just A Dream” featuring the childish-like vocals of Pamuk.

The EP also features remixes by Orange Sector, C-Lekktor, DJ Sobrino + Scorpio 69, Bishop UPG and Technomancer feat. Angst Pop.

+ + + : Dimitri Berzerk deals with a well-crafted and efficient EBM format; solid bass lines and somewhat catchy choruses. Claus Larsen brings his great and passionate vocals giving an extra boost to the songs. Both songs featuring Claus Larsen are the best ones, but I also have to mention the powerful remix of Orange Sector and another one by C-Lekktor. Dimitri Berzerk sounds inspired by bands like Front 242 and And One. The least I can say is he made a very good mix of these influences together with a personal input.

– – – : The cover version of Nena is an original one, but not exactly the most convincing cut.

Conclusion: “Resist” is definitely more convincing than the previous EP so I think this artist is progressively ready to release a full length album!

Best songs: “Ctrl+Alt+Del – Single Version feat. Claus Larsen”, “Endurance feat. Claus Larsen”, “Ctrl+Alt+Del – Orange Sector Remix”, “Ctrl+Alt+Del – C-Lekktor Remix”.

Rate: (8).

Artist: www.facebook.com/dimitri.berzerk

Label: www.sector-industrial.com / www.facebook.com/sector.industrial.producciones

About Dimitri Berzerk

Dimitri Berzerk is the alias of Dimitri Loyo, a Mexican DJ, producer, remixer and label owner. The artist name draws on the 1980 Atari video game “Berzerk”, his first exposure to vocoder sound, and doubles as a nod to Apoptygma Berzerk. Dimitri Berzerk has worked as a DJ for more than 16 years and has taught DJ classes for around seven. His own releases appear on his label Sector Industrial Producciones, with “Resist” his latest EP.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-electro, EBM.

Format: Digital, CD.

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

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

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

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

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

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

Rate: (8).

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

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

About Red Lokust

Red Lokust is an American electronic music project founded by Jim Semonik in 2015, blending industrial, EBM and synthpop influences drawn from the electronic music scene of the 1980s and 1990s. Semonik, also active as a musician, promoter and organizer in the industrial scene, previously played in the industrial rock band Rein[Forced] before starting Red Lokust as a solo outlet; Lee Lauer, previously involved with Aslan Faction, later joined. The project released its debut album, “The Repercussions Of Shedding Your Skin”, before returning with “Whom The Gods Wish To Run, They First Drive Mad” on Distortion Productions in 2020, and went on to release a third studio album, “Hope Is The Last Refuge Of The Dying!”, in 2024.

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: EBM.

Background/Info: Slovakian duo ‘Mir  Colon’ and ‘k-head’ have been active since 1993. From the original name Kneel In Front Of The Executioner to KIFOTH this live album wants to be a kind of testimony of their career. The album has been recorded in 2017 during the ‘Extinction Of Mankind’-tour.

Content: Most EBM-heads are familiar with the harsh EBM style of the duo. The album clearly reflects some like spirit, but also appears to be a travel throughout the time. From their last released album on EK Product to their self-released album as Kneel In Front Of The Executioner, “Alive:d” has a lot to offer. The sound is rather simple, into traditional EBM and mainly inspired by the 90s movement. It reminds me a bit to bands such as Leather Strip -for some sequences and Skinny Puppy –for some leads.

+ + + : I’m not always a huge fan of live-albums, but this one is an interesting visit throughout the band’s discography. I prefer the more elaborated cuts such as “Electrosmog” and “Possessed By The Right To Modify”, but I’m also in for the harder “Clandestine And Formidable” and “Crucified Thief”.

– – – : You can hear the live spirit emerging from the audience at the end of each song, but there’s no trace of interaction between band and fans.

Conclusion: If you’re into intelligent retro-EBM strongly based upon the 90s genre, KIFOTH is for sure a band that will give you pleasure!

Best songs: “Clandestine And Formidable”, “Possessed By The Right To Modify”, “Electrosmog”, “Crucified Thief”.

Rate: (7).

Artist: www.facebook.com/KIFOTH.bandprofile

About KIFOTH

KIFOTH is a Slovak EBM duo formed in 1993 by K-head (music) and mirColon (vocals), who met as classmates and first performed live in 1994 at the ‘Young Apollo’ festival. In a 2017 Click Interview, the duo named Skinny Puppy’s “Too Dark Park” and Front Line Assembly’s “Caustic Grip” among the albums that shaped their sound. The project has recorded under other names, including Kneel In Front Of The Executioner and Kneel In Front Of The Hangman, before settling on KIFOTH. Two albums followed on Out Of Line and two more on Vendetta Music, then “Extensive Report” on EK Product (2017); “Alive:d” documents the band’s 2017 ‘Extinction Of Mankind’ tour. KIFOTH has since released “Lost Territory” (2026) and “Artificial Territory” (2026) on Aliens Production.

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: EBM, dark-EBM.

Background/Info: Swedish musician Carl Nilsson released his third full length album since “New To Reality” (2016). He last year released the mini-album “Reconstruction”. According to Carl Nilsson panic resulted from the world in emergency we’re living in and, which is driving ourselves till the end of our existence.

Content: Lucifer’s Aid transposed this dystopian theme into the familiar dark-EBM style from this project. At first sight, it’s a rather easy constructed EBM. The songs are driven by menacing bass lines and are recovered with dark atmospheres. The rhythm is danceable and the cold, ghost-like vocals perfectly fit to the music.

+ + + : Lucifer’s Aid still has this retro-EBM feeling reminding me 90s productions. It makes me think of the offspring between Leather Strip (for some of the bass lines) and The Klinik (especially the last track, which is dark and more sophisticated). “Panic” is an album to dance on, but still featuring an impressive, cold atmospheric side. Most of the songs are featuring simplistic, but efficient structures although there are also a few more elaborated passages. “Backlash” is an absolute masterpiece reminding me the magic of The Klinik. 

– – – : The artwork is pretty simplistic and maybe not enough explicit and distinguishable (especially the front cover). The music has a         great retro-feeling, but is therefore also a bit predictable after a while.

Conclusion: Lucifer’s Aid is not exactly the most renowned EBM formation, but it definitely is a must have for truly EBM lovers with nostalgic feelings. I like this band!

Best songs: “Backlash”, “Slow Death”, “Discipline”, “Not Meant To Be”, “Agitate”.

Rate: (8).

Artist: www.lucifersaid.com / www.facebook.com/lucifersaid

Label: www.progress–productions.com / www.facebook.com/progresspro

About Lucifer’s Aid

Lucifer’s Aid is a solo project founded in 2016 by Swedish musician Carl Nilsson, who has also recorded as part of Lithium and The Operating Tracks. Working in EBM and dark-electro since “New To Reality” (2016) and the mini-album “Reconstruction” (2018), Nilsson released “Panic,” his third full-length, on Progress Productions in December 2019.

Nilsson discussed the 2025 Lucifer’s Aid album “Enter And Exit”, also released on Progress Productions, in a later Side-Line interview.

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: Industrial-metal, doom, crossover.

Background/Info: Controversial is a Belgian solo-project set up by Bart Coninckx. The guy has been involved in music for several years, but started with Controversial only a few years ago. This self-debut album featured thirteen songs plus two remixes.

Content: The influences and style of Controversial quickly comes through. Bart Coninckx is clearly driven by the sonic legacy of bands such as Ministry, KMFDM and Klute (to name a few). There’s a constant mix of industrial guitar riffs and electronics. From time to time a short guitar solo emerges from the repetitive loops. The tracks are also characterized by the use of spoken movie samplings while the vocals appear to be rudimentary.

Both last tracks are remixes by Die Krupps and Leather Strip.

+ + + : Controversial is not exactly innovating, but has accomplished an honest work. The industrial guitar riffs have been put into loops, creating a menacing sphere reinforced by a linear rhythms and achieved with electronics. I prefer the more elaborate songs where extra guitar and more explicit electro treatments have been added. Controversial didn’t spare any effort to catch the attention and I say this for the professional artwork of this digipak, and also for featuring Die Krupps and Leather strip as remixers. Claus Larsen did a great job although adding his own voice to the song, which more sounds like a remix by Klute instead of Leather Strip.  

– – – : A few songs could have been more worked out. The numerous samplings are cool, but a bit more vocals would be an interesting aspect to consider.

Conclusion: This album is an honest debut so let’s keep an eye on Controversial!

Best songs: “Take Command”, “Wolf Or Sheep”, “Suffering Unseen”, “Violence”, “Take Command – Leather Strip Remix”.

Rate: (7).

Artist: www.controversial.eu / www.facebook.com/bandcontroversial

About Controversial

Controversial is the solo-project of Belgian musician Bart Coninckx, who began recording under the name Pitch Black in 2001 before resurfacing under the Controversial name in 2014. Coninckx commented on the project’s aim in a later interview: “Controversial aims to create the music I always wanted to hear, but never came across.” This album was later reissued by Cleopatra Records, which in 2021 released a video for “Violence”, one of the tracks reviewed here.

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: Synth-pop, Italo-disco. 

Background/Info: Boytronic has been active since the early 80s, but went through several line-up changes. “The Robot Treatment” marks the return of original singer and core member Holger Wobker while the singer who replaced him, James Knights (Scarlet Soho, Knights) is now writing the songs.   

Content: This album has this good-old synth-pop feeling on, which you’ll easily recognize Wobker’s timbre of voice. The music sounds retro-like while giving you a ‘feel-good’ sensation. It’s a happy sound format reminding me of Pet Shop Boys, but there is still a touch of Italo-disco running through the songs. The album features 11 songs plus 3 remixes by Antoni Maiovvi, Leather Strip and Ant-People. 

+ + + : This album reflects the essence of good, danceable and happy-like electro-pop music, but still a strong Italo-disco flavor. That’s not really a coincidence as James Knights on his Knights project already experimented with similar influences. But Boytronic remains catchier, which is an aspect that mainly comes through in the choruses and the lyrics as well. “All You Can Eat” is a real great Italo-disco song. I also noticed great little details in the writing and cool effects.

– – – : “The Robot Treatments” features several danceable songs, but also a few soft and evasive passages, which aren’t my favorite parts of the album. The remixes aren’t that bad, but I expected a bit more from it. 

Conclusion: Boytronic strikes back with a very eclectic electro-pop album, which will give you dance pleasure and simply making people happy. This album is a better cure than antidepressants. 

Best songs: “All You Can Eat”, “Under The Red”, “Venus Covers Mars”, “You Can’t Get Fooled By Love”, “Can’t Wait A Second”.

Rate: (7½). 

Artist & Label: www.boytronic.eu / www.facebook.com/BoytronicOriginal  Read the news on ‘The Robot Treatment’.

About Boytronic

Boytronic is a German synth-pop band set up in 1983. In a Click Interview published weeks after “The Robot Treatment”, original singer and core member Holger Wobker recounted how a former record company registered the Boytronic name as a trademark in the 80s and installed a different line-up, prompting him to step away before returning to the project. For “The Robot Treatment”, reviewed here, Wobker rejoins as singer while James Knights, who sang on the previous album, moves to songwriting and backing vocals.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-electro, dark EBM.

Background/Info: Two years after the excellent album “Devil On Your Shoulder” American artist Paul M. Graham strikes back with the third album of his sonic brainchild Tragic Impulse.

Content: The first 3 songs will clearly give you an idea about the sound and potential of this work. It’s a dark and somewhat frightening electro sphere carried by hard-beating kicks, aggressive sequences, some Trump-samplings and anguished vocals. The format creates a sonic bridge between dark-electronics and EBM. Some of the bass lines remind me a bit of Leather Strip. Most of the songs are pretty hard and danceable, but you’ll also discover a few softer cuts where the atmospheric content is emerging.

+ + + : I first of all noticed a great evolution and improvement in the global writing process and sound production. The songs are well-crafted, elaborated and clearly reflecting some maturity. The first part of the album reveals astonishing tracks, “Space Force” being the potential hit! The songs have been progressively built up with cool sound treatments. It’s a powerful release and definitely an album to watch out for! I also have to say a word about the cool artwork of this digipak.

– – – : The ‘softer’ cuts aren’t bad at all, but they can’t convince me a similar way. They’re just adding a little break in the midst of the tracklist.

Conclusion: “Echoes Of The Unseen” sounds a bit like entering a sonic danger zone! Get ready to hear one of the most promising dark-electro/EBM projects from the moment. Tragic Impulse simply confirms the potential that was already shown at previous albums.

Best songs: “Space Force”, “Unseen”, “Skin Deep”, “Painbringer”, “Down In Flames”.

Rate: (8½).

Artist: www.tragicimpulse.com / www.facebook.com/tragicimpulse

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

About Tragic Impulse

Tragic Impulse is the solo dark-electro and EBM project of American artist Paul M. Graham. After the debut album “Machine Parts”, Graham released two further albums on Distortion Productions, including “Devil On Your Shoulder”. “Echoes Of The Unseen” followed in 2019, preceded by the “Space Force” EP, which was remixed by Panic Lift, Third Realm, nTTx and Red Lokust. Graham continued the project with a fourth album, “Distant Worlds”, in 2022, discussing its all-software production in a Side-Line Click Interview.

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: EBM, dark-electro.

Background/Info: Australian duo Pete Crane and Ben Bulig better known under the Shiv-R moniker originally released their fifth album “Requiem For The Hyperreal” back in 2017 on their own label Blind Mice Productions. Infacted Recordings released the album last year in Europe as CD format featuring 2 bonus cuts, which aren’t featured at the vinyl edition.   

Content: The Australian duo became an instant success story and this new opus only confirms the potential of Shiv-R. The sound became more ‘personal’ throughout the years, reaching a harsh mix of EBM and raw, industrial sound treatments. I also noticed a few quieter cuts revealing moody atmospheres. Shiv-R has something unique sometimes accentuated by a punkish flavor on top of the production. Among the bonus cuts you’ll find one new song plus a remix by Leather Strip.

+ + + : What I especially like on this work is the personal approach of Shiv-R. They’ve found their own sound, inspired by familiar influences, but resulting in something different from the ‘traditional’ electro-underground release. Raw bass lines, fat sound treatments, cool effects, space-like sweeps and an industrial touch are the main keywords to define the global sound of this album. It has been carried by hard-pumping kicks and the alluring vocals of Pete Crane. I also noticed a more emotive side running through this work. It’s not my favorite part of the work although “Apples” is a real cool song.

– – – : I already mentioned I’m not totally convinced by some of the ‘softer’ cuts (by the exception of one song). Shiv-R sounds at their best when they’re composing hard-hitting songs!

Conclusion: Shiv-R confirms their leading status as Australian electro/industrial formation. This album has something more personal in sound, but also is a well-crafted piece of modern and powerful electronics.

Best songs: “Something To Say”, “Escape Velocity”, “Cheshire Grin”, “Disconnect”.

Rate: (8).

Band: www.shiv–r.com / www.facebook.com/shiverindustrial

Label: www.infacted–recordings.de / www.facebook.com/pages/Infacted–Recordings/124099254321690

About Shiv-R

Shiv-R is an Australian electro-industrial act built around Pete Crane, who handles vocals, programming and mixing, with Ben Lee Bulig contributing music, programming and mastering; Discogs also lists Wendy Leaver as a member. The pair signed in 2010 to Infacted Recordings for Germany and Metropolis Records for North America before founding their own label, Blind Mice Productions.

“Requiem For The Hyperreal”, reviewed here, originally appeared in 2017 on Blind Mice Productions; Infacted Recordings issued this CD edition in 2018 with two additional bonus tracks, including a remix by Leather Strip. Shiv-R followed with the EP “Interlace” (2020) and the album “Kill God Ascend” (2021, Blind Mice Productions), while Crane also released the solo album “That Annihilated Place” (2020).

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: EBM.

Background/Info: “Taste Me!” is the debut album of the German EBM-duo Deadly Injection. They were previously featured on a few compilations and now joined hands with EK Product to unleash this opus featuring 13 tracks.

Content: “Taste Me!” is an album without any form of pretention. It’s pure old-school EBM music with a clear hardcore flavor on top of several songs. The songs clearly remind me of the 90s and especially of Leather Strip for some of the bass lines and early Cat Rapes Dog for the fast tempo and harsh production. The vocals are a little bit distorted, which is perfectly matching with the rough sound production.

+ + + : If you’re a die-hard fan and you’re still convinced the best EBM was composed during the 80s and 90s you definitely have to discover Deadly Injection. The hardcore touch injects a real punching touch to the work. I especially like the songs, which are a little bit more elaborated with good-old string parts.

– – – : Good EBM and especially the ‘hardcore’ class is often simple and efficient, but I think a little bit more elaboration –especially for some of the choruses, would be a real bonus.

Conclusion: This debut album sounds like a ‘start’. Deadly Injection has found their style and influences, which are cool, but they now have to improve some elements of the production.

Best songs: “Gulag”, “Blind Eyes”, “Castrate The Rapist”, “Bastard”, “Blind Eyes”.

Rate: (7).

Artist: www.facebook.com/deadlyinjection.official

Label: www.ekproduct.com / www.facebook.com/EKProduct

About Deadly Injection

Deadly Injection is a German EBM duo founded in 2013 by Louis Cyphre, joined by Feelidae. After several compilation appearances, the duo released its first albums in 2018: “Black Gold” and “Taste Me!”, the latter reviewed here on EK Product. The duo followed with the album “Zombified” in 2021 and the single “Religion” in 2025.

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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

Background/Info:

About The Stricken

The Stricken pairs Claus Larsen, the voice of Leather Strip, with producer Ian Donaldson, confirmed as the project’s two members. This self-titled album arrived through Læbel, the Danish label co-founded by Larsen himself and John R. Mirland in 2017.

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: EBM, dark-electro, industrial.

Background/Info: Matt Fanale strikes back with a new creation of his sonic brainchild Caustic. This is the tenth full length album to date.

Content: “American Carrion” covers different influences, which are taking off with pure EBM, but next moving into more sophisticated electronic fields. The EBM inspiration however seems to have been the main one for “American Carrion”. There are more EBM cuts running through the work, but I also heard some retro-like sequences reminding me of early Ministry and The Revolting Cocks. “American Carrion” becomes a much diversified piece of music and that’s not surprising if you’re a bit familiar with the Caustic discography. Let’s say that Matt Fanale has been more focalized on EBM instead of harsh industrial assaults.

+ + + : I like the album’s diversity, but especially the EBM influence, which is pretty sophisticated and efficient. “Drugskill” and “Fuck That Fascist Beat” both are impressive examples of the artist’s EBM approach. “Angel Grinder” sounds somewhat different, but here again you’ll notice the great sound treatments this work has been made by. I also enjoyed the tracklist, which is progressively evolving towards a sensational final part. I there noticed cool, menacing bass lines sometimes reminding me to Leather Strip.

– – – : It’s hard to say that this is the best Caustic album in history, but I know for sure there are less songs to throw away.

Conclusion: Caustic remains faithful to certain electronic eclecticism mixing industrial music together with EBM, dark-electro and a few more influences for the ride, but “American Carrion” also is a work with several great songs on it!

Best songs: “Fuck That Fascist Beat”, “Angel Grinder”, “Drugskill”, “One Nation Under Fear”, “Purgative”.

Rate: (8½).

Artist: www.facebook.com/causticmusic

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

About Caustic

Caustic is the solo industrial and EBM project of Matt Fanale, recording since the early 2000s with an extensive catalog of harsh industrial, EBM and electro-industrial material released independently and through Negative Gain Productions. Live performances have featured occasional contributions from drummer B.O.B. and vocalist Katja Lunde. “American Carrion” followed a string of Caustic albums released through the 2010s.

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: EBM.

Background/Info: German duo ‘Freund 424’ (music) and HanZ AciD (vocals) have released multiple albums in just a few years. “Body Music” is their latest creation –again featuring Claus Larsen (Leather strip) singing on multiple tracks. This album features a total of 36 tracks.

Content: If you’re already familiar with the work of Transponder you perfectly know what to expect. This band brings good-old EBM that will remind you of the golden decade of the 80s. But they also dare to inject a few other influences such as new-beat, electroclash, techno and even a song featuring rap vocals.

The album reveals multiple familiar- and new songs. Several tracks have been sung by Leather Strip, but you also will get tracks featuring Les Berrtas, Zynic, Engelsstaub and Human Nihil.

The vocals are pretty fun-like and even like promoting the Belgian W-festival (cf. “At The W-festival). This song is featuring samplings of the legendary new-beat project Tragic Error (which they already covered in the past).

+ + + : If you like the pure and authentic EBM, Transponder will fully satisfy you. The sound is simple, but the songs are efficient. The lyrics will rapidly push you to sing along. I also have to say that Claus Larsen’s enraged vocals are totally matching with the music. Transponder is fun, but also a great project, which I can imagine on stage leading body freaks into wild dancing. They have many potential hits and especially some of the familiar cuts will again bring you into action. The sound is driven by great bass lines, typical 4×4 rhythms, metallic percussion parts, cool (and hot) samplings and furious vocals.

– – – : You really have to like this band to enjoy both albums each featuring 18 songs. It might become a little bit repetitive after a while.

Conclusion: One of the most familiar EBM slogans makes sense again: ‘move your body’!

Best songs: “Totally Bass”, “When We Return To Bleiburg feat. Human Nihil & Leaether Strip”, “Bewegt euch feat. Leaether Strip”, “Lerchenzungen feat. Les Berrtas”, “Auf der Jagd feat. Zynik”, “At The W-Featival feat. evo-lution & Tragic Error”, “The Return Of The New Beat feat. Leaether Strip”.

Rate: (8).

Artist: www.transponder–music.de / www.facebook.com/transponder242

About Transponder

Transponder is the German duo of Hanz Acid, from Erbach, and Freund 424, from Kassel, according to Discogs. Side-Line previously reviewed the project’s digital album “The Strength Of My Fist” in 2016 and the double-CD “Hammer And Anvil”, released on ScentAir Records, in 2017.

Claus Larsen, who records as Leaether Strip, is among the featured vocalists on “Body Music”.

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

I last year discovered Damage Control by the successful debut full length “Ultranoia”, which is a real masterpiece revealing intelligent and sophisticated electronics. Set up by Australian core members Bill Barsby and Damian Davis they got joined by Markus App (Germany) and Jason Podmore (UK). “Ultranoia” became one of my personal favorite albums of 2017 so I get in touch with Bill and Damian to ask them a few questions. And they had a lot to say…

(Courtesy by Inferno Sound Diaries)

Q: I get the impression Damage Control is a project driven by a few core members joined by extra musicians who can join in and go whenever they want. Is that right and can you tell us a bit more about the background of Damage Control, the concept and the coordination?

Bill: At the project’s core at all times you will find Damian Davis and myself. Markus App has also been a part of the inner core of the band, he’s still involved, but more on a casual basis these days. I’m glad we did some music with Jason Podmore, an old friend of mine in the UK. New members are Richard Thacker and Craig Saunders. Richard has been involved with synth jams we had over the years and is a talented guitarist and sound designer. Craig joins us from Sydney industrial band Novakill. Craig is a great programmer and percussionist and is driven by similar influences to us with his approach to music production.

The core line up for the new album “Oblivion Grid” is now Bill, Damian, Richard and Craig. We also owe a lot to Craig Huxtable and Chris Peterson from Ohm along with Claus Larsen from Leather Strip. This collective effort and push to get things done helped get our debut release “Ultranoia” off the ground.

I’m always looking to forge new musical relationships with people on the same or a similar page to us. I can’t imagine any other people in the world I’d trust our mix and masters with than Chris and Greg Reely. It feels to me like Craig Huxtable and Chris are in the band too. We will always try to collaborate with them creatively on tracks as and when schedules allow. We collaborated with Ohm on a few tracks on “Ultranoia” and they have performed “City Of Ruins” in Germany and Canada in their live sets. I’m happy to have such a great team of talented and nice people around me (albeit dotted around the world).

I can reveal exclusively to Side Line a new Remix-EP of tracks from “Ultranoia” is well underway called “Hypernoia – The Remixes”. We are currently collaborating with Brian Bothwell of old-school industrial legends Manufacture on this project we are excited to confirm. This will be released later in the year.

An album of new material called “Oblivion Grid” which is half written and sounding epic to us so far is well underway, featuring the solid new line up. We expect to release that album in 2019. We have began collaborating with other artists in Germany, Slovakia and the US who are new to Damage Control. These guys have excellent track records for industrial music. Watch this space for more details on that. I’m excited that Chris Peterson and Greg Reely are on board for mixing and mastering on both “Hypernoia” and “Oblivion Grid”.

Please keep an eye on our website www.damagecontrolofficial.com and Facebook page www.facebook.com/damagecontrol for updates.

We are so very appreciative and thankful to all the cool folk around the world who have supported us with purchases of “Ultranoia” and the positive reviews we have received. Your support means a lot to us. It makes a huge difference to help kick start the next writing and recording project for Damage Control. We cannot thank Side-Line/inferno Sound Diaries enough for their excellent review of “Ultranoia” and it polling at number 13 in the top 25 reviewed releases of 2017 by Side Line Reviews! Thanks for your 9/10 review!!!

In regards to the concept and the co-ordination of the project, being a music technology, gear head, and huge music fan along with my fellow artists in this project, over the years we have always been determined to create something we like ourselves. We have tried various real-time recording technologies, but have found the perfect workflow for us is to simply use dropbox and exchange audio multi tracks (stems) and use a google calendar to help keep organized with who is working on what and when, and what the deadline is. This also of course addresses the time difference issue. I very much push this agenda from the ground up and start mini projects with each member, and collaborator and that can take on a life of its own and go in any direction without creative boundaries other than making sure we have a central vibe and sound people can identify with Damage Control’s music.

With a lot of material we can pick and choose what works together to make a cohesive sounding release. It’s very important to me that everyone is enjoying themselves when working on a record and that it does not feel like a chore or for anyone to feel trapped creatively at any point. We are pretty free form with how we work. This allows for great creative accidents and collaborations to mutate naturally. A collective pool of individual creative strengths working together to achieve something great is the goal. It’s also good to have disagreements in creative direction at times so the compromise can make for interesting results. This to me gives a certain kind of tension and unpredictability to the music in how it flows together and hopefully makes for an interesting and varied listen.

Knowing Chris Peterson will be producing us requires everyone to bring their A game so we are all of course motivated by that too. Chris helps us make important decisions in the writing process and we have a good laugh along the way with analogies of a track and its mix at times. It’s certainly not a project for the easily butt hurt! You have to have a good sense of humour with all this. I would like to mention how two talented friends of mine here in Melbourne have had an impact on the image of Damage Control’s “Ultranoia”. Adam Verspaget (Photography) and Roberto Massaglia (CD Design and artwork).

Q: I can imagine it’s not that easy to accomplish a full length album featuring multiple members. How did the writing and recording of “Ultranoia” happen and what has been the input of each member?

Bill: Well that was an interesting rollercoaster ride to get the thing off the ground! It was a struggle at times although it had its moments of excitement, fun skype conferences, and brainstorming. My challenge was to work with everyone individually to focus on their strengths and come up with solutions for the recording process and workflow, something Mitrefinch TMS helped us with. Dealing with different opinions on how things should be done, and finding a common ground and plan of action. The brief was to make something cool and then bring it all together through trial and error and finding the right creative path to tread and people to work with. What I love about working with a few like minded people is when you hit a brick wall with an idea, someone else picks up the ball and runs with it and then comes back to the with a fresh and new inspiring perspective on a track which reignites the creative process. This keeps things moving forward.

The standard has to be high or why bother is my motto. I think collectively we made something really cool that achieved its sound by our individual differences. That was an interesting point you picked up on in your review last year. The song lyrics themselves are often derived from Damian’s interpretation of my stories, fact or fiction and his. It’s always a fun part of it to brain storm the lyrical ideas and set the scene for the track. Damian is very talented in this area we feel. He usually hits the spot for what we had in mind for the vibe and the delivery. We focus on painful world affairs and the unpleasant realities of what’s going on in the world. I often come up with the concept and the idea and then we flesh it out until the song unfolds. Damian just goes for it with the lyrics and vocal delivery and I will edit the results until I’m happy and then go back to him with suggested fine tuning. Other times he just nails it straight away. It was awesome working with Craig Huxtable and Markus App on the tracks they sung on.

With us coming from different countries and cultures, it mixes things up nicely and keeps it interesting for us. In the spirit of keeping the international collaborative approach to how we make music, we are now working with other artists in other countries including Slovakia.

As far as the input of each member on “Ultranoia” goes, to highlight individual strengths and our approach with that project. I like to drum program and experiment with a lot of synths including the rare vintage collection at the Melbourne Electronic Sound Studio and to bring interesting rhythms, sounds and vibes to an idea, ambient drones and pads are also my thing. I’m fussy about the signal flow and sonic flavours different equipment brings. I often re-record other people in the band’s midi through high-end hardware synths like Moog, Doepfer and Oberheim, DSI etc.

Markus was always good at arranging and some of the melody along with great programming and sound design in the software world such as Omnisphere but I think it’s safe to say Damian is our melody man, vocal meister and bass are also strengths and atmospheric pads. He also collects hardware synths and vintage samplers like myself. Jason and I used to like messing around with weird samples and Damian too to try and have something sublime in there that might mess with your head when you’re listening in the dark by candle light.

Craig Huxtable I believe recorded his vocals for “City Of Ruins” in a van if my memory serves me correctly as not to upset his neighbours in Victoria, BC, Canada where he lives. I think he was able to record “Trauma” at home as that one’s a little less angry! Having Markus sing in German on the track “Angst” was also a highlight and with Ohm taking care of a lot of the music on that one. This was intended to be a remix so that was a happy accident how that one turned out.

Damian: Yes, I agree that accomplishing this album had challenges, having multiple members. It was a blessing as well as a trial. There was so much to gain from having a few extra sets of ears, which were willing to put their money where their mouth was. This is crucial this fact, because there is only so much external opinion and advice a musical outfit can tolerate and absorb. I often drew parallels to the trials and tribulations of The Beatles, where too many cooks could spoil the home-brew. But in the linear fashion of Exporting Stem tracks to each other, cyclically, the music could do round-robin and end up sounding soul-less, or it could build a serious shit-load of power. It was hit-and-miss really. But we could always revert to the original stem package at any stage of the way. Bill’s mastery at co-ordinating this, at certain times, ’world-circus’, was nothing to be envied, and yet totally astonished with.

Q: Right now you’re in between 2 albums so how do you look back at “Ultranoia” and what can you already reveal about “Oblivion Grid”? What will be the main differences and sound evolution?

Bill: It’s nice to reflect on “Ultranoia” being well received so far, the effort to create our debut and find our sound has been very rewarding on all fronts.

For “Oblivion Grid” Markus, Craig, Damian and myself have had a good push to write new material and it’s going well. Richard has started adding to our demos and we are reworking some older stuff we did not finish from years ago with the Oberheim Xpander classic old synth from the 80’s. You will also soon have a sneak preview of the new remixed version of “Ultranoia” we are calling “Hypernoia  The Remixes” which debut’s Craig Saunders and Richard Thacker to Damage Control. It’s great to have Craig and Richard on board who bring diverse skills with a common ground to what we are doing. I would say that so far, the new material for “Oblivion Grid” is sounding very much like a fine-tuned evolved version of us. There might be more guitars on this one and some new vocalist talent. We have some awesome new songs shaping up. The collaborations we currently have lined up with VIP remixers for this album, we are pretty excited about. We look forward to revealing more about that as it happens with the future releases.

Damian: Well, interestingly, I think that “Hypernoia”, our remix collection, is one way of us to reflect on our efforts with “Ultranoia” in a very hands-on way. We can see where things could easily travel in a direction that could lose the momentum and impact, that a brand new album would have. So “Hypernoia” is a release for us, that deals with this possible issue very elegantly. In the early days of Depeche Mode, sonic variation was critical from album to album, and a deep obsession with technical and musical change was vital for the band to move forward on. I feel that this may be a path we could travel, and it would be remiss of us to settle on a ‘winning formula’ if we refused to experiment with sound. “Oblivion Grid” shows such promise, and I’m sure the final sound will impress us, and all who hear it.

Q: On “Ultranoia” I felt a real strong concern about sound creation. Damage Control sounds not like a band using ‘cheap’ preset sounds, but musicians with a real quest to find unique sounds! What is the sound creation and -approach of Damage Control all about?

Bill: It’s great people have noticed this aspect of what we do. The band is made up of engineers as well as musicians, we believe in experimenting with many combinations of analogue and digital hardware vintage and current. I like nice pre amps and high-end effects. I am part of the team who represent MOOG, Novation, Teenage Engineering and Elektron in Australia.  I am lucky to have access to all of these wonderful synthesizers. We also dabble in a small amount of software we believe to be the best after a lot of trial and error. We generally find ourselves preferring to work with hardware synths again. The machines have a soul of their own. We are using a Kemper profiler on guitars for “Oblivion Grid” so going back to hardware again there too. An extremely cool and unique technology for guitar amp and effect solutions with all the realism you want from actual guitar amps as apposed to regular amp modelling in software. Software is however, awesome in context to certain things. I heard the excellent recent Gary Numan album “Savage” only uses software and I know Gary is a big fan of Omnisphere. It’s just a question of preference and what inspires you. The more sonic colours in the mixing pallet, the better as far as I’m concerned.

Between us we have a pretty large collection of gear and with access to the vintage rare collection of synths at The Melbourne Electronic Sound Studio, this gives us a point of difference. We make the effort to do something interesting rather than just reaching for a plug-in. We do that too, but usually to replay field recordings or sound libraries we have resampled into the computer from older samplers. Damian and I have both been enjoying the Emu Emulator V Sampler with the Z Plane filters from the 90’s in recent times. I grabbed a Proteus 2000 and Morpheus from eBay too for ‘Oblivion Grid’ sessions. I used the EMS VCS3 Putney on “Ultranoia” and a lot of my recordings of that old beast from 1969 are being used on “Oblivion Grid”. That synth is an important part of our sound. We have an interesting and very cool synth community in Australia with access to the M.E.S.S. as I mentioned. https://mess.foundation/

Damian: Yes, I’m amazed at how finely tuned ears, which are used to hearing a lot of this style of music, can aptly spot any differences in sound design (be it digital/analogue/found-sound/acoustic/preset/original). Whether this be true, or whether reviewers can sense that musicians are also in it for the sonic discovery, is a true talent. The one thing I can’t do without, is instant access to a device that samples your voice, and can do immediate manipulations, all without booting a computer. There is no creative killer worse than feeling compelled to check your emails, just as you get a musical idea in your head. Some bands who use laptops seem to be doing this onstage, and seriously, who could tell otherwise? Original sound creation is VITAL in this preset-soaked era. I would shudder and wince if I heard a preset on a recording, that I would possibly ever regret using. If the project called for that type of sound, yeah then great, but for this project, there is no compromise.

One great thing about some types of hardware, and outboard gear, is that they are either too rare to clone virtually or mass produce Behringer-style, or they can have presets made on them, that can’t be replicated easily any other way. I personally feel that the approach of Damage Control is a mix of discrete sonic-design, and blatant outright gear endorsements and plugging. You can’t maintain a mystique for too long, whereby people aren’t inquisitive about what you use to write your music. It’s electronic. We aren’t pioneers. There’s no hocus-pocus voodoo to that…lol. It’s about finding a combined spirit of adventure and a social, emotional, mental release of personal takes on world problems and issues.

Q: The mixing and mastering of an album is such an important aspect, which I think is sometimes neglected by bands. I can imagine that’s the reason why you worked with Chris Peterson and Greg Reely? Tell us a bit more about this aspect?

Bill: The huge difference it made to us having Chris Peterson on board as a producer. I thank Craig Huxtable for helping to make that happen and that also led to having Greg Reely involved with final sonic details. I have been a fan of Chris’s work as an artist and mixing engineer with Decree, Frontline Assembly, Noise Unit, Delerium, Equinox, Intermix, Ohm etc for decades so to be able to just say to him ‘please do your thing’ rather than to a different producer where we would be saying ‘please do it like this Chris Peterson guy does on these records’ that makes a massive difference to me. Chris doesn’t just mix and master Damage Control tracks, he pours his heart and soul into the project. As I’ve mentioned before, we consider him a member. I have a good rapport with Chris and we get along as friends, which makes it a fun project to work on for him as well as us. He takes our music where we need it to go.

It was also fantastic to collaborate with Claus Larsen from Leather Strip on the mixing of “Hate Crime” in which he added the samples to and nailed a fine remix of that track also. We have had success in clubs with “Hate Crime”. It’s been an awesome learning process for Damage Control and gotten the project off the ground. The album is a mixed bag of styles we like. To anyone reading this, please check us out if you have not already.

Damian: A big part of pursuing this project, was to encapsulate a particular sound that all of us pretty much grew up with. As Bill states, our relationship with Greg and Chris, extends to utilizing these guys as members of the band, as their fingerprint on the final sound is vital to our cause. Otherwise, we would have floundered along with leagues of other acts, who shun, or are ignorant to the power of experience provided by these geniuses, and other such super talents we collaborate with along our journey.

Q: You guys are experienced musicians who’re into music for years now so what does Damage Control mean to you and how do you see this project evolving during the next few years?

Bill: Well we know what we like and how we like it done. We also need to make sure everyone working on the project is having fun. To me Damage Control represents therapy using Cubase and creating an outlet for creativity and collaboration. To be releasing musical outcomes of sonic experiments and compositions that turn out good enough that we like it ourselves while keeping standards high. I know I can speak for all of us; we are long time fans of electronic music, industrial, goth and post punk kind of stuff and a bit eclectic across the board too. We hope to play some one off shows from time to time when possible. It would be nice to play WGT but for now we are a studio project. We will see what happens. Making good records and enjoying the process of making them is the number one priority for us.

Thank you for the interview and your support. It’s very much appreciated and we love Side-Line!

Damian: I want to get to the difficult third album stage, and destroy that cliché once and for all… Haha, but seriously, I believe that no matter what fate may bring to the Damage Control viking table, music will still exist in our hearts. I would love to perform live again, but we shall see what the future brings for us. Thank you for your amazing level of support for us, and I fully appreciate the time you have spent with us on this interview. Cheers.

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: EBM.

Background/Info: Rebirth is the story of the long-time friends, both involved with electronic music and who finally decided 2,5 years ago to set up a common project. This Swiss duo features Sleepwalk composer Bruno Ruch and Olivier Moser (vocals). Notice by the way Olivier Moser contributed to the writing of a Sleepwalk song featured on the album “Spirits From The Inside”.

Content: Rebirth is clearly inspired by good-old EBM. The sound has a retro-touch while the main characteristics appear to be the dark, haunting atmospheres and the bombast of the percussion parts. Some of the songs are a bit like awakening the spirit of Yelworc.

+ + + : After a rather hesitant debut, “The Worst Dream”  progressively reveals more exciting cuts. The doomy sphere hanging over the songs has something anguishing while the power and bombast of the drums only accentuate the tormenting body-experience “The Worst Dream” is made of. The lyrical content is not happy at all and that’s perfectly summarized in the title of the work while transposed in the music. Both last songs are great remixes by Framework (still involved with Sleepwalk) and Leather Strip.

– – – : I already mentioned the somewhat doubtful debut tracks, which even left me a bit skeptical. I especially noticed less diversity between verses and choruses, which progressively evolves throughout the album.

Conclusion: Compared to the new Sleepwalk album Rebirth still has a way to go to reach a similar level. But this band is also different and only exorcizing EBM ideas while it also is just the debut work. I hope this band will move on and I’m really wondering how the next work will sound like.

Best songs: “Teufelsweib”, “Darkness”, “Insane”, “Rise And Fall”, “Darkness – Remix by Framework”, “Pleasure Of The Flesh – Remix by Leather Strip”.

Rate: (7).

Artist: www.rebirth–music.ch / www.facebook.com/Dr.Tinitus

Label: www.ekproduct.com / www.facebook.com/EKProduct

About Rebirth

Rebirth is a Swiss duo formed by Sleepwalk composer Bruno Ruch and vocalist Olivier Moser, who also contributed to the writing of a Sleepwalk song on the album “Spirits From The Inside.” “The Worst Dream,” released in 2018 on the Italian label EK Product, is the duo’s debut album, closing with remixes by Framework and Leather Strip.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-electro, industrial-metal.

Background/Info: The Italian combo First Black Pope is clearly not the most renowned band active in the wider fields of dark-electronic music and yet I’ve always been seduced by this formation. “Post Mortem” is the third full length of the band, which was already released several months ago now.

Content: “Post Mortem” became a heavy and merciless fusion between quite typical dark-electro music and heavy guitar riffs. The haunting electronic style for some of the leads  might remind you of Suicide Commando and to Leather Strip for some of its sequences. The empowering guitar playing clearly injects an industrial-metal flavor, which makes the characteristic of this band, but not from the music genre. The vocals are somewhere in between rage and a ghost-like expression.

+ + + : “Post Mortem” is a violent production, which will appeal for dark-electro freaks, and also to a ‘harder’ audience listening to bands such as Freakangel, Seraphim System and related bands. The sound is not innovating although First Black Pope has something on their own. I like the power running through the work, which is sometimes accentuated by a few epic arrangements.

– – – : The only –and important element from the album I was a bit disappointed with is the mixing. The sound is pretty compressed and has a dirty production. This album is maybe missing an ‘absolute’ hit, but globally speaking this is a great tracklist.

Conclusion: If you don’t know yet First Black Pope, I can only, but recommend you to put your hand on this work to discover the ultra-violent work of this formation.

Best songs: “Collector”, “Human Sacrifice”, “Fallen Star”, “I Invoke”.

Rate: (7½).

Artist: www.facebook.com/FIRSTBLACKPOPE

Label: www.advoxya–records.com / www.facebook.com/pages/Advoxya–Records/265765706059

About First Black Pope

First Black Pope is an Italian dark-electro project founded by Simone Scarani, mixing EBM-rooted electronics with industrial-metal guitar work. The project released “Baptism” in 2004 and “Confession” in 2005 before signing to Advoxya Records for “Spiritual/Spiral” in 2010 and “Ex-Communication” in 2013.

“Post Mortem”, the project’s sixth full-length, followed on Advoxya Records in 2017, continuing First Black Pope’s dark-electro and industrial-metal fusion.

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: EBM.

Background/Info: I found out that Vincent Pujol started to compose music under the Electro Synthetic Rebellion moniker in 1997. This new opus (the 7^th one) has been released in 2017, which means a kind of 20^th anniversary celebration featuring 11 new songs. This new opus comes after a hiatus of 4 years although ESR re-released both debut albums in the meantime.

Content: The EBM influences, which have been often compared to FLA haven’t really changed all over the years. ESR deals with a more sophisticated format of EBM. The new work is again characterized by an intelligent writing with some retro touch on top and the harsh vocals of Pujol. The haunting atmospheres makes it pretty dark, but always carried by a danceable cadence. One of the most noticeable cuts from the album is the pretty cool Leather Strip cover version of “Adrenaline Rush”.

+ + + : From a very personal point of view I consider ESR as a sure value from the EBM scene. The writing remains an elaborated and intelligent format, which is characterized by endless little noises and details, but also by alluring bass lines and haunting moods. “Machines Of Destruction” doesn’t sound that different from what I’m used to hear from this artist, but sound-wise it probably is one of his best releases.

– – – : I have one little regret when listening to ESR; it’s a great band, but without any real hits. The songs are absolutely accomplished, but missing this little extra that makes a song becoming a hit! The sound formula remains the same-old and that’s maybe an element ESR will have to think about on further releases.

Conclusion: “Machines Of Destruction” is without a shadow of a doubt one of my all time favorite ESR releases, but at the other side it brings nothing new. I would like to hear this project working with an extra member of producer to get some refreshing elements in the production.

Best songs: “Possession”, “Freedom Above All”, “Machines Of Destruction”, “In Your Eyes”, “Adrenaline Rush”.

Rate: (8).

Artist: www.facebook.com/DarkElectroESR / www.facebook.com/darkvince.esr

Label: www.advoxya–records.com / www.facebook.com/pages/Advoxya–Records/265765706059

About ESR

ESR stands for Electro Synthetic Rebellion, the French electro-industrial solo project founded by Vincent Pujol in 1997. The project debuted with “Distorted Visions” in 2001, followed by “Corroded Fragments” in 2003, “Persistence” in 2004, “Wounds And Scars” in 2006, “Post-Industrial” in 2008 and “Distorted Memories” in 2010.

Advoxya Records issued the double CD of “Rebirth” and “Distorted Visions” in 2014 and “Entropy” paired with “Corroded Fragments” in 2015, before “Machines Of Destruction” followed in 2017 with a cover of Leather Strip’s “Adrenaline Rush”. ESR continued with “Into Darkness” on Advoxya Records in 2021.

Inferno Sound Diaries

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

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Genre/Influences: Dark-electro, EBM, new-wave, electro-punk, metal-rock.

Background/Info: Thee Flanders is a German psychobilly formation, which has already released several albums throughout the years. They sometimes seem to cover famous songs. This album features 20 remixes by an impressive list of mainly electro-underground formations.

Content: The main songs of this release are “You Spin Me Round” from Dead Or Alive and “Nightmares” from A Flock Of Seagulls. Both 80s new-wave hits have been covered by Thee Flanders, sung together with Bela B (Die Ärzte) and Markus Meyn (Camouflage) and remixes by Leather strip, Die Krupps, Blind Passenger, Robert Görl, Ad:Key, Beborn Beton, Scheuber feat. G. Thomas, Patenbrigade: Wolff, In Strict Confidence, Absurd Minds, Mirko Hirsch, Head-Less, White Trash Wankers, T.A.N.K., Sound Tessellated, Beyond Obsession, Tomas Tulpe, Modekay, Keller Technik and The Klaak Syndrome.

The result is a very diversified release, which mainly sounds electro-like, but moving from darker-electro remixes to EBM to electro-minimal, but also electro-punk, new-wave and somewhat metal-orientated work. Notice by the way that White Trash Wankers is the only band that remixed another song (cf. “Buried Alive”).

+ + + : This album definitely sounds like a challenge, but especially for the fans of the band who I can imagine aren’t used at all to hearing their favorite band remixed by electronic formations. It’s not only a challenge, but I like this originality and it could be fun to hear one of those famous electro-acts featured on the album getting remixed by psychobilly bands. Why not? But the main point is that especially the remixes of “You Spin Me Round” feature a few outstanding versions. I want to make a special mention for the originality and minimalism of Patenbrigade: Wolff, the groovy approach of Head-Less, the harder version of Die Krupps and into EBM transposed remix of AD:Key. Another noticeable remix is “Nightmares” from Leather Strip.

– – – : There are a few less inspired remixes featured, but that’s rather understandable when you get a total amount of 20 remixes. But the main point remains for sure the reaction of the Thee Flanders fans about this totally weird challenge.

Conclusion: Is it just for fun or a psychobilly formation that has found a way to enter electro clubs? Whatever it is, this work is DJ food and be sure you are going to dance to it!

Best songs: “You Spin Me Round – Patenbrigade: Wolff Mix”, “You Spin Me Round – Head-Less Mix”, “Nightmares – Leather Strip Mix”, “You Spin Me Round – Die Krupps Mix”, “You Spin Me Round – Mirko Hirsch Mix”, “You Spin Me Round – AD:Key Mix”.

Rate: (8).

Band: www.theeflanders.de / www.facebook.com/theeflanders

Label: www.half7records.de /  www.facebook.com/Halb-7-Records-203287363058978

About Thee Flanders

Thee Flanders is a psychobilly and punkabilly band from Potsdam, Germany, led by Norman Winter and founded in 1997. Albums include “Die Halbstarken” (2002), “Graverobbing” (2007), “The Spirit Of 666” (2009) and “…Denn Sie Wissen Nicht Was Sie Tun!” (2012). In 2016 the band released the single “You Spin Me Round (Like A Record),” a cover of the Dead Or Alive hit, alongside the compilation “Graverobbing (Hymns From The Crypt).” “The Electro Remixes,” issued on Halb-7-Records in 2017, gathers reworkings of the band’s covers of “You Spin Me Round” and A Flock Of Seagulls’ “Nightmares” by artists from the electro-underground scene.

Inferno Sound Diaries

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

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Since 1989, Claus Larsen has been a very important artist in the industrial / electro music world influencing hundreds of young musicians and offering some of the best dark music out there. After all these years of great music, Claus now needs your help.

As many of you may know, Claus Larsen and his husband Kurt have been going through very hard times lately due the lengthy procedures and bills accompanying Kurt’s much needed kidney replacement surgery (luckily enough Claus is a perfect match for Kurt and will be donating a kidney). The lovely couple are currently facing the significant cost of dialysis treatments for Kurt to keep him healthy until the transplant can happen.

Now is the time to help them out. A GoFundMe campaign has been started to help out with the medical bills, you can donate right here, or you can of course buy some Leather Strip stuff directly from Bandcamp.

We wish Kurt a speedy (operation and) recovery. Kudos from Belgium!

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: New-wave.

Background/Info: Alex J Wise is an Australian artist operating from Sydney and who started composing music during the 90s. He made some remixes for artists like Angelspit, Tycho Brahe, Technoromance ao. This debut EP features 5 different cuts (reminding me the good-old mini-album format) and has been co-produced, mixed and mastered by Claus Larsen (Leather Strip, Klute, Am Tierpark).

Content: I can’t remember to have ever heard a song from The Process Void. I discovered a sound reminding me of the 80s new-wave movement. Electronics and guitar have been used while you also will notice the sound that will remind you of the good-old rhythm boxes. Some tracks and even vocal parts remind me of the great Belgian new-wave formations Red Zebra and Siglo XX.

+ + + : No doubt about it, The Process Void has found the secret formula to bring the 80s spirit back to life. I can imagine Claus Larsen (being a devoted 80s lover) probably accentuated this link with the past. The songs are easy listening pieces of darkness and melancholia while Alex J Wise has the right timbre of voice for this kind of music.

– – – : I can’t get away from the idea that the songs could have been a bit ‘harder’. I’m missing a truly climax and I can’t say to have found a potential hit on this EP.

Conclusion: “Dreams Of Departure” features a few cool ideas, which the artist now has to elaborate.

Best songs: “Konstellation”.

Rate: (6).

Band & Label: www.theprocessvoid.com / www.facebook.com/theprocessvoid

About The Process Void

The Process Void is the recording name of Sydney-based Australian artist Alex J Wise, active since the 1990s. Before “Dreams Of Departure”, Wise remixed artists including Krankhaus, Angelspit and Tycho Brahe, and contributed to compilations such as “Australian Independent Darkwave Vol. 2” (2006) and the Severed Heads tribute “Headspace” (2012).

Claus Larsen, who also records as Leather Strip, Klute and Am Tierpark, produced, mixed and mastered the EP.

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: EBM, body-pop.

Background/Info: This is the second official EP by nTTx. Gord Clement was previously involved as the singer of Atomzero, but is now running his own band.

Content: The last year released “Objective”-EP was a promising debut while this new EP simply confirms the potential of nTTx. The opening piece is a phenomenal song inspired by EBM reminding me of bands such as Front 242, Leather Strip (which did the mastering of the EP) and Nitzer Ebb with a surprising, but terrific disco-like groove on top. The EBM influence comes back on each new song. This EP features 4 new songs plus a remix of “False Beautiful” (originally released on their first EP) by Rotersand. Notice by the way nTTx still added a new cover version, this time the famous “Eye Of The Tiger” from Survivor.

+ + + : nTTx is not reinventing EBM and doesn’t bring real innovation, but the songs have been masterly crafted. It’s not an easy cheap composition, but a professional and efficient production mixing elements from different bands with a very own approach on top. The song “Movedark” is a real smasher, but I also have to mention “Prey” for its great sound treatments and “True” carried by a great and somewhat Nitzer Ebb-like bass line. Rotersand did a great job remixing “Falls Beautiful”.

– – – : Gordon Clement is a great singer, but I’m sure he can put a little bit more passion in some of the vocal parts. I’m not that fond of the Survivor cover, but it’s fun while “Earth” featuring some guitar playing is nothing more than a B-side song.

Conclusion: I highly recommend this new EP by nTTx, which is a great and modern EBM production. I’m really looking forward to this band’s debut full length.

Best songs: “Movedark”, “True”, “Prey”, “Falls Beautiful – Rotersand Rework”.

Rate: (8).

Band: www.nttxmusic.com / www.facebook.com/nttxmusic

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

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

Background/Info:

Read the news on ‘Black Piranha’.

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: EBM.

Background/Info: “Ultranoia” is the debut album of Damage Control. Set up by Australian artists Bill Barsby and Damian Davis plus Markus App (Germany) and Jason Podmore (UK), we might speak about an international collective. The album got mixed and mastered by Chris Peterson (FLA, Will, Noise Unit, Öhm, Decree ao).

Content: Damage Control sounds inspired by EBM. It’s not the hard-core EBM approach, but an intelligent and sophisticated composition, which might remind you of bands such as In Strict Confidence, Skinny Puppy and Portion Control. There’s a real fascinating mix, which is maybe due to the different origins of the band members.

“Ultranoia” is mixing danceable- and powerful cuts together with more evasive and somewhat soundtrack-orientated songs. The vocals are passionate and in total harmony with the dark sound creation.

The final song is a remix by Leather Strip.

+ + + : Damage Control didn’t spare any effort to accomplish a real masterpiece. The songs are intelligent and well-crafted, but still revealing a mature and outstanding production. The mixing of Chris Peterson is for an important aspect here. The songs mix power and a great sound creation plus appropriated vocals. But “Ultranoia” is not only a technically outstanding album, but also feature many terrific songs. The sound of Damage Control also inspired Claus Larsen who made a great remix of “Hate Crime”.

– – – : I don’t see any negative point! “Ultranoia” is maybe not the most accessible EBM format, but EBM is much more than simple 4×4 structures!

Conclusion: Damage Control took me by surprise. This band has accomplished a         real masterpiece, which will be for sure become one of my favorite EBM albums of 2017. Respect guys!

Best songs: “Reasons”, “Hate Crime”, “Ruined”, “World In Decline”, “Trauma”, “Hate Crime – Leather Strip Remix”.

Rate: (9).

Band: www.damagecontrolofficial.com / www.facebook.com/damagecontrol

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: EBM.

Background/Info: Transponder is ‘Freund 242’ aka Stefan Rukavina (also known from Rhesus Factor and the industrial formation Bleiburg) plus ‘Hanz Acid’ (Werksfront). The band released an impressive number of productions in a rather short lapse of time while featuring Claus Larsen (Leather Strip, Klute) as guest singer on multiple songs. Notice by the way this album has been released already a few months ago now.

Content: The first disc features cover versions from Tragic Error, Depeche Mode, Front 242, Hubert Kah, 2 Live Crew and Leather Strip plus collaborations with Les Berrtas, Zynik 14 and Engelsstaub. All songs remain driven by good-old EBM power reminding to DAF, Pouppée Fabrikk ao. But there still is a solid flavor of minimalism recovering the composition plus some new-beat elements (and not even on the cover version of “Tanzen” by Tragic Error). The song “Good-Bye” reminds me a bit of early Praga Khan.

Lyrically Transponder mixes explicit lyrics with funny themes and even a somewhat cynical view on politics.

The second disc is mainly featuring Claus Larsen as the vocalist. We here get a kind of ‘best of’ from Transponder singles. Claus Larsen already collaborated with Freund 242 for Rhesus Factor. And here again the music remains driven by retro-inspired EBM. It remains pretty minimal-like and sometimes as a wink to new-beat. You’ll also discover remixes by Sixth Comm, Parralox and Bleiburg.

+ + + : Transponder probably is an EBM project deserving a wider recognition. It’s good-old EBM with a very personal approach resulting in great minimalism. But I also like the somewhat new-beat inspiration as well. The sound formula is pretty simple, but damned efficient. The lyrics also have this magical effect to get listeners singing. Just pay attention for songs such as “Bewegt Euch” or “Stomp The Cybers” and you’ll understand what I mean. Some of the cover versions on the first disc have been pretty well reworked into the Transponder EBM mould, but I especially recommend the collaborations with Les Berrtas and Zynik. Claus Larsen also feels really comfortable singing on Transponder. And here again you’ll discover many great songs!

– – – : I sometimes get the impression that Transponder is just a ‘fun’ band. It doesn’t always sound that serious and I refer to some of the cover versions, but at the other side I’ve to admit that this kind of EBM is really efficient.

Conclusion: Transponder is not reinventing the receipt of electronic body music, but it definitely is a great and contemporary ambassador of this music genre. This work is a must have for all EBM freaks!

Best songs: “Lerchenzungen feat. Les Berrtas”, “Auf Der Jagd feat. Zynik”, “Photographic – Original by Depeche Mode”, “When We Return To Bleiburg feat. Human Nihil & Leather Strip” + “Bewegt Euch feat. Leather Strip”, “Stomp The Cybers feat. Leather Strip”, “The Return Of The New Beat feat. Leather Strip”, “The Return Of The New Beat feat. Leather Strip – Remix by Parralox”, “Man Zane Iraniam”.

Rate: (8½).

Band: www.transponder–music.de / www.facebook.com/transponder242

Label: www.scent–air.com / www.facebook.com/ScentairRecords

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: EBM.

Background/Info: Set up in the late 80s by German duo Michael Friedrich – Marko Hein, Frame Of Mind was featured on a few noticeable samplers while the debut album they were working never got released. Infacted Recordings finally released this ‘early’ stuff on their famous “Classics Series” (2017). The duo is alive and kicking! They finally reactivated Frame Of Mind and this opus is the result.

Content: You rapidly get the impression that this album is a new release from older tracks. But “Resurrected” is a ‘new’ album, but simply composed the ‘old’ way. It sounds like a move back to the late 80s and 90s, a bit like the offspring between X Marks The Pedwalk, Skinny Puppy and even Leather Strip. I guess it’s not entirely of a coincidence Claus Larsen got invited to sing on one of the tracks. “Resurrected” smells like good-old, but still intelligent EBM.

+ + + : “Resurrected” feels a bit like a search or maybe a quest for good-old EBM. This work is totally free of modern influences like techno elements. This is 100% EBM in the darkest vein of aforementioned bands, but you have to agree that X Marks The Pedwalk and Skinny Puppy are much more than simply references.

This album is not into speed cadences, but all the power emerges from the dark spheres and the intelligence of the sound treatments. You sometimes might notice a little poppy touch running through a song, but it’s just a kind of melodic element adding some harmony to the album. I also enjoyed the typical, spooky way of singing.

– – – : This is the kind of work that would have become instantly successful during the 90s! It’s now more a kind of old-school opus for nostalgic EBM lovers although I think this is the kind of music some people are still waiting for! It’s not that really an original work, but damned efficient!

Conclusion: If you’re into old-school EBM, this is definitely a production that will catch your attention. This vintage sound formula still works and even delivers a few great cuts!

Best songs: “System Overload” “Is Love? (2016 Version)”, “The Heist”, “Dance With The Lions”, “We’re Not Alone feat. Leather Strip”.

Rate: (8).

Band: www.facebook.com/frameofmindband

Label: www.infacted–recordings.de / www.facebook.com/pages/Infacted–Recordings/124099254321690

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

Alfa Matrix has launched the 1st edition of its new compilation series: “Matrix​:​Reb00ted”. The 1st volume is entered around the remixes the Norwegian dark electro act Kant Kino completed over the years, hence the sub-title for the first volume: “Zion [EBM] Warfare [01] – the Kant Kino guerrilla”.

On the download compilation – which can be downloaded here – you find 15 songs from Alfa Matrix’s massive music repertoire which got mixed by Kant Kino. For those who are familiar with the band’s remix sound, you know you can expect a unique blend of EBM basslines, upbeat sequences and melodic synths.

The bands remixed by this duo include Front 242, Nitzer Ebb, Leather Strip, Bruderschaft, Pouppée Fabric, Amgod, Komor Kommando, Implant, Aesthetische, Essence Of Mind, Studio-X vs. Simon Carter, Kant Kino themselves, Junksista and the label’s most recent discovery from France Crytek.

Available now on Bandcamp, you can listen to the trackless 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!

side-line.com

Genre/Influences: EBM, dark-body-music.

Background/Info: Tragic Impulse is an American solo-project set up and driven by Paul M. Graham. He started under the Eisengeist moniker and rapidly went on as Tragic Impulse, releasing a somewhat unknown album “Machine Parts” in 2014. Tragic Impulse now joined hands with Distortion Productions unleashing his newest work and probably reaching a wider audience.

Content: From the very first sequences you can easily recognize the EBM influence supporting the work of Tragic Impulse. Mixing icy leads, heavy sound blasts, dark atmospheres and numerous sweeps, this album is quite elaborate resulting into a dark-body production.

The songs are pretty powerful while there also is an interesting evolution in the tracklist reaching a few climaxes and a great, final song as a truly apotheosis.

+ + + : “Devil On Your Shoulder” is an interesting opus characterized by a sophisticated sound approach and made by cool sound treatments. It also is album with several noticeable cuts and even a few potential hits such as “The Fear” and “Chain Reaction”. I like the power emerging from the songs and dark ambience hanging over the work while I noticed some great leads. I now and then noticed a little touch of Leather Strip. The vocals are perfectly matching with the sound.

– – – : This is an interesting work, but without any real surprise in the global writing and sound approach. Tragic Impulse composed a well-crafted, but somewhat predictable album.

Conclusion: Even if Tragic Impulse is not reinventing EBM you clearly can hear that the artist doesn’t spare any effort to achieve a refined- and passionate work. This album will please all demanding EBM fans, but will not take them by surprise.

Best songs: “The Fear”, “Chain Reaction”, “Expectations”, “Hindsight”.

Rate: (8).

Band: www.tragicimpulse.com / www.facebook.com/tragicimpulse

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro, industrial, rock.

Background/Info: Klaus Schandelmaier better known under his artist name En Esch and his involvement in bands such as KMFDM, Pigface and Slick Idiot is back on track with a new full length under his own name. While En Esch released a few productions together with other artists, “Trash Chic” is his third album.

Content: “Trash Chic” is a solo-album although accomplished by the help of multiple ‘familiar’ contributors/guests such as Mona Mur, Guenter Schulz (ex-KMFDM), more collaborations with Trixie Reiss (Crystal Method), Alison Mack (Honest Marquee), Tasha Katrine & Rob Zilla (both More Machine Than Man), Raymond Watts ao.

The album became quite diversified although featuring the familiar ingredients of En Esch. The typical guitar riffs –which remain pretty close to KMFDM, mixed with electronic loops and an industrial sound atmosphere are still making the essence of this work. The vocals are mainly spooky while the female guests inject a more sensual touch.

There also is a remix of “Do Me” (which is a song that was originally released on the previous album “Spänk!”) by Leather Strip.

+ + + : En Esch is an artist I respect for having created his own style. It remains an essential aspect of this album, which  mixes electronics with guitar, alternating harder, danceable cuts with softer and sometimes more experimental pieces. I’m still totally wild about the guitar riffs creating this industrial touch. There’re a few great cuts featured and I especially want to recommend “Sweet Lord” and “Super Ego” while the Leather Strip remix is another attention grabber. The fans will be pleased to discover an album featuring 18 songs.

– – – : I like the title of the album although the title-song is a rather disappointing cut. A few more experimental-minded tracks aren’t exactly the best exponents of this work. En Esch remains pretty faithful to his sound formula so there’s no real trace of innovation here.

Conclusion: “Trash Chic” is an appropriated title for an album moving in between hard, familiar and typical En Esch songs at one side and softer cuts where he likes to experiment on the other side. The fans will get what they want!

Best songs: “Sweet Lord”, “Super Ego”, “A Bullet Fires In One Direction”, “Sucker”, “Do Me – Leather Strip Rmx”.

Rate: (7)

Band: www.enesch.de / www.facebook.com/slick.idiot.1

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

Inferno Sound Diaries

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

www.side-line.com