Today Throbbing Gristle have announced “TG Berlin”, a box set chronicling their previously unreleased work in Berlin around a special series of live events at the Volksbühne in 2005/2006, set for release on December 6, 2024. This is the latest release in an ongoing collaboration with Mute.

The event, curated by Throbbing Gristle, saw the band perform a live set on New Year’s Eve and an improvised live soundtrack to a new 16mm print of Derek Jarman’s “In The Shadow of the Sun” (1981) on New Year’s Day. While the band were in Berlin, they also recorded two final songs alongside a 48-minute piece of new music.

The box set, which is comprised of 4 CDs, a Blu Ray, a 10” vinyl and a booklet featuring unseen photographs from the time by Paul Heartfield as well as new sleeve notes by Scottish visual artist Lucy McKenzie, collates both of these performances, alongside the “TG Berlin Studio Session”, which includes the final Throbbing Gristle single (two unreleased tracks, “Scabs & Saws” and “Wotwududo”) and an unreleased 48-minute piece titled “TG Berlin Studio Session 2005 – 2006”, recorded at Planet Roc studios during the time they were in the city.

Listen to the previously unreleased track “Scabs & Saws” below.

“TG Berlin” will also include the ‘rehearsal’ for “In The Shadow of the Sun”, recorded on New Year’s Day at the Volksbühne (“people’s theatre”). The performance of “In The Shadow of the Sun” was improvised, so the two documents offer a different perspective on the soundtrack to Jarman’s work.

The New Year’s Eve show previewed five songs from the band’s first album in 27 years, “Part Two: The Endless Not”, several years before its release, on a set list that included “Convincing People”, “Slug Bait”, and “Hamburger Lady” (their first encore in 25/26 years), plus the released track, “Splitting Sky” and more. The performance is also included as a Blu-ray.

About Throbbing Gristle

Throbbing Gristle formed in 1975 and for the next six years they fully delivered on punk’s failed promise to explore extreme culture as a way of sabotaging systems of control. During that time, they released records such as “The Second Annual Report Of Throbbing Gristle” (1977), “D.O.A The Third And Final Report Of Throbbing Gristle” (1978), and “20 Jazz Funk Greats” (1979) and were also named “wreckers of civilisation” by the Conservative MP Nicholas Fairbairn in 1976.

In 2004, Throbbing Gristle, Chris Carter, Cosey Fanni Tutti, Genesis Breyer P-Orridge (1950-2020) and Peter ‘Sleazy’ Christopherson (1955-2010), regrouped and the following six years became a period of renewed creativity for the band which returned back in the studio after 20 years.

They also embarked on a series of live performances that included the Coachella and Primavera festivals, Tate Modern, and Heaven, and produced several albums, including “TG Now” (2004), and “Part Two: The Endless Not” (2007), as well as a 3-day “studio installation” at the ICA before disbanding in 2010.

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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London Records has released the Superchumbo remix of the Bronski Beat hit “Why” featuring Pet Shop Boys frontman Neil Tennant. This is the third remix from the upcoming 40th-anniversary deluxe reissue of Bronski Beat’s 1984 album “The Age Of Consent”, out October 18th. It follows reworks of the classic queer anthem “Smalltown Boy” by producers Absolute and Planningtorock.

The song, originally recorded at RPM Studio in New York City and mixed at Townhouse Studios in London, features lyrics that focus centrally on anti-gay prejudice. The song was written for Martin, a friend of the Bronskis who was hounded out of the country by his boyfriend’s irate and violent parents. You could say it was a sequel to their debut single “Smalltown Boy”, continuing the tale of a young gay man suffering humiliation and animosity as he tries to live his life.

The song opens with a questioning vocal by Bronski Beat frontman Jimmy Somerville and the sound of shattering glass. It was the trio’s second Top 10 success in the UK, throughout Europe, and in Australia, and is considered a popular gay anthem today.

The drawing for the original single cover, depicting a man with his head in his hands, was created by Glasgow artist Robert McAulay, who was associated with the band at the time.

Here’s what Jimmy Sommerville says about the collaboration with Tom Stephan (aka Superchumbo) on this new mix: ”I’ve known Tom for a good few years now and when I asked him if he’d like to do a remix of ‘Why?’ he said yes straight away. The song is a part of his story. I was so moved when he shared that story with me. The lyric is our shared experience as it is for so many others…and forty years later the lyric still tells the story of LGBTQi+….the hate, the violence, the discrimination, the imprisonment and state sanctioned murder of those who dare to be their true selves and it’s happening somewhere right now as I write this.”

Speaking on the rework, Tom explains: “My goal was to create an updated mix that fits well with contemporary sounds while preserving the original intensity and energy. After I submitted the mix, Jimmy asked me if I could include a few more lyrics from the original song. I had recently watched a Pet Shop Boys documentary where Neil Tennant read some of his lyrics, which moved me to tears,” he continues. “I imagined Neil speaking these lyrics, creating a powerful contrast. I left Neil a voicemail on my way to a gig abroad and by the time I reached Heathrow I had his vocals on my phone, added them to the track on my flight, and played it that night! It is a great honour to work on this iconic song with two legends who were lifelines to me while growing up gay in a small town.”

“I was fucking whooping like a banshee round my kitchen when Tom told me Neil would like to contribute! ” adds Jimmy. “To speak the lyrics of ‘Why?’ and to hear Tom’s musical reworking of the track is fucking mind-blowing. So to hear Neil, one of our greatest pop lyricists, speaking my words… It brings it into the here and now and also retains its history with my original vocal. I genuinely felt moved.”

4CD+DVD deluxe set tracklisting

The 40th-anniversary reissue of “The Age of Consent” will be available in a variety of physical and digital formats, including a 5-disc deluxe edition (4CD+DVD): featuring 4 essays by Tom Rasmussen, Lesley Chow, Lucy Robinson, and Barney Ashton-Bullock, the original album, bonus tracks, remixes, rarities, early versions, and rare radio sessions. Its DVD comes with restored promo videos, Top of the Pops performances, and original TV adverts.

Other formats include 2CD with new reworks, 2LP (with “The Age of Consent” and its neighbouring remix album “Hundreds & Thousands”), a yellow 1LP edition (Lexer Music Exclusive), and a super deluxe edition exclusive Blu Ray edition featuring “The Age of Consent” and “Hundreds & Thousands” in Dolby Atmos & 5.1 mixes.

Disc One

The Age Of Consent – The Album Plus

1. Why?
2. It Ain’t Necessarily So
3. Screaming
4. No More War
5. Love And & Money
6. Smalltown Boy
7. Heatwave
8. Junk
9. Need A Man Blues
10. I Feel Love / Johnny Remember Me
11. Smalltown Boy (Dj 7” Edit) – Bonus Track
12. Why? (Remix) – Bonus Track
13. It Ain’t Necessarily So (7” Version) – Bonus Track
14. I Feel Love (7” Version) With Marc Almond – Bonus Track
15. Run From Love (Radio Version) – Bonus Track
16. Hard Rain (Nme 7” Version) – Bonus Track

Disc Two

Hundreds & Thousands – The Remix Plus

1. Heatwave (Harvey Goldberg Remix)
2. Why (Harvey Goldberg Remix)
3. Run From Love (Dominic Maita Remix)
4. Hard Rain (Harvey Goldberg Remix)
5. Smalltown Boy (Harvey Goldberg Remix)
6. Junk (Harvey Goldberg Remix)
7. Love And Money (Hundreds & Thousands Remix) * – Bonus Track
8. Infatuation / Memories – Bonus Track
9. Close To The Edge – Bonus Track
10. I Feel Love (Cake Mix) With Marc Almond – Bonus Track
11. Cadillac Car (Extended) – Bonus Track

Disc Three

Consent Extended – The 12 Inches Plus

1. Smalltown Boy (12” Version)
2. Why? (12” Version)
3. It Ain’t Necessarily So (12” Version)
4. I Feel Love (12” Version) With Marc Almond
5. Run From Love (Us Club Remix ‘85) *
6. Smalltown Boy (Us Club Remix ‘84) *
7. Red Dance
8. The Potato Fields
9. Puit D’amour
10. Signs (And Wonders)
11. I Feel Love (Fruit Mix)

Disc Four

Ignore At Your Peril – The Rarities Plus

1. Smalltown Boy (Capital Radio Session, May ‘84) *
2. Heatwave (Capital Radio Session, May ‘84) *
3. Hard Rain (Capital Radio Session, May ‘84 )*
4. Why? (Early Version, March ‘84) *
5. Crazy Maraquitta (Studio Session) *
6. It Ain’t Necessarily So (Early Version) *
7. Upside Down (Studio Session) *
8. Screaming (Early Version, March ‘84) *
9. The Power Of The Gold (Studio Session) *
10. Love And Money (Early Version) *
11. First Church (Feel Love) (Studio Session) *
12. Junk (Early Version 2) *
13. Walking (Studio Session) *
14. No More War (Early Version) *
15. Go (You & Me) (Studio Session) *
16. Close To The Edge (Early Alternate Extended Mix) *
17. Heatwave (Early Version) *
18. The Other Side Of The Tracks (Studio Session) *
19. Smalltown Boy (Early Version, March ‘84) *

Disc Five

The First Chapter – The Videos Plus [Dvd]

1. Official Music Videos
2. Smalltown Boy (Restored Promo)
3. Why? (Restored Promo)
4. It Ain’t Necessarily So (Restored Promo)
5. I Feel Love (Restored Promo) With Marc Almond
6. Top Of The Pops Performances
7. Smalltown Boy (Bbc ‘Top Of The Pops’, June ‘84)
8. Why? (Bbc ‘Top Of The Pops’, September ‘84)
9. It Ain’t Necessarily So (Bbc ‘Top Of The Pops’, December ‘84)
10. I Feel Love (Bbc ‘Top Of The Pops’, April ‘85) With Marc Almond
11. Original Tv Adverts
12. The Age Of Consent – Tv Advert #1 (December ‘84) *
13. The Age Of Consent – Tv Advert #2 (January ‘85) *

* Previously Unreleased

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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London-based musician and composer Ian Williams has released his latest work, “Le Mystère Lucie (Dossier Secret)”, today, July 25. You can download it from Bandcamp.

This album serves as a companion piece to the soundtrack for the 2023 French documentary “Le Mystère Lucie (Des Espions Contre Le Nazisme)” / “Codename Lucy (Spies Against Nazism)”.

“Le Mystère Lucie (Dossier Secret)” features compositions originally intended for the documentary but not included in the final 52-minute TV broadcast, which was initially conceived as a 75-minute film.

The documentary, directed by Éric Michel and Jacques Matthey, explores the pivotal role of a Swiss-based spy network in the Allied victory during World War II. A spy network led by the Swiss-based Jewish communist Sándor Radó was instrumental in precipitating the victory of the Allies during the Second World War.

Radó received confidential strategic information from the highest levels of the Nazi state and in particular from the HQ of the German army via Rudolf Roessler, a deeply anti-Nazi Christian who he never actually met. Roessler, codenamed Lucie because he was based in Lucerne, received his information from German supporters of the resistance, aided by notable members of certain industrial circles.

Here’s “Le Mystère Lucie (Des Espions Contre Le Nazisme)” as available on Bandcamp.

About Ian Williams

Ian Williams began his music career in Edinburgh in the mid-1980s as a founder of Beautiful Pea Green Boat. He later collaborated with Lebanese choreographer Joumana Mourad and her contemporary dance company Ijad, blending Arabic, classical, techno, and ambient styles. Williams has also worked with singer Claudia Barton in the duo Gamine, producing two albums of dark, piano-led torch songs and lullabies.

His solo releases include:

• “The Dream Extortionists” (2019): A debut album of dark piano and electronics.
• “Les Blessures Invisibles” (2019): An eclectic electronic soundtrack for another documentary by Eric Michel.
• “All Becomes Desert” (2021): An album of minimalist ambiences and warm analogue soundscapes.
• “Slow-Motion Apocalypse” (2023*: Described by Electronic Sound magazine as “designed to sound as if it’s on the edge of orgasm or violence,” likened to works by Tangerine Dream, Vangelis, and Jean-Michel Jarre.

Bernard - Side-Line Staff

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

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(Photo by Yuliya Skya) The Toronto-NYC indie trio ON present their fresh single “Gator”, released via the Toronto-based imprint Indiestructable Records.

“This song was written while the band was on a writing/recording session in Naples, Florida. We stayed in a gated community – meaning pass codes to enter the neighborhood and real “surveillance”. In the community was this pond – with freely roaming alligators. And there we have it – we think we are boundless and free – and yet we have lines and gates to keep us so called “safe”. There is the illusion – masking the element control as “safety”…. While the alligators roam freely. One begs to ask: who of the two “gators” is really free here?” says frontwoman Lucy Di Santo.

ON is a riveting power trio led by Lucy Di Santo (vocals, bass) with Dan Cornelius on drums and Steve Fall on guitars. Their latest music output sees the trio carry on the legacy of the band from which they were formed – 90’s Sire Records band Acid Test. Its members have also been in other popular Toronto bands Danko Jones and Deliuss. Musically the band is paying homage to their post-punk and grunge roots flavoured with some extra influences.

“Gator” follows up the band’s latest single “Make Me”, a song of frustration and wanting to recapture that euphoria.

The band is currently busy recording their next record at BC Studio in Brooklyn with legendary producer Martin Bisi, famed for his work with Sonic Youth, Swans, Brian Eno, John Zorn, Herbie Hancock, Iggy Pop, Helmet, Africa Bambaataa, Dresden Dolls, Unsane, Cop Shoot Cop and many other notable artists.

ON also recently completed an extensive US tour in support of their “ON” album, co-produced by Darius Szczepaniak (Sum 41, Black Crowes, Big Sugar, Bare Naked Ladies, Jann Arden) at Phase One Studios in Toronto.

Tour dates

• Fri 09/15 NYC, NY @Gold Sounds
• Sat 09/16 Flemington, NJ @Flemington DIY
• Tues 09/19 Baltimore, MD @The Crown
• Wed 09/20 Alexandria, VA @Galactic Panther
• Thurs 09/21 Winston-Salem, NC @Monstercade (with The Veldt)
• Fri 09/22 Raleigh, NC @Ruby Deluxe (with The Veldt)
• Sat 09/23 Atlanta, GA – Tiny’s Music (with The Veldt)
• Sun 09/24 Nashville, TN – TBA (with The Veldt)
• Tues 09/26 Cincinnati, OH @Northside Tavern (with The Veldt)
• Wed 09/27 Detroit, MI @Smalls (with The Veldt)
• Thurs 09/28 Toronto, ON – TBA (with The Veldt)
• Wed 10/11 Joiliet, IL @Drunken Donut (with Snailmate)
• Thurs 10/12 Port Huron, MI @Schwonk Stead Sound (with Snailmate)
• Sat 10/14 Peterborough, ON @Historic Red Dog (with Snailmate)
• Sun 10/15 Toronto @Bovine Sex Club (with Snailmate, Second Wife)
• Tues 10 /17 Ithaca, NY @Deep Dive (with Snailmate)
• Thurs 10/19 Kingston, ON @The Toucan (with Snailmate)
• Fri 10/20 Ottawa, ON @Avant-Garde Bar (with Snailmate)
• Sat 10/21 NYC, NY @Bar Frida (with Snailmate)

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: Trip-Pop, Experimental.

Format: Digital, CD, Vinyl.

Background/Info: Lucy Kruger is a German artist who has already released a few albums. Together with ‘The Lost Boys’ who are guest musicians she this year released her newest work “Heaving” which is also available through Metropolis.

Content: It’s not that easy defining the sound of this project but it comes pretty close to Trip-Pop and reminds me of great projects like Portishead, Massive Attack and even Björk. I’m not saying Lucy Kruger is a copyist as the sound also has something personal with the singer’s fragile timbre of voice on top.

+ + + : Trip-Pop or simply ‘Free-Pop’ style; the stamp you’re putting on it doesn’t make sense. The music is good, personal and accessible. It sometimes sounds like ‘controlled chaos’ mixing electronics together with different instruments like drums, guitar, bass guitar, piano, violin… I like the fragile timbre of the voice which is also passionate. This album sounds sweet and dark.

– – – : The music is accessible but not directly comparable to established standards so it might take a few listening before you get into it.

Conclusion: Lucy Kruger & The Lost Boys is an interesting project for its retro-visionary approach.

Best songs: “Howl”, “Tender”, “Burning Building”, “Undress”.

Rate: 7½. 

Artist: www.lucykrugerandthelostboys.com / www.facebook.com/LucyKrugerOfficial

Label: www.facebook.com/Uniquerec Read the news on ‘Heaving’.

Listen to “Heaving”:

About Lucy Kruger & The Lost Boys

Lucy Kruger & The Lost Boys is an art pop noise project fronted by Berlin-based, South African-born musician Lucy Kruger. The project released its self-titled debut EP in 2014, followed by the albums “Summer’s Not That Simple” (2017), “Sleeping Tapes for Some Girls” (2019), “Transit Tapes (For Women Who Move Furniture Around)” (2021) and “Teen Tapes (For Performing Your Own Stunts)” (2022) on the Permanent Record and Unique labels. “Heaving”, released in 2023 through Unique in Europe and Metropolis Records in the US, is the project’s latest 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.

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Swans have shared a new track from their sixteenth studio album, “The Beggar”, due for release on Mute / Young God Records (N America) on 23 June 2023. “The Beggar” will be released on double vinyl in a brown chipboard sleeve (with a download card for accessing an additional 44 minutes of music, also included on the album’s CD version), as a double CD in a brown chipboard digi-pack, and digitally.

Listen to “Los Angeles: City of Death” below.

The band’s extensive touring for 2023 started last week and continues through spring and summer with UK dates in August, and North American dates in September. In addition, Swans have confirmed a string of new dates across Europe in October and November – full details below.

“The Beggar” was recorded and mixed at Candy Bomber Studio, Berlin, engineered by Ingo Krauss and mastered by Doug Henderson at Micro-Moose, Berlin. The album was written and produced by Michael Gira and features contributions from recent and former Swans, members of Angels of Light, as well as guest Swan Ben Frost.

Michael Gira adds: “After numerous pandemic-induced cancellations of tours for the previous Swans album leaving meaning, and an apparent bottomless pit of waiting, waiting, waiting, and the strange disorientation that came with this sudden but interminable forced isolation I decided it was time to write songs for a new Swans album and forget about everything else. They came relatively easily, always informed by the suspicion that these could be my last. When I finally was able to travel, songs in hand, to Berlin to work with my friends recording this record, the feeling was akin to the moment in The Wizard of Oz when the film changes from Black and White to Color. Now I’m feeling quite optimistic. My favourite color is pink. I hope you enjoy the album.”

Primary contributors to “The Beggar” were Michael Gita, Kristof Hahn, Larry Mullins, Dana Schechter, Christopher Pravdica, Phil Puleo and Ben Frost. Backing vocals are provided by Jennifer Gira, Lucy Kruger and Laura Carbone.

Swans, an experimental rock band from America, was established in 1982 by Michael Gira, a multi-talented artist serving as singer, songwriter, and multi-instrumentalist. This band is one of the rare survivors from the no wave scene of New York City, successfully transitioning into the subsequent decade. They are renowned for their dynamic musical style, shifting and exploring across various genres including noise rock, post-punk, industrial, and post-rock.

Swans live dates

• 25 May – Zilina SK, New Synagogue
• 26 May – Ljubljana SL, Kino Siska
• 27 May – Innsbruck, AT, Heart of Noise Festival, Treibhaus
• 29 May – Bologna IT, Teatro Duse
• 31 May – Lyon FR, Transbordeur
• 2 June – Barcelona ES, Primavera Sound Festival
• 4 June – Lisbon PT, Culturgest – SOLD OUT
• 5 June – Lisbon PT, Culturgest
• 6 June – Faro PT, Teatro Das Figuras
• 9 June – Madrid ES, Primavera Sound Festival
• 11 June – Athens GR, Vraxon Theatre
• 13 June – Thessaloniki GR, Moni Lazariston
• 15 June – Antwerp BE, Bourlaschouwburg – SOLD OUT
• 16 June – Utrecht NL, Hertz Theatre – SOLD OUT
• 11 Aug – Brighton UK, St George’s
• 12 Aug – Manchester UK, Albert Hall
• 15 Aug – Newcastle UK, Boiler Shop
• 16 Aug – Glasgow UK, St Luke’s
• 18 Aug – Bristol UK, Arc Tangent Festival
• 19 Aug – Leeds UK, Belgrave Music Hall – SOLD OUT
• 21 Aug – Dublin IE, The Academy
• 23 Aug – Norwich UK, Waterfront
• 24 Aug – London UK, Troxy
• 26 Aug – La Tour-De-Peilz CH, Nox Orae Festival
• 2 Sep – Dallas TX, Granada Theater
• 3 Sep – Austin TX, Paramount Theatre
• 7 Sep – Phoenix AZ, Crescent Ballroom
• 8 Sep – Los Angeles CA, Lodge Room
• 9 Sep – Los Angeles CA, Lodge Room
• 12 Sep – San Francisco CA, Great American Music Hall
• 13 Sep – San Francisco CA, Great American Music Hall
• 15 Sep – Portland OR, Revolution Hall
• 16 Sep – Seattle WA, The Crocodile Showroom
• 19 Sep – Omaha NE, Waiting Room Showroom
• 20 Sep – Minneapolis MN, Fine Line Music Cafe
• 21 Sep – Chicago IL, Cabaret Metro
• 23 Sep – Detroit MI, Magic Bag
• 24 Sep – Cleveland OH, Beachland Ballroom
• 26 Sep – Toronto ON, Phoenix Concert Theater
• 27 Sep – Montreal QC, Theatre National
• 29 Sep – Brooklyn NY, Music Hall of Williamsburg
• 30 Sep – Brooklyn NY, Music Hall of Williamsburg
• 16 Oct – Hamburg DE, Kampnagel – NEW DATE
• 17 Oct – Copenhagen DK, Vega Store – NEW DATE
• 19 Oct – Oslo NO, Blå Residency – NEW DATE
• 20 Oct – Oslo NO, Blå Residency – NEW DATE
• 22 Oct – Stockholm SE, Slaktkyrkan – NEW DATE
• 24 Oct – Helsinki FI, Tavastia – NEW DATE
• 25 Oct – Tallinn EE, HALL – NEW DATE
• 27 Oct – Riga LV, Mežaparks Great Bandstand – NEW DATE
• 28 Oct – Vilnius LI, St John’s Church – NEW DATE
• 31 Oct – Warsaw PL, Progresja – NEW DATE
• 1 Nov – Praha CZ, Divadlo Hybernia – NEW DATE
• 3 Nov – Wien AT, Arena Wien – NEW DATE
• 4 Nov – Budapest HU, Akvarium – NEW DATE
• 7 Nov – Belgrade RS, Dom Omladine – NEW DATE
• 8 Nov – Zagreb HR, Kino Sc – NEW DATE
• 10 Nov – Foligno IT, Auditorium San Domenico – NEW DATE
• 11 Nov – Milano IT, Conservatorio di Milano – NEW DATE
• 13 Nov – Paris FR, Élysée Montmartre – NEW DATE
• 14 Nov – Metz FR, Les Trinitaires – NEW DATE
• 16 Nov – Brussels BE, Botanique – NEW DATE
• 18 Nov – Bochum DE, Christuskirche – NEW DATE
• 19 Nov – Den Haag NL, Amare – NEW DATE
• 21 Nov – Berlin DE, Admiralspalast – NEW DATE

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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Lucy Kruger & The Lost Boys, an art pop noise project fronted by Berlin-based/South African born musician, Lucy Kruger, has just released a new album, “Heaving” on Metropolis in the US and Unique in Europe.

Lucy adds, “I think that what I am able to offer as an artist is a detailed expression of my experience, for although the situation may feel unique to me, the feelings are universal. Giving them a sound and shape validates and creates space for those feelings, allowing listeners to feel seen, even at a distance. Even in the isolation of a bedroom. Especially in the isolation of a bedroom.”

Metropolis Records now releases “Heaving” on limited edition vinyl and compact disc as well as through all digital and streaming platforms.

Here’s the official video for the Lucy Kruger & The Lost Boys track “Heaving”.

Here’s the album on Bandcamp.

Lucy Kruger & The Lost Boys saw their first (self-titled) EP released in 2014. With their unique sound, the band has produced a series of remarkable albums under the Permanent Record and Unique labels.

In 2017, they released “Summer’s Not That Simple” and two years later, in 2019, they followed up with “Sleeping Tapes for Some Girls”. Continuing their journey, they released “Transit Tapes (For Women Who Move Furniture Around)” in 2021. The next year, in 2022, “Teen Tapes (For Performing Your Own Stunts)” was released.

Their latest work, “Heaving”, was released in 2023 as an LP album under the Unique label in Europe and Metropolis in the US. Read the review of ‘Heaving’.

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

Swans announce their sixteenth studio album, “The Beggar”, set for release on 23 June 2023 via Mute / Young God Records. The band also reveals an extensive 2023 tour across the UK, Europe, and North America.

“The Beggar” will be available on double vinyl in a brown chipboard sleeve, double CD in a brown chipboard digi-pack, and digitally. A download card offers access to an additional 44 minutes of music, also included on the album’s CD version.

Recorded and mixed at Candy Bomber Studio in Berlin, “The Beggar” was engineered by Ingo Krauss, mastered by Doug Henderson, and written and produced by Michael Gira. It features contributions from current and former Swans members, members of Angels of Light, and guest artist Ben Frost.

Michael Gira shares his experience of writing the album during the pandemic and forced isolation, expressing optimism and hope for the future: “After numerous pandemic-induced cancellations of tours for the previous Swans album leaving meaning, and an apparent bottomless pit of waiting, waiting, waiting, and the strange disorientation that came with this sudden but interminable forced isolation I decided it was time to write songs for a new Swans album and forget about everything else. They came relatively easily, always informed by the suspicion that these could be my last. When I finally was able to travel, songs in hand, to Berlin to work with my friends recording this record, the feeling was akin to the moment in The Wizard of Oz when the film changes from Black and White to Color. Now I’m feeling quite optimistic. My favourite color is pink. I hope you enjoy the album.”

Primary contributors to “The Beggar” include Michael Gira (vocals, words, acoustic guitar, production), Kristof Hahn (lap steel, various guitars, vocals), Larry Mullins (drums, vibes, orchestral percussion, Mellotron, various keyboards, backing vocals), Dana Schechter (bass guitar, lap steel, keyboards, vocals, piano), Christopher Pravdica (bass guitar, sounds, keyboards, vocals), Phil Puleo (drums, percussion, vocals, piano, exotic wind instruments), and Ben Frost (guitar, synthesizers, sound manipulations). Jennifer Gira, Lucy Kruger, and Laura Carbone provide backing vocals.

Listen to “Paradise Is Mine”.

About Swans

Michael Gira founded Swans in NYC in 1982 and underwent multiple transformations over the years. The band ventured into various styles and genres, culminating in “Soundtracks For The Blind” (1996) before disbanding. Gira then worked on Angels Of Light and his label Young God Records, discovering and producing acts like Devendra Banhart and Akron/Family.

Swans was reactivated in 2010, releasing the album “My Father Will Guide Me Up A Rope To The Sky” and touring worldwide. That album was followed by “The Seer” (2012), “To Be Kind” (2014) and “The Glowing Man” (2017).

Swans’ music style can be described as experimental, encompassing a wide range of genres over their career. Their early work was characterized by brutal, high-volume onslaughts of sound, often described as no wave or noise rock. Over the years, they have ventured into harshly mechanical proto-industrial rock, atmospheric idylls, martial stomps, acoustic-based meditations, grand melody-dense sonic whirlwinds, and dissonant sharp-edged compositions. This eclectic approach has led to their music being associated with post-rock, experimental rock, and avant-garde genres.

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: Cold-Wave, Dark-Rock.

Format: Digital.

Background/Info: Dresden (Germany) formation Luc Stargazer strikes back with a new work. The EP seems more like a mini-album featuring thirteen songs.

Content: The band moved back to their early EP “Jupiter” reworking the original version into a “2021 Version”. You’ll also discover the original edit plus remixes by James Knights, Seasurfer, Martin Acid and Golden Apes. The song remains a pure Dark-Wave/Post-Punk cut carried by impressive guitar playing reminding me of The Chameleons. You’ll also discover a remix of “Lucy’s Eyes” -a song from the last album “Lunascape” (2017) plus 3 new songs and a few instrumental breaks;

+ + + : Luc Stargazer is a band which deserves more attention and recognition for their well-crafted Dark-Wave music which is carried by solid guitar parts. There also is Dark-Rock touch on top of the production which makes the particularity of the band. Among the new songs I recommend the powerful “Unperfect”.

– – – : The remixes of “Jupiter” are cool but don’t really add anything extra.

Conclusion: Luc Stargazer stands for 80s nostalgia with a personal touch on top.

Best songs: “Unperfect”, “Jupiter – 2021 Version”, “Jupiter – 2011 Version”.

Rate: 7½.

Artist: www.facebook.com/lucstargazerband

Label: www.reptile-music.net / www.facebook.com/reptile.music

Reptile Music issued the EP on 4 February 2022 as a digital release. The label spells the title “The Comet Tail”. The thirteen tracks are “Jupiter (2021 Version)”, “Jupiter (James Knights Remix)”, “Intersphere”, “Tulips In Rain”, “Jupiter (Seasurfer Remix)”, “Retipuj”, “Your World Is Mine”, “Unperfect”, “Jupiter (Martin Acid Remix)”, “Cosmicsphere”, “Lucy’s Eyes (MASH Remix)”, “Jupiter (Golden Apes Remix)” and “Jupiter (2011 Version)”.

The line-up on the release is Lazy Schulz on vocals, guitars, keyboards and programming, Rico Meerheim on guitars, Falk Brederlow on bass and Michael Bader on drums. Meerheim and Schulz produced, recorded and mixed the new material at Galaxy Studios Dresden, where Meerheim also mastered every track. The remixers are James Knights, Dirk Knight with Seasurfer, Martin Acid, and Peer Lebrecht for the Golden Apes version. The “Lucy’s Eyes” remix comes from Ashley Dayour and Martin Acid of Whispers In The Shadow. Nico Träger handled the artwork.

Listen to “The Comet Tail”:

About Luc Stargazer

Luc Stargazer is a quartet from Dresden, Germany, working in post-punk, dark wave and cold wave. The band is Lazy Schulz on vocals, guitars, keyboards and programming, Rico Meerheim on guitars, Falk Brederlow on bass and Michael Bader on drums.

The recorded discography starts with “Evolution” in 2011 and continues with the album “Lunascape” in 2017. The single “Dramaboy And Traumaqueen” followed on Reptile Music in 2018. “Jupiter” was first recorded in 2011 with an earlier line-up of Lazy Schulz, Juliane Richter on bass, Uwe Oppelt on guitars and Stefan Pötzsch on drums, at Fastlane Studios Dresden; that take closes the new EP as the “2011 Version”.

Outside their own releases the band contributed a remix to the Sjöblom EP ‘A victory of love’ in 2019. “The Comet Tail” is their first release since that appearance and their second title for Reptile 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

After a 30-year hiatus, brothers David and Warren Harrison (Jess Lamb / Hungry Lucy) have reunited as Studio II. The duo have released their long awaited debut album, “The Good the Bad the Odd and the Slightly Depraved” holding a collection of synthpop songs written from both sides of the Atlantic, over the span of many years.

The 10-song album opens with “Letters From America” which is an ode to a long distance relationship spanning two continents and the longing to be together again. “Little Girl Dreams” is a new and updated version of the duo’s first single (from 1987), bringing together the original lyrics and a new lush soundscape.

The collection of songs concludes with the two new singles. “Silence is Never” and “Runwalker”.

Available on all digital platforms on Apr 1, 2022 and in pre-order via Bandcamp below. Advised for fans of Erasure, Yazoo or Pet Shop Boys.

And below are the two previous singles.

Bernard - Side-Line Staff

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

side-line.com

Out on vinyl via Invada Records on 20 May 2022 is Lucrecia Dalt’s new album “The Seed”. You can now listen to the first track, “Venutian Offspring”.

The track depicts a moment of unhinged body horror, Dalt explains: “I wanted to play with the feeling of multiple paces in it, a voice pulse that keeps us grounded in the subjectivities of the women who are losing their sanity, a synth line that places us in the sci-fi side of the film, and a racing beat that ramps up the tension of all that gets unpacked in this scene.”

In “The Seed” lifelong friends Deidre (Lucy Martin / Vikings), Heather (Sophie Vavasseur / Resident Evil: Apocalypse) and Charlotte (Chelsea Edge / I Hate Suzie) travel to the Mojave Desert for some time away with the upcoming meteor shower as the perfect social media backdrop. But what starts out as a girls’ getaway descends into a battle for survival with the arrival of an invasive alien force whose air of mystery soon proves to be alluring and irresistible to them.

Dalt adds: “The score is heavily based on pulses that I made from tape loops from my Copicat tape delay, using various pieces of metal to create the sound of the horror parts by bowing them alongside digital synths and the Korg Monologue.”

“The Seed”’s release follows the Colombian artist’s collaboration with Aaron Dilloway, Lucy & Aaron, and her 2020 album “No era sólida” (RVNG Intl).

Check out the video for the single “Venutian Offspring” 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

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. The last interview in this series is one with Bernard Van Isacker. I definitely had to close the circle with this interview. Being active as Side-Line’s chief redactor and as one of the Alfa Matrix label owners, Bernard and I became close friends. We didn’t always agree on some topics, which finally brought me to leave Side-Line as staff member in 2016. We remained in touch and decided to move on working together, but in a different format. A lot of things have been said and written about Bernard -not always kind things – but I got the privilege and opportunity to see how he’s working and all what he’s doing. I can only, but deeply respect his involvement. Time to ask him some questions.

(Courtesy by Inferno Sound Diaries)

Q: Lots of people from this scene know who you are, but how would you introduce yourself and how did you get in touch with the Electro/Industrial/Gothic scene? 

Bernard: My name is Bernard Van Isacker, 47 years old, and I have 2 kids. Magnus, 4 years old, and Sebastian, 16 years old, from my first marriage. I work currently as a social media manager, web developer and CRM admin for a multinational. I also run 2 holiday houses, but for the past 2 years they have been empty due to the corona pandemic. That was a big blow to our budget, so I had to take extra work to keep on paying our bills. But we survive.

I sleep basically 5 hours per night, take a small breakfast and lots of coffee at 6 in the local Panos –both the owners Mario and Hannelore are sweethearts -before I start work at 7:30 until, 10, 11 at night. I’ll probably die working (laughs).

I first got introduced to the Dark-Wave scene when I was 14 years old and was sitting next to a guy in class who said he had heard a really sick tape. That was Nitzer Ebb’s “That Total Age”. But you have to know that I was already heavily into Depeche Mode and New-Beat (yes!) so the ‘move’ to more industrial sounds was not really a surprise. Anyhow, Nitzer Ebb had more or less the same BPM as new beat so that was easy (laughs). By the time I was fifteen I was listening to Cat Rapes Dog. Their “Maximum Overdrive” remains legendary as far as I am concerned. And after that I got hooked to Inside Treatment, Pouppée Fabrikk, and other bands from Scandinavia. I only started to listen to German acts when I went to university, and that included bands such as Fortification 55, Project Pitchfork, Psychic Force, Trial, etc..  

As we speak I’m in the middle of compiling our newest volume in the “Face The Beat”-series for Side-Line. The 7^th so far. But shoot with the questions Stephane!

Q: I guess less people know you graduated in journalism so what did you try to add/change when joining Side-Line? And how did you happen to join Side-Line magazine? 

Bernard: That’s correct, I graduated in journalism and worked at a couple of newspapers before diving into the startup world of ecommerce. That was pre-Google so SEO was still something very rudimentary and traffic was basically created via price comparison sites and massive mailings, you can call it pure spam (laughs). 

But I worked for 4 years as a journalist, was able to write a lot of solid articles, but I got fed up with the easy way things were covered (while we all knew it were lies) and the easy way things were NOT covered (because some bishop threatened to sue the newspaper –and me, for defamation). I left that world disgusted. Add to that it is one of the worst paid jobs ever. 

I got fed up with the easy way things were covered in the press

Anyhow, whilst studying one of my friends, Yves Van De Veken, told me there was this magazine that was going to be published with an attached CD compilation full of Dark-Wave music and that they would have the first issue with the sampler later that week in the Metrophone cellar, in Antwerp that is, where I studied. I got the magazine, which was in a very stylish layout, liked the CD sampler and was hooked on the review section to read about new bands. I was at that time already working part-time as journalist whilst studying, and I got access to bigger bands which I thought could fit Side-Line pretty well, so I sent a mail to Seba (who I thought was a girl) and told ‘her’ that I could arrange bigger interviews for them. Seba wanted to test the waters I guess, and I told that I could do Hooverphonic, but could also check with Dirk Da Davo  in the next week to show what I was capable of. Apparently ‘she’ really liked what I wrote and asked for more. Paradise Lost, Marc Almond, Bel Canto, … the list of interviews I did for Side-Line grew by the day.  

But I had never met any of the team. The first time I met someone from the Side-Line team back then was actually you, but I can’t recall where that was, I think it was in Brussels, but for what exactly?

A few weeks later I met Seba –who you told was NOT a girl, at a Die Form concert in Ghent I think. If I’m not wrong Cédric and Benoit were also there. Since then we were like a band of brothers who went to concerts, either together or with one or two others. Sweet times I must say, we were all very young, had not yet lived ‘real’ life with all its hurdles and accidents.

Q: Early 2008 was a turning point in the magazine’s history. Former chief-redactor Séba Dolimont decided to stop his involvement so you became the new chief-redactor. The printed magazine definitely stopped and Side-Line remained only active as online magazine. How do you look back at the loss of the printed magazine and how did the transition happen? 

Bernard: I basically had always pushed to keep the magazine alive as a print magazine, but at the same time I had launched www.side-line.com in 1999 because the initial Side-Line website –on a different url, was basically just a page, looked bloody awful and served no purpose –no offense Ronan Harris. So when Seba told me that he had decided to stop with the printed magazine, my mental switch was fast and I decided to focus on the online magazine which by then was attracting a tenfold of the printed magazine anyhow. It was a no-brainer.

Going online only? It was a no-brainer.

With Seba stopping, we also lost most of the external contributors, which is logical since a print magazine has a more loose team whereas a news website has to work with a very productive small team, as Side-Line.com was by then already producing daily news updates. A small team is always easier to work with, and I had seen that with the print version of Side-Line I was already doing most of the interviews, delivering 99% of the news, while you already did most of the reviews. So, we had a winning team anyhow, why change that?

In short, yes, it had an emotional impact, but not a practical one. We had a good run, but the times were changing. And I for sure was not planning to miss the online train as you know.

Q: I think there’re significant differences between a printed magazine and an online page. Can you give us the pros and cons especially from your perspective? 

Bernard: Yes, the differences are there for sure and I think you will agree with me, but tell me if you don’t! I will give you the pros and cons as far as online is concerned, the cons will largely cover the pros for print.

Pros: 

• Write, enter it in the CMS, add a picture and post. Simple. In short: it’s fast.
• The news goes out instantly via a wide array of tools. One post on Side-Line reaches around 5000 people in the next few minutes via our different channels, above and under the hood. By the end of the day –when syndication and newsletters have kicked in, we have a 10.000 reach per item. This doesn’t mean people have read it, it means that they have at least seen the picture and title.
• The articles can be as long or as short as you want.
• We can add multimedia, which is a good way to add metadata to your articles. This was limited back in 1999 when we went online though.
• A small team can move mountains.

Cons: 

• There is a strict daily deadline to maintain each day.
• The rapidness also gives room to errors you might not have noticed or simply wrong info (although we only had a few incidents with that).
• Getting decent daily news is sometimes difficult, other times you get inundated by news,
• Some labels and bands have no clue how to write press texts and fill it with promo blabla. If there are no 4 lines of good solid facts, I usually do not publish it.
• In our case I have to be technically savy, have seo skills and have IT skills. And I know how to write. That’s a lot if something goes wrong, and we have had times when it really went wrong.
• Online income generation as a news website is not easy. Most of the labels still have no clue what online means and still think in an old school way. 
• A small team means problems when one leaves or falls sick.
• A magazine accept slow reading, a website not.

Q: Do you’ve an idea who’s reading Side-Line and is there a kind of reader’s profile? 

Bernard: Actually I do, thanks to a combination of datasets, which are limited as I hate being followed myself. The last dataset of November shows that 31% is female, 67% is male and 2% identifies not as male or female. Most readers come from the USA, followed by the UK, Canada, Germany, France, Australia, Mexico, Sweden, Norway, Belgium, Italy, Spain, Brazil, Poland, Holland, Greece and Denmark. We got data from 45 countries in total once we filtered out the accidental and spam traffic.

When it comes to the profiles, we have data of a survey that happened a few months ago on our website. 8200+ respondents later we see that half (51%) has an office job, 36% has an outside or factory job and 11% is unemployed and 2% is enjoying their pension. 

The same survey also showed us info regarding age and it goes synchronically with the data from our Facebook page: 4% is between 18-24, 34% is between 25-34, 25% is between 35-44, 27% is between 45-54, 5% is between 56-64 and 3% is older than 64. That info again corresponds more or less with the survey we did.

It shows we have mostly a very active public between 25 and 54 years old.

Q: Back in time the Side-Line forum was quite ‘popular’, but unfortunately also a place for bullshit and conflicts. Did you expect this evolution and was it the main reason to stop the forum? 

Bernard: The Side-Line forum was indeed very popular and at times had 20 to 50.000 visits a day. It was so popular that it had become a full time task to keep the spammers out, to keep things civilized, etc.. The discussion there were legendary. Some were in it for the fun, others to learn something new, and others just to anonymously troll. It was the graveyard of subtleness though (laughs).

The Side-Line forum was the graveyard of subtleness…

It ran its course, but I was so glad I could kill that baby. Just with one click: bye bye! By the end it had become uncontrollable and we had to delete 90% of all posts because the trolling really went overboard. No loss, it’s part of history, but I still have to laugh when I think of the silliness of it all.

Do you know that we once launched a T-shirt line where you could have your nickname printed on it? We sold a few hundred of those… really fun times!

Q: In the meantime, you also became one of the owners of Alfa Matrix, which became one of the leading labels of underground Electro music. What’s your input and impact in the label activities? 

Bernard: I take care of the IT, web dev, communication and digital distribution. I leave the A&R to Seba, as we each have our own department. But we do have to agree all 3 for signing a band or not. I also often am abroad and try to hook up with the bands in real life.

Q: Let’s go on with a rather tricky question. I think it’s very confusing for a lot of people to understand you’re chief-editor of Side-Line and still one of the Alfa Matrix owners. That sounds pretty incestuous, don’t you think? How do you manage both activities without too much conflict of interest?  

Bernard: Nothing tricky at all. I have never hidden the fact that I’m also behind Alfa Matrix and I am proud of it. Actually, I am not the only label guy behind a magazine, check Blabbermouth for instance, it is also successfully run by label people, possible because we have intel on both sides of the medal.

As far as conflict of interest is concerned: there is none. I don’t intervene in the reviews at all, and that’s where there could be a conflict of interest because reviews are subjective an sich. When it comes to news articles, Alfa Matrix gets as much attention as for instance Metropolis, and I bring it as dry as I do with all the other articles: facts, facts, facts and no promo speech.. Actually, sometimes Alfa Matrix bands complain because they have not gotten a good score on Side-Line. I then have to explain that reviews are completely out of my control to keep a healthy balance in the magazine.

I have a very clean conscience.

That other people claim otherwise on Facebook or so is their problem. I have a very clean conscience regarding this. 

Q: It’s also interesting to see next to Alfa Matrix, Side-Line is actually releasing digital compilations; the magazine also became a kind of label! The “Face The Beat”-series became a real success story. What’s the main goal of this compilation series and how do you select the artists? 

Bernard: Well, the move is not so strange I must say. In the early days there was Side-Line Records, some kind of precursor to Alfa Matrix. Then Side-Line produced compilations to go with the magazines. I just brought it to the 21^st century when I took over and compiled and launched the first “Face The Beat” as a Facebook compilation, hence the name, 10 years ago. 

The main goal is reflected by what Side-Line has all been about even when Seba first launched it: get people to know music from established and new bands. It’s a vision I embraced since the start. I added an extra touch and that is that all revenue goes to charity. 

The compilations are compiled like this: I do a call for submissions on all channels we have, there is one reminder and then I lock myself up for weeks with the material that I have received, usually thousands of demos and completed tracks. Once a first selection is made, I go through the material again that is selected and do an extra selection to make sure the best tracks are included. After that I send out the necessary paperwork and then usually almost everyone responds quickly. There are usually only 2 or 4 bands that are too late or never respond. It’s always a race to meet the deadline I have in my mind, but I usually make it on time. In the meantime, I usually have worked on the artwork and worked through the material with Erlend Eilertsen from Essence Of Mind and Lights A.M to make sure the tracks get the best possible sound on the compilation.

After that I launch it on Bandcamp basically and the platform does its work, with some help of me (laughs). It’s all a very intuitive process where clear communication is king. 

A lot of labels and bands still haven’t learned from ecommerce.

Q: You definitely were one of the first from this scene to have understood the impact streaming platforms would have. I remember you got a lot of hard reactions about it, but today you can tell to all of your critics you were right! How do you look back at this period and how do you expect things evolving during the next few years? 

Bernard: Yes, I must say that the short sight of a lot of people in the record business was reflected in the harsh attacks I got in interviews, on radio programs and on social media. Some even went so far to send me mails accusing me of killing the industry, that I was a traitor. One of my biggest critics in the end contacted me back years later saying that he was wrong and that I was right. I still appreciate him till the day of today. Only great people can apologize and say they were wrong.

The thing is, it’s not that I like this or that evolution, it is that I just can see what is going to happen and where our music industry is heading towards. Some new techniques will never take off, but it is my job at Alfa Matrix to keep an eye on what is happening in the industry and what is going to happen and see if we should invest time and money in it.

My hunch that propriety was going to be over and done with except for a solid and loyal base has proven to be correct. The success of both Spotify and Bandcamp show that my theory on mixed digital music consumption was spot on and that my critics didn’t have a clue what was going to happen.

It’s actually not the first time that I have had a conflict with my colleagues in the music sector. Back when I worked at an ecommerce startup, some shop owners said that we were killing their business. But when I once worked together with such a critical shop owner annex distributor he was unable to deliver the goods… because we sold tenfold of what he was able to get (laughs). One of the biggest channels of sales for that ecommerce shop was actually Side-Line. To give you an idea, when Depeche Mode released their single boxes, Side-Line single handedly sold all, but literally all of the stock available in Belgium in just a few days. They had to restock with copies from all over Europe because they were in limited supply. The same for the Erasure single boxes. And as far as the Covenant boxset “Synergy: Live In Europe” is concerned. That is the release we sold 10 times what the Belgian distributor had promised he was able to get… (laughs). And still we were the bad guys (laughs even louder).

I have to thank Warren Harrison from Hungry Lucy for that way of forward thinking. He opened my eyes as far as digital music is concerned and taught me to dissociate my own wishes from that of a public’s wish, and to open my eyes for new technologies. I doubt he realizes the impact he had on me. Now he knows (smiles). A good guy he is, a pity we lost contact a bit.

And the future will continue, but more in the propriety field where things are moving rapidly, think of NFT’s. Len Lemeire planted that seed in my head actually. Add to that that we will sooner or later be faced with cryptocurrency payments on a larger scale. I have a few other new technologies in mind that might be big in the near future.

One thing though that will remain key, is data. A lot of labels and bands still haven’t learned from ecommerce –namely that it is an opportunity to know who your fans are, and  they are now again missing the boat as they have put all their money on Facebook and other platforms that lock their fans into their platform without offering you any way to communicate except via their own platform. Deadly on the long run.

There is a story to this actually. I was approached by at least 2 major Indie labels in the past few years asking if I would be willing to –listen well, sell all of Side-Line’s data in order to set up an own label of Electro-Pop music. And these are indies who have had BIG artists on their roster. But they have never ever gathered data, never had a decent newsletter, in short they were flying blind once things went sour. 

Having said that, I also see bad evolutions, the platforms work more and more via AI to push releases to people in order to keep them as much as possible on their platforms. It unfortunately also leads to tracks, which are made to trigger these AI powered algorithms. The first automatically generated tracks are very ‘promising’ and they have been released for quite some time now. I personally am not happy with this evolution, as it removes the human genius from it, but like I said, we risk to see this more and more.

Q: It all looks like ‘younger’ people show less interest to write for a magazine. Why is it and how do you expect things evolving? 

Bernard: If we look across the board, most print magazines from our scene are gone, and when we look to the online press, most online magazines from our scene are gone or are unable to keep up with the daily news pace like we do for instance. I often get requests from people if they can start writing for us, but their mail always ends with this question: ‘How much do you pay?’ Knowing that we have never received any money, it’s rather cynic that people who have never proven a thing think they can ask money… So I will repeat it again, THERE IS NO MONEY TO MAKE with an online magazine about Dark-Wave. 

As far as contributors is concerned, I am happy with the team I work with now. I can count on you and Jan-Ronald, basically the main contributors next to me. You both have a very professional attitude and we are friends most and first of all.

The evolution will depend on the fact if there will be more people willing to invest money and time in these kind of projects like running a magazine. We all know that nowadays you will not earn a living from it, on the contrary, you need some financial backup to keep a website up and running, pay the licences for plugings, data storage, and so on. And that’s without the hours of unpaid work on top each day.

Q: I already had discussions with people –including label owners, who no longer belief in the real impact of magazines today because of streaming platforms and other channels like YouTube. What’s your point of view and do you think magazines are enough taking care to adapt and renew themselves? 

Bernard: Well, this is not a problem for us honestly. Side-Line online is still about kickstarting new and young bands. And that’s mainly why people check Side-Line as we have the finger on the pulse to know what might become hot and what not. Remember Suicide Commando, Apoptygma Berzerk, etc..? They got pushed by Side-Line back in the days when they were largely unknown. Once we give these small bands an initial push they have to continue and work from their side as well and that’s when they get in the flow of things with the streaming platforms for instance nowadays.

Side-Line online is still about kickstarting new and young bands.

Take a magazine like Side-Line away and many small bands will never ever get a platform to develop. The same goes for our compilations, they serve to push smaller bands to a wider public. Consider us as an incubator for talents.

Know that I also regularly get contacted by the biggest bands in the scene directly with news, because they know we will publish it and they know we have a very good reach on a daily basis.

The AI used by streaming companies is a very big part in the music consumption and trying to trigger it is not something that is easily done especially with smaller bands on indie labels like I said earlier. The streaming Ais therefore still leave a lot of pearls untouched. Roughly 5 to 7 million songs on Spotify have never been played you know… That is HUGE.

That’s where magazines enter. Take me for instance, I basically have no time to start looking for new music, and I always look into our own review section for new material. So as a gatekeeper a magazine still has its purpose, at least from my point of view. I once did a test and played a few tracks and checked what the services would deliver as suggestions. They didn’t offer anything extra that interested me compared to what I got from your reviews, but instead offered a lot of junk extra so that I would have to weed out anyhow. It kinda proves that these Ais are still not capable of matching the human ear and feeling. Maybe that will happen in the future, I think so, or I would be really disappointed in our human genius (laughs).

That is of course as far as my own consumption goes. 

Now, I talked about the gate keeping function which has been the purpose of a good magazine. It’s my belief that a niche magazine which has a steady output of well selected news and articles will keep that gatekeepers function intact. Let me explain, most music magazines have over the years changed their focus on more popular bands, new music styles, added games, clothes, TV and showbiz in their mix just to get traffic. Look at NME for instance that is now ruled by clickbait articles and rubbish content. It has nothing left that reminds of the good old NME. All of its roots have been removed for the sake of clicks.

Another example is Techcrunch. This online tech magazine was the best back in time, but then it got taken over, and suddenly they started to pour out tons of clickbait articles, which had nothing to do with what the magazine was about in its early days and that was: talking about startups. I used to be a daily reader, I stopped simply because I couldn’t keep up with all the extra news being posted that was way out of the scope they had in the past. 

Less is often more, also for magazines. 

It comes to this, stick to your roots and make sure you have a continuous and regular number of articles posted.

From a label’s point of view, I have always worked on both. Now, since I usually work with new bands, it’s not always easy to have them launched rapidly like we could in the past. It now takes time. And I also understand the labels when they no longer see clear. There are roughly 1500 journalists out there that claim to have a magazine that handles Dark-Wave. 80% of which basically has a blog that has 10 visitors a day. Good for them, but I don’t believe in them. Basically, and we have to be very honest, there are close to no magazines left in this scene with a wacky team like ours that is day in day out constantly working to get a certain number of articles online.  

Those left still reach around 50.000 people daily on their websites and socials combined per day. And that’s a rough estimate but I’m very close, I think. Not exactly peanuts in a scene this small like ours. And quite a good crowd to for instance push smaller, unknown bands to.

In short, yes, I do believe in our future, as long as we stay loyal to our vision and mission. The numbers show it, we are reaching more people than ever, and not thanks to Facebook, but thanks to our daily newsletter, push notifications and all the other channels combined.

Q: Next to Side-Line and Alfa Matrix you’ve been also involved as organizer -and later as organizer ad hoc, of the now defunct famous Belgian underground festival ‘Eurorock’. A lot of things have been said about that festival. How do you look back at this event(s) with hindsight? 

Bernard: A bit like SABENA, such a bad experience never again (laughs). 

I’m still unable to talk about the first 2 editions I invested money in, due to some legal matters, but suffice to say you always have to look out who to trust. I lost a lot of money there, and evicted myself right on time from that very toxic situation. The 3^rd time, I was contracted – as I never wanted to be an investor again- but never got paid. In the end I had to solve most of the shit together with the stage managers who just like me were contracted and never paid. The shit thrown at us afterwards by people who have no clue is  exemplary yet not exceptional in this or any other scene. 

I made sure that every single band I had placed there was paid correctly. Most were grateful I made this happen, others cashed in and badmouthed me in public. So far for the thanks (grins). But I never forget… nor forgive (laughs).

Q: I know you prefer avoiding the question, but next to music you’re also politically engaged. What can you tell us about the subject?

Bernard: I’m not really trying to avoid it, I just think it’s not part of my work for Side-Line or Alfa Matrix, period. I always have tried to never mix it with both although some people are trying to frame me one way or another, usually because they don’t get my sarcasm. But now that you ask about it, yes I’m politically active in one of the biggest elected and ruling parties here in Flanders. That has been an excuse from extremists and activists to attack me in public, call my employer and frame me as ultra conservative, ultra catholic or even a pur-sang fascist. Well, sorry for those lunatics, but I’m as much a nationalist as any Norwegian hanging the Norwegian flag in their garden (that’s roughly every Norwegian with a garden) and as catholic as Macron. And as far as the other words used by ‘my’ critics, I don’t like the woke culture that is being pushed in our faces. Period.  

For the rest I’m happily married with a Mexicana, one of my best friend is a Turkish Muslim, one of my closest friends is transgender, and in my scarce free time I help people with learning disabilities to learn social skills. That should say enough. For the rest, I keep politics out of Side-Line and far away from Alfa Matrix because it’s basically not music. I don’t ask our readers about their political ideas either and I frankly don’t care.

However, I must say that over the years we never had remarks from readers when we post reviews or news from hardcore communist bands, but that we always get harassed by a very tiny group when a more conservative band is being covered. That’s a pure fact. I never discriminate, but I see some others discriminating people because they don’t agree with the ideas of this or that band. Rather disturbing…

I have a very good story actually regarding this. I once got an email from a guy, who started a rant because we had posted a review of a certain band on Side-Line. He called them fascists, racists, etc, etc.. But when I went checking his Facebook profile, I immediately understood why he was specifically attacking that band. His Facebook was filled with anti-semitic and anti-Israel rants… and the band he talked shit about had a Jewish singer. Shocking, but reality. 

The same for some BLM activists who have been attacking Side-Line in the past because we talk about –and I quote: ‘White men bands’. It is the same as attacking Motown Records because they have a  black repertoire. Most of the criticism can be explained by checking who is saying what about whom.

I know 2 famous bands in this scene who have made anti-semitic rants behind closed doors, I was shocked and told them this was really not right. One band member –member himself of a communist party, has since then been talking shit about me whenever and wherever he can, I guess in order to cover himself in case I make his name and emails with rants public. I also know bands who are very homophobic, but for the sake of things pretend they are pro LGTB-rights. In short, if I would write a book about the dirty wash I have witnessed over the years I think I would have a bestseller (grins). 

I personally don’t believe in left or right. I believe in doing good or doing bad.

Anyhow, I personally don’t believe in left or right. I believe in doing good or doing bad. I prefer doing good, under what political umbrella that may be. I also believe in taking responsibility for your own actions, and hard work. Locally I’m quite appreciated because I talk and listen to everyone, what their skin color, political belief or sexual orientation may be. And if they have a legitimate claim or need, I will try to help.

Q: Quite recently the Side-Line server crashed and you started a crowd funding to pay the costs. Your action was quite successful and Side-Line has been reactivated, which seems to prove Side-Line still means a lot to labels/artists and readers. How do you look back at this stressed period? 

Bernard: I was like ‘NOT AGAIN!’ when I realized it was not just an issue of rebooting the server when the server didn’t fire up as planned. We already had lost our previous site years ago due to a server issue and lost years and years of data… so you can imagine I was kinda stressed (laughs). But luckily enough, I had been working with this software engineer (editor’s note: Martin Rosselle) in another IT project. He is working for some of the biggest companies I know and he literally has made a name as being somebody who solves problems, a Winston Wolf in the software sector as you wish. I contacted him and told him we really needed the site back operational pretty fast and if he could help out. He canceled all his freelance work he had planned and asked me to come over so I could follow closely and help with the work. The error we had, was even for the engineers at our hosting company quite a real conundrum. Hell, they even asked us to please keep them informed as to how we would solve it because they had run out of options.

I took a 5 days unpaid leave, jumped in my car at 5 in the morning and drove 3,5 hours to set up shop at Martin’s place. In the car I was thinking of how to finance this endeavor… I’m already pumping thousands of Euros into Side-Line each year, but corona made that a lot of my income had completely vaporized so an extra financial blow like this was just very, very difficult. 

Then while I was having a coffee at a motorway restaurant, somebody sent me a WhatsApp message saying: ‘Hey Bernard, I saw your message that the site is down and that you guys are working on it. If you set up a crowdfund, I’ll gladly help!’ I was like, ‘really would people help out?’ So whilst doing the last hundred kilometers I was thinking ‘why not, if it gathers enough to pay half of the bill then that would already help a lot ‘. 

But it turned out to be really overwhelming… I’m still emotional when I think of it really… I saw the donations pouring in, from readers, bands, small labels, small PR companies, artists. I was actually very positively surprised that it were the smaller labels and bands next to lots of readers that came forward to support this crowdfund. I haven’t heard a word from the big labels… One of the biggest label bosses in this scene did send me an email… asking when their news would be up… no help, no question, nothing. It strengthens me in my vision that we have to stay an incubator for new talents and new and smaller labels, as they are definitely more connected with us… 

I did learn another lesson from this though, and that is that I need to delegate more. Jan-Ronald Stange has been helping with design, and I contracted Martin for our server maintenance and security so that we can intervene directly with the right people when needed. 

Q: What have been the best and worst memories from all the years you’ve been involved with Side-Line? 

Bernard: The worst: seeing others suffer. You know what I mean. 

The best: it is wonderful to stay friends for all these years with people with such different characters inside the team. And Side-Line also opened the gate towards other people I respect, I got in contact with Jan-Ronald Stange thanks to a lunatic groupie, so that ended well (laughs). And I shouldn’t forget Anne-Laure, Erlend, Marianne, Leydi, Simon and so many other people who have become close and reliable friends thanks to Side-Line.

Basically, working at and with Side-Line is the proof for me that one doesn’t need to stay in his/her own echo chamber to respect and be respected. You know that as well, I have told you that in a recent text message remember?

Q: Are you sometimes thinking about the end of Side-Line and also the end of Alfa Matrix? What should be the best way to say goodbye? 

Bernard: I have a pretty compulsive character, however, Side-Line has been a constant element in my life for the past 30 years. I always dedicate 2-3 hours per day to the magazine, writing articles, working on the site’s cms and machinery behind it, answering a ton of emails… It survived 2 marriages so far as well (laughs)! So no, it’s a part of me, and I haven’t really thought about stopping although there have been moments that I think, who the hell am I doing this for… But then you get a big thank you mail from a band or reader or label and that’s enough to kill off those negative feelings.

But if we would close shop, I guess it will be with a big bang (smiles). But so far so good.

If we would close shop, I guess it will be with a big bang.

The same goes for Alfa Matrix, as long as we can find good bands to push, we’ll continue.

Q: You and I have had some personal issues, but I think that thanks to Side-Line, we became and still are good friends. Any specific souvenir or anecdote you want to share? 

Bernard: Ah yes, we have gone through some turmoil you and me. I guess that is just part of good friendships, it’s like a marriage I guess, either you make up or you go to a lawyer (laughs). I guess we both learned from our private wars and have learned to respect each other. And that is what counts, we learned to see what unites us, not what divides us. And we never had to hire a lawyer (laughs)!

But speaking about the special moments… Well, racing on a German motorway at 200 km/h in a BMW to get home in time to drop of some equipment and then realize we could have delivered it 2 days later as well…. That was quite a memorable and especially dangerous moment we shared (laughs). Honestly, it was completely irresponsible, and I would never do it again, whatever the reason. Had we crashed, a magazine would have disappeared, a label and a few bands would never have seen the light of day and my sons would for sure never have existed and most importantly this: some others could have been injured or killed. I never drive fast nowadays, if I’m too late for a meeting so be it, but usually I start on time, it also avoids unnecessary stress and gives me the option to also have a coffee underway.

I also remember some sectarian veggie restaurant somewhere in Brussels where we ended up via John Sellekaers I think? That was quite weird for me… the food was ok though, but I’m not really into sects (laughs). But aside from that, I kinda miss sitting in a restaurant with all of us, you, Seba, Benoit, Cedric, and a few others which are still part of my inner circle, but who I don’t see enough. Luckily at least you and me did a good restaurant now !

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: Dream-pop.

Format: Digital, CD.

Background/Info: BlackieBlueBird is a Danish male-female duo striking back with their second full length album. This work has been unleashed two years after the debut work “Ghost River”.

Content: “Goodbye In July” sounds delicate while Heidi Lindahl’s timbre of voice has something fragile. The perfect mix to create melancholic ballads and that’s precisely what this new work stands for. The songs composed on acoustic guitar, bass and even mandolin by Nils Lassen have something authentic. Music and vocals transpose the listener into a dreamy voyage. Lyrical themes empower the melancholia while the vocals seems to symbolize the vulnerability of life.

+ + + : This work has something of ballad-noir music. The songs have been composed in a melancholic mould creating a deeply, sensitive and even emotional experience. I like the vocals of Heidi Lindahl reminding me to Christa Belle (Hungry Lucy). There’re a few little pearls featured, but I especially want to mention “Who Loves The Lover”. Last, but not least I also have to say a word about the great artistic digipak.

– – – : The only point that hurts me a bit is the sometimes monotonous sensation I got during the listening. There’s less diversity, the sound formula being the same on all songs.

Conclusion: If you feel sad and you need something sweet and sugar-like to feel better, you can also listen to BlackBlueBird.

Best songs: “Who Loves The Lover”, “What Time Is It?”, “Sorry Lives Here No More”, “Break It”.

Rate: (7½).

Artist: www.facebook.com/blackiebluebird

Label: www.aenaos-records.com

About BlackieBlueBird

BlackieBlueBird is a Danish duo formed by vocalist Heidi Lindahl and multi-instrumentalist Nils Lassen. After the debut album “Ghost River” and “Goodbye In July”, reviewed here, the duo released the single “The Love We Once Knew” in 2021 and the album “Grace And Gravity” in 2023 on Aenaos Records. In 2024 they released “A Symphony Of Shadows”, featuring ten reworked tracks from their earlier catalogue, discussed by Nils Lassen in a 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

(Photo by Elsiane) Elsiane is one of those few bands which immediately caught my attention after War-n from Hungry Lucy pointed them out to me a few years ago. The mix of sensual and very recognisable vocals by frontwoman Elsieanne Caplette swimming in subtle dark wavish pop (with a clear reference to Cocteau Twins) did its work really well.

Out now is “Sinai”, the brand new – and long-awaited – single by the female fronted duo Elsiane. And it’s again a perfect merge between these two highly talented musicians. Just check the new single below!

Peru and Canada united

Elsiane was formed in the year 2000, after singer/musician/composer Elsieanne Caplette emigrated to Montreal, Canada from Lima, Peru, and met drummer Stephane Sotto. The duo are an unlikely match to say the least, merging the classically trained Caplette with the self-taught Sotto, and doing so with unprecedented style. With shared influences spanning across jazz, rock, electronic and world music, and an intriguing nod to the trip hop of Massive Attack, Portishead and Tricky, the pair creates a musical experience that is entirely unique. 

The 2007 debut album Hybrid established them as the hottest new act in Canada, which was followed up by ecstatically received live performances, including tours with Delerium and Beast, as well as performances at the Montreal International Jazz Festival and Toronto International Film Festival. A devoted live following began to form, drawn to the shadow-filled dreamscapes of songs like “Vaporous,” and the arresting visuals and the hypnotic intensity of Elsieanne Caplette’s voice and stage presence. 

In 2012 Elsiane followed Hybrid with a self-produced second album, Mechanics of Emotion, which further galvanized both their sound and following. Their third album, Death of the Artist, was released independently in 2017, receiving high praise and being regarded by many as their best work. Elsiane then began working non-stop, with two European tours, performing with Cirque Du Soleil, and releasing an album in collaboration with science fiction author Rich Shapero for his multimedia interactive novel Rin, Tongue and Dorner. 

After the passing of Sotto’s father in 2018, the duo settled down and began to write a new album in dedication to his memory. They feel inspired to take their creativity to the next level and embark on a new chapter, and with the first single “Sinai” out in June 2020, fans will get a preview of the forthcoming transformative era of Elsiane. 

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 now and soon vinyl too on July 10th is the album “Mood – WSNWGBTZ001” by Rødhåd aka producer Mike Bierbach. ‘WSNWGBTZ001’ stands for ‘WSNWG – Back to zero’ in case you wondered, WSNWG being the label this album was released on. It’s Bierbach’s first ambient experimentalist release, comprised of his own solo archival material mostly from 2017/2018.

You’ll discover field recordings, droning loops and soundscapes on this 18-track album. You can check it out below. Good stuff.

From techno to ambient

Known in contemporary Techno circles, Mike Bierbach has been DJing as a relatively unnoted local in Berlin for 10 years before launching his party-series-turned-label Dystopian in 2009. Dystopian has hosted most of his releases, but in 2018 he founded a new label WSNWG that serves as a home for collaborative productions, excavated in sessions at his East-Berlin studio with his peers such as Lucy, Alex.Do, & Antigone.

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

16 years ago Alfa Matrix released a free label CD sampler, “Sounds From The Matrix 001”, in order to showcase what the young label was all about. It featured tracks by Aiboforcen, Dunkelwerk, Hungry Lucy, Mnemonic, and 11 more bands that had joined the label.

Over the years, no less than 21 of these samplers were released and given away to those who ordered directly from the label. Since the start various volumes are no longer available and most were never made available commercially in high audio download quality, that is until now.

The label has now filled the missing holes in the releases available on their official Bandcamp pages and unloaded all 21 volumes at once. It’s a great journey through the vaste catalogue with exclusive tracks and rarities.

Here’s an overview of all the releases which are available now on Bandcamp:

Sounds From The Matrix 021
Sounds From The Matrix 020
Sounds From The Matrix 019
Sounds From The Matrix 018
Sounds From The Matrix 017
Sounds From The Matrix 016
Sounds From The Matrix 015
Sounds From The Matrix 014
Sounds From The Matrix 013
Sounds From The Matrix 012
Sounds From The Matrix 011
Sounds From The Matrix 010
Sounds From The Matrix 009
Sounds From The Matrix 008
Sounds From The Matrix 007
Sounds From The Matrix 006
Sounds From The Matrix 005
Sounds From The Matrix 004
Sounds From The Matrix 003
Sounds From The Matrix 002
Sounds From The Matrix 001

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: Minimal-techno.

Background/Info: Zeitgeber is a duo featuring Jochem Paap aka Speey J (The Netherlands) and Luca Mortellaro aka Lucy and Stroboscopic Artefacts (Italy) owner. From time to time the duo releases new work, this EP being their last artistic exposure. The work is also available on vinyl.

Content: It’s already been a few years ago that I heard new Zeitgeber stuff. The title song features heavy sound treatments, which has something industrial-like, but the work remains pretty technoid. Both tracks left are more into minimalism and driven by repetitive loops.

+ + + : The new Zeitgeber work has something unique; it’s not the usual techno-sound, but a more minimal format. I like the overwhelming sound treatments running through the title song, which is for sure the highlight.

– – – : I personally prefer the solo-works from both artists instead of their sonic union under the Zeitgeber moniker. I’m missing a climax, and the tracks are also too repetitive.

Conclusion: I expected a bit more out of this ‘resurrection’ and I’m sure Zeitgeber can do much better!

Best songs: “Seventeen Zero Four”.

Rate: (6).

Artist: www.facebook.com/jochem.paap / https://www.facebook.com/lucyofficial

Label: http://stroboscopicartefacts.com / www.facebook.com/StroboscopicArtefacts

About Zeitgeber

Zeitgeber pairs Dutch producer Jochem Paap, known individually as Speedy J, with Italian producer and Stroboscopic Artefacts label owner Luca Mortellaro, who records as Lucy. The duo’s collaboration surfaced with the “Body Out Body In” EP in 2013 and the “Monad XX” release in 2015, followed by “Seventeen Zero Four”.

Inferno Sound Diaries

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

www.side-line.com

The post-punk/indie/goth act A Projection, which formed in 2013 in Stockholm, Sweden, has released two albums to date: “Exit” (2015) and “Framework” (2017). Out on October 25th is the band’s brand new album, “Section”. It will be the first album after the departure of their original singer, with former bassist Rikard Tengvall replacing him.

The band partnered with the US based Metropolis Records for the worldwide release of “Section” and also just issued the song “Lucy Shrine” as a new single taken from the record.

Here’s the single “Lucy Shrine”. Read the review of ‘Section’.

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: Abstract-electro, experimental, techno, tribal-techno, ambient.

Background/Info: This sampler featuring 10 artists is meant as an ‘Contemporary Italian Electronic Music’-feature.

Artists: Chevel, Marco Shuttle, Silvia Kastel, Andrea Belfi, Ninos Du Brasil, Alessandro Adriani, Lucy, Lory D, Caterina Barbieri, Neel.

Content: Ten artists are not that much for a compilation, but the artists are clearly dealing with very different –although related, kinds of music. From pure abstract sound experiments (Silvia Kastel) to intriguing ambient (Marco Shuttle) to tribal experimentation (Ninos Du Brasil) to intelligent techno (Alessandro Adriani, Lory D) to tribal-techno (Lucy) to pure ambient reverie (Caterina Barbieri, Neel) this sampler really has a lot to offer.

+ + + : It all is a question of taste, but my favorite cuts definitely are the more up-tempo ones. Lucy did an impressive job on the tribal-techno driven “Starving The Mind”, which also features a great Eastern-like atmosphere. Lory D will also appeal for techno heads with the cool “PRV-HH3-X”. In a totally different approach “Caterina Barbieri explored electronic space paths on her extended version of “Virgo Rebellion”.

– – – : Diversity might be exciting, but I was less convinced by some explicit experimental- and abstract songs.

Conclusion: Stroboscopic Artefacts remains an incredible source of visionary music artists and it’s not that different with this sampler although some of the tracks are maybe too experimental-like.

Best bands: Lucy, Lory D, Ninos Du Brasil, Caterina Barbieri.

Rate: (6½).

Label: http://stroboscopicartefacts.com / www.facebook.com/StroboscopicArtefacts

About Stroboscopic Artefacts

Stroboscopic Artefacts is a Berlin-based label founded in September 2009 by Italian producer Lucy (Luca Mortellaro). “Flowers From The Ashes”, reviewed here, gathered ten acts for a “Contemporary Italian Electronic Music” feature: Chevel, Marco Shuttle, Silvia Kastel, Andrea Belfi, Ninos Du Brasil, Alessandro Adriani, Lucy, Lory D, Caterina Barbieri and Neel.

Side-Line later reviewed further Stroboscopic Artefacts releases, including Alessandro Adriani’s “Embryo” EP and his second album “Morphic Dreams” (both 2019).

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:

About Denise Rabe

Denise Rabe is a techno and IDM producer based in Berlin. Before “The Frogs Pick A King,” she had already released several EPs and DJ mixes. The 12″ pairs two new tracks with remixes by Orphx and Nur Jaber, a Lebanese producer and DJ. The release came out through Rabe’s own imprint, Rabe.

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: Medieval, dark-electro, ethereal, gothic.

Background/Info: After a previous split-release between dark-wave-electro-medieval band Schwarzblut (The Netherlands) and the the medieval formation Saeldes Sanc (Germany) featuring Hannah Wagner (also known from Helium Vola) they now joined hands to unleash this EP-collaboration. The common element between both formation is their love for ancient languages and poetry.

Content: The music is mixing different influences, which you for sure have already discovered in the work of Schwarzblut. It sounds like a melting pot between dark-electronics, gothic, but especially medieval music and ethereal vocal parts. Hannah Wagner supports this work with an angelic touch while acoustic instruments only accentuate the graceful writing of this work.

One of the noticeable cuts is the adaptation of the famous “Palästinalied”. You’ll also discover remixes by Heliophile, Maarten Pels and Noise Junk.

+ + + : “Wildes Herz” is an invitation to dream away, joining an imaginary distant and medieval world. The songs have been accomplished with epic arrangements at one side, but still an artistic approach achieved with violin and the beauty of the vocals. There’s a harmony between subtle treatments at one side and bombast at the other side. It’s the kind of work that will possibly appeal for fans of Qntal, Helium Vola, Arcana and related genres although Schwarzblut always inject a darker and more electronic-like touch as well. That’s what you can hear on the remixes as well. The duality between all the influences is fascinating challenge.

– – – : I enjoyed the “Palästinalied” interpretation, but was it really necessary to cover this famous song? I like the diversity of the production, but I’m not always convinced about the more electronic-like versions –mainly revealed on the remixes.

Conclusion: “Wildes Herz” is the logical continuation between two band sharing common interests and passion for beautiful and transcendental music.

Best songs: “Mit Manger Fröide Und Liebes Vil – Schwarzblut Edit”, “Palästinalied”, “Lucy Gray – Schwarzblut Edit”.

Rate: (7½).

Bands: www.schwarzblut.com / www.facebook.com/Schwarzblutband / www.saeldessanc.com / www.facebook.com/SaeldesSanc

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

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

It was Record Store Day this past weekend and for the occasion the Belgian label launched a special 30% discount code ( RSD2017 ) which is available to use until the end of this week. You can apply the code in the label’s webshop or on the label’s Bandcamp page. You will get 30% off on everything that is added in your basket (except on the forthcoming Metroland and Alien Vampires box sets).

Happy hunting!

Included in this massive discount action are releases by 32CRASH, Acylum, Aengeldust, Aesthetische, Agonised By Love, Aiboforcen, Alien Vampires, Ambassador21, amGod, Armageddon Dildos, Avarice In Audio, Ayria, Bruderschaft, Cosmic Armchair, Crisk, Cynical Existence, Depeche Mode (the tribute releases), Diffuzion, Diskonnekted, Dive, Dream Recall, Dunkelwerk, Elektroklänge, ELM, Entrzelle, Epsilon Minus, Essence Of Mind, Freakangel, Front 242, Gaytron, Glis, Halo In Reverse, HausHetaere, Headscan, Helalyn Flowers, Hungry Lucy, I:scintilla, Implant, Internal, Inure, Junksista, Kant Kino, Klutæ, Komor Kommando, Krystal System, Leaether Strip, Lovelorn Dolls, Malakwa, Male Or Female, Mari Chrome, Mentallo and the Fixer, Metroland, Mind:State, Mnemonic, Mondträume, Monolith, Nebula-H, Neikka RPM, Nitzer Ebb, Növö, O.V.N.I., Plastic Noise Experience, Pouppee Fabrikk, Prozium, Psy’Aviah, Razorfade, Recoil, Regenerator, Saeldes Sanc, Schwarzblut, Sebastian Komor, Seize, Sero.Overdose, Shaun F, Simon Carter, Siva Six, Star Industry, Stray, Studio-X, Suicide Inside, Tamtrum, Technoir, The Cure (tribute), The Psychic Force, Totem Obscura, Trisomie 21, Unter Null, Venal Flesh, Virgins O.R Pigeons, Virtual Embrace, XMH, Zombie Girl, … plus a long list of compilations.

And in order to save on shipping costs, it’s recommended to combine this with the label’s 2 newest releases although they are not discounted.

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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“Today he has no means He’s alone and anonymous, but written in his cells he’s got the marks of a genius”, with these Front 242 lyrics (“Headhunter”) the Belgian electro label Alfa Matrix has launched quite an impressive EBM day action offering no less than a 30% discount on all of it’s physical (and download releases) including the much wanted Front 242 vinyls sets.

All you need to do is use the code ebmday242 to get 30% off on all of the labels releases (ltd editions, boxsets, t-shirts, vinyls, …) purchased via the Alfa Matrix webstore and the official Alfa Matrix Bandcamp page.

The code ebmday242 is only valid today and this weekend and will be applied on all products you have added in your basket.

And that’s not all! the label has also added a huge list of VERY low priced compilations right here.

Included in this massive discount action are all physical and download releases by 32CRASH, Acylum, Aengeldust, Aesthetische, Agonised By Love, Aiboforcen, Alien Vampires, Ambassador21, amGod, Armageddon Dildos, Avarice In Audio, Ayria, Bruderschaft, Cosmic Armchair, Crisk, Cynical Existence, Depeche Mode (the tribute releases), Diffuzion, Diskonnekted, Dive, Dream Recall, Dunkelwerk, Elektroklänge, ELM, Entrzelle, Epsilon Minus, Essence Of Mind, Freakangel, Front 242, Gaytron, Glis, Halo In Reverse, HausHetaere, Headscan, Helalyn Flowers, Hungry Lucy, I:scintilla, Implant, Internal, Inure, Junksista, Kant Kino, Klutæ, Komor Kommando, Krystal System, Leaether Strip, Lovelorn Dolls, Malakwa, Male Or Female, Mari Chrome, Mentallo and the Fixer, Metroland, Mind:State, Mnemonic, Mondträume, Monolith, Nebula-H, Neikka RPM, Nitzer Ebb, Növö, O.V.N.I., Plastic Noise Experience, Pouppee Fabrikk, Prozium, Psy’Aviah, Razorfade, Recoil, Regenerator, Saeldes Sanc, Schwarzblut, Sebastian Komor, Seize, Sero.Overdose, Shaun F, Simon Carter, Siva Six, Star Industry, Stray, Studio-X, Suicide Inside, Tamtrum, Technoir, The Cure (tribute), The Psychic Force, Totem Obscura, Trisomie 21, Unter Null, Venal Flesh, Virgins O.R Pigeons, Virtual Embrace, XMH, Zombie Girl, … plus a long list of compilations.

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: Experimental-techno.

Background/Info: “The Lotus Eaters” resulted from the common efforts of Luca Mortellaro aka Lucy (Stroboscopic Artefacts owner) and techno-experimentalist Rrose (who last year also released split EP’s together with artists like Orphx and Kangding Ray). This 12” features 4 different tracks.

Content: This production is an invitation to explore the most unknown and less popular realms of techno music. It for sure is based upon technoid sources of inspiration, but the sound treatments quickly appear to be the main focus. From ambient atmospheres, which are progressively moving into rhythm while repetitive bleeping sequences join in, this work has less in common with the familiar techno music.

The techno format of Lucy & Rrose is not driven by pumping kicks, but is accentuated by impressive sonic manipulations and deep, vibrating sound waves.

+ + + : “The Lotus Eaters” fills the gap between traditional techno music and pure underground electronics. This is a dark and experimental production, which I think will be more praised by underground and especially experimental music lovers instead of teenagers dancing to big beats. This work is sophisticated and complex, but first of all revealing a further dimension of techno. Stroboscopic Artefacts is based in Berlin, which remains the sonic Mecca for this kind of avant-garde experiences.

– – – : The complexity and especially the experimentalism of the record makes it for sure less accessible for a wider audience although I guess that’s not the main purpose of both artists. Speaking for myself I’m not that much into the opening cut, but the other tracks are definitely more exciting.

Conclusion: Lucy & Rrose proves that techno music is still becoming darker, more sophisticated and definitely into underground. That’s why this kind of format becomes more accessible for industrial- and experimental fans as well.

Best songs: “Stained Glass”, “Peeling”.

Rate: (6½).

Bands: www.facebook.com/lucyofficial / www.facebook.com/Rrose1921

Label: www.stroboscopicartefacts.com / www.facebook.com/StroboscopicArtefacts

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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We enter the final few hours to enjoy a 50% reduction on all of your purchases via the Alfa Matrix Bandcamp page. You get a discount of 50% when using the discount code january50432. Just enter it when checking out. The code is valid on ALL of the releases on the label’s Bandcamp page.

Included in this massive discount action are releases by 32CRASH, Acylum, Aengeldust, Aesthetische, Agonised By Love, Aiboforcen, Alien Vampires, Ambassador21, amGod, Armageddon Dildos, Avarice In Audio, Ayria, Bruderschaft, Cosmic Armchair, Crisk, Cynical Existence, Depeche Mode (the tribute releases), Diffuzion, Diskonnekted, Dive, Dream Recall, Dunkelwerk, Elektroklänge, ELM, Entrzelle, Epsilon Minus, Essence Of Mind, Freakangel, Front 242, Gaytron, Glis, Halo In Reverse, HausHetaere, Headscan, Helalyn Flowers, Hungry Lucy, I:scintilla, Implant, Internal, Inure, Junksista, Kant Kino, Klutæ, Komor Kommando, Krystal System, Leaether Strip, Lovelorn Dolls, Malakwa, Male Or Female, Mari Chrome, Mentallo and the Fixer, Metroland, Mind:State, Mnemonic, Mondträume, Monolith, Nebula-H, Neikka RPM, Nitzer Ebb, Növö, O.V.N.I., Plastic Noise Experience, Pouppee Fabrikk, Prozium, Psy’Aviah, Razorfade, Regenerator, Saeldes Sanc, Schwarzblut, Sebastian Komor, Seize, Sero.Overdose, Shaun F, Simon Carter, Siva Six, Star Industry, Stray, Studio-X, Suicide Inside, Tamtrum, Technoir, The Cure (tribute), The Psychic Force, Totem Obscura, Trisomie 21, Unter Null, Venal Flesh, Virgins O.R Pigeons, Virtual Embrace, XMH, Zombie Girl, … plus a long list of compilations.

The discount code only lasts till January 31st midnight, so make sure to use it asap!

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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Warren Harrison, known as one half of the former trip hop duo Hungry Lucy, is back with a new project featuring singer/songwriter Jess Lamb and Kasey Williams on guitar and bass. To our American readers the name of Jess Lamb should ring a bell as she was a candidate for American Idol this past year.

Says Warren: “Jess has been around for quite some years as a musician though and is a hard-working musician who has been playing around the US for the past 11 years and releasing a few albums over that time.”

The duo first collaborated on a trip-hop cover of the Bill Withers 1971 classic “Ain’t No Sunshine” earlier this year and have now just released the 2-track EP, entitled “Free” that displays their first original work together. This includes the excellent ‘industrial-gospel’ song “Lovers on the Run” (which was also included on the Side-Line playlist on Spotify) and the more pop sounding “Step Out of the Dark”. The tracks are a taste of a full-length release coming up in 2016.

You can listen to the new EP below.

The “Free” EP is the first major release for the Cincinnati-based singer/songwriter Jess Lamb since her post-American Idol David Sisko produced single, “Memories” hit the digital stores.

The duo has also been performing live, with more gigs to come. Here’s a picture from their set at the Da Vida House venue on October 28.

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

It probably never happened that Pink Floyd fans were so glad and so disappointed in a matter of minutes. But first the happiness ingredient. To mark the 50th anniversary since the tracks were recorded, Pink Floyd have – without any publicity – released a limited edition set of two 7″ singles, containing the band’s first recordings. The set, entitled “Pink Floyd 1965 – Their First Recordings”, holds unreleased material, including the Syd Barrett compositions “Lucy Leave”, “Double O Bo”, “Remember Me”, and “Butterfly”, coupled with Roger Waters’ “Walk With Me Sydney” and a cover of “I’m A King Bee” originally by Slim Harpo.

At the time of recording these tracks the band consisted of Syd Barrett, Roger Waters, Nick Mason and Richard Wright, Rado Klose and Juliette Gale on backing vocals on “Walk With Me Sydney”. The audio was mastered from the original mono analogue tapes by Andy Jackson of Tube Mastering and Ray Staff of AIR Studios.

The less funny thing, only a 1000 copies were made, and they sold out in record time of course after which they popped up right here on eBay at hefty prices. Not surprising that many fans are disappointed.

The reason why the release was distributed in such a low profile way – and in a very limited run – can be found in the ‘Use It or Lose It’ provision in European copyright law dating from 2012. In that year the European Union said that all copyrighted recordings had to be released within 50 years or else it would become public domain. As a result we have already seen low profile releases popping up from The Beatles, Bob Dylan and the Beach Boys. And now it’s Pink Floyd’s turn to release some recordings in order to extend their copyrights for another 20 years.

For those who missed these items, don’t despair, Pink Floyd has plans to make them available in some physical form towards the end of next year.

Bernard - Side-Line Staff

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

side-line.com