Date At Midnight is an Italian Post-Punk and Goth-Rock band formed in 2007 in Rome. This year, they released their third full-length album, “Fading Into Grace”, through Manic Depression Records. The album features well-crafted, professional compositions that seamlessly blend the band’s signature alluring guitar work with more melodic and atmospheric electronic elements, all underscored by deep, brooding vocals. It’s a standout release that is sure to captivate the international Post-Punk community. I had the opportunity to chat with the entire band to learn more about this remarkable album. (Courtesy by Inferno Sound Diaries)

Q: You’ve been active as Date At Midnight for several years now. What initially brought you together, and how do you reflect on what you’ve achieved so far?

Pasquale: When we embarked on this journey back in 2007, the Goth scene in Rome was a vibrant tapestry of parties, concerts, and kindred spirits. Both Daniele and I had our roots in other bands, but we yearned for something new, a vessel to express ourselves, revel in the joy of creation, and craft our own music. Little did we know that Date At Midnight would endure, becoming a cornerstone of the Italian scene with countless gigs across Europe. It’s a peculiar blend of pride and a slice of healthy melancholy that fills me when I reflect on our path.

Daniele: I wholeheartedly echo Pasquale’s sentiments. The early days were filled with unforgettable moments, both within the band and in the thriving scene that birthed us, and this feeling is still alive.

Francesco: I joined Date At Midnight in 2012, after their initial works, and I was elated to receive their call, having been an early supporter. It felt like coming home, and I immediately sought to contribute, which I believe is evident in the evolution of our drumming from the early works to “Songs To Fall And Forget” and beyond. The camaraderie we share, especially backstage, after shows, and during our travels, are my most cherished memories.

Nunzio: Though I joined just a few months ago, I’ve known Date At Midnight for years and even shared the stage with them with some of my previous projects. Playing with them is a source of immense pride, and our first gig together in Budapest last July is a memory I will treasure forever. I truly look forward to what will come next, from every point of view!

Q: Why are there always years between each album release? Is it challenging to win back fans after such breaks? What keeps you busy when you’re not making music?

Daniele: Balancing Date At Midnight with our daily lives can be challenging and, since we care a lot about our live performances, when we have to play live we prefer to focus on the setlist rather than composing. After the very good outcome of “Songs To Fall And Forget” in 2016, the plan was to release a quick follow-up EP, which we did with “Reverse Resilience” in 2018, and then a new album. However, COVID disrupted our plans, and furthermore our original guitarist’s departure forced us to start again almost from scratch. These challenges have certainly impacted our timing, but the important thing is that we are now here, alive, kicking, and with a great new album out!

Pasquale: Each album has its own unique story. We’ve always been a band that thrives in the rehearsal room, sharing every step of the creative process. Especially in the last years external factors like lineup changes, personal commitments, and the pandemic have all played a role. Fortunately, we have a loyal and patient fan base that continues to grow with each release, and that’s truly heartening.

Francesco: My two daughters and my day job keep me busy, but I relish every moment in the rehearsal room. The creative phase is very exciting, and we take our time composing, recording, and mixing. Our fans seem to appreciate this approach, and that makes it all worthwhile.

Q: Tell us more about your latest work, “Fading Into This Grace.” What is the album about, and what influenced its composition? How did it all come together?

Pasquale: “Fading Into This Grace” is our most complex work, with layers of sound, extensive use of synthesizers, and deeply introspective lyrics. From the bass guitar perspective, we aimed for a prominent sound that also contributes melodically, in true Post-Punk and Dark-Wave tradition. The album delves into obsessions, impulses, disillusions, and emotions, addressing unresolved questions in a symbolist and visionary manner. It explores the inexorable flow of time, the need and urgency of losing yourself in a state of grace that probably cannot ever come, the illusory yet essential nature of love, and the societal traps of pre-packaged definitions, all while clinging to the vital, albeit potentially tricky, flame of hope.

Daniele: The new album features nine tracks, each distinct, reflecting our eclectic approach. We blend Gothic-Rock, Post-Punk, Dark-Wave, Death-Rock, and Cold-Wave without boundaries. The vocals are varied and expressive, with moments of climax, liberation, and desperation. I aimed for a more spontaneous vocal approach, and I believe we achieved that. To me, the entire work is inspired by love and sorrow.

Q: Who handles what when it comes to the writing and production process? And what contributes to the chemistry among you?

Daniele: Our music has evolved with our lives, from a more whimsical youth to a view of things characterized by greater focus and less haste. This evolution is mirrored in our collaborative songwriting process, where we share ideas and feelings from the early composition stage to the final result. It’s a magical synergy that has persisted for years, fueled by our diverse musical tastes and immense passion, as we all listen to different kind of music and so each one tries to bring its own and evolving background when it comes to write a new song.

Pasquale: The writing process is truly collaborative, with each member contributing to their own instrument and providing feedback on others; this is my favorite part of the job. While the rehearsal room remains central, I must say that for “Fading Into This Grace” there has been a bit more ‘home based’ contribution, as some songs such as “No Contact/Red Zone”, “Carmilla”, “The Privation” have been fully composed and recorded in a rough demo version by myself and then finetuned all together.

In production, we closely collaborate with our sound engineer, trying always to experiment with something new; for our last works I particularly take care of this step. I want to make a special mention concerning the mastering of “Fading Into This Grace” since it has been made by William Faith in his studio in Chicago: he did it great, providing the best listening experience. Apart from the technical aspects, it has been a true honor for us to have him onboard for this release.

Q: How do you feel about the album now that it’s out? Are there any aspects you think could have been done better or differently? What do you particularly like about the songs?

Nunzio: As someone who wasn’t part of the recording process, I approached the album as a listener. I was immediately struck by its complexity and modern sound. I particularly enjoyed songs like “No Contact/Red Zone” and “The Line”, but each song has its own personality and style, keeping me engaged throughout.

Francesco: I’m very satisfied with the result. While there may always be minor details I’d tweak upon re-listening, songs like “Another Grace” and “Rendez-Vous” are so powerful that I was eager to record and release them. “Carmilla,” dedicated to my first daughter, is a particular point of pride for me, and an act of love from the whole band.

Daniele: I believe this is our best album yet, and I still enjoy listening to it, which I didn’t make so often in the past. Occasionally, I notice small things that could have been recorded differently, but it often depends on my mood. The album’s layered nature means each listening experience is unique.

Pasquale: The album has received numerous reviews, and a common sentiment is that it feels too short, leaving listeners wanting more. I think that this is the highest praise it could receive.

Q: I noticed you have some live performances coming up. What can fans expect from your new live shows, and how do you prepare for a performance?

Francesco: We’re thrilled to be back on the road. Live shows are a chance to connect with fans and fellow artists. Over the years we have connected with lot of people and with many other bands whose mutual support still endures. We’re training hard to deliver the best performances, and fans can expect an atmosphere and energy that have always been integral to our shows.

Pasquale: To prepare, we rehearse as much as possible and then we live the moment, maybe having a couple of drinks before going on stage… We’ve also revamped our visuals to align with the mood of the songs. Our “Into This Grace Tour” has begun, and we’re pleased with the live renditions of the new songs. Fans can look forward to a mix of new tracks and beloved classics, including some we haven’t performed in years.

Nunzio: I look forward to be on stage again, fully integrating myself in Date At Midnight’s interplay, which makes our shows unforgettable for everyone.

Daniele: I won’t spoil the surprise. I invite everyone to attend our shows and experience it, so… check our calendar and get ready for your Date At Midnight!

Watch the clip from “Another Grace”

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

Crying Vessel, the Swiss-American post-punk and darkwave duo, has made a return with the announcement of not one, but two new albums after a two-year hiatus. These albums, titled “Sepulchers – The Servant” and “Sepulchers – The Maiden”, are set to be released in early 2025 under Cold Transmission Music. Each album contains 10 tracks.

“Sepulchers – The Servant” will offer Crying Vessel’s signature elegant synth-driven style, leaning into the more melodic and danceable aspects of their music. On the other hand, “Sepulchers – The Maiden” delves into darker, heavier soundscapes, reflecting the band’s recent explorations in more intense, moody territory.

The lead single from “The Servant”, titled “Falling In Love With A Ghost”, is out now. The accompanying music video was directed by Basil Oberli.

About Crying Vessel

Crying Vessel, a Swiss-American post-punk and darkwave duo, began as a solo project by Slade Templeton in 2010. Over time, it evolved into a full-fledged band with the addition of drummer Basil Oberli. Their sound is deeply influenced by the aesthetics of the 80s and 90s but with a modern twist.

They have released six albums, with their seventh, a double album titled “Sepulchers – The Servant” and “Sepulchers – The Maiden”, expected to release in early 2025. The band’s music often explores themes of love, loss, and the supernatural.

Their work has been released on several labels, including Manic Depression Records, Cleopatra Records, and Cold Transmission Music.

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

“Fading Into This Grace” marks Date At Midnight’s first new album since 2016’s “Songs To Fall And Forget.” This release captures a nostalgic yet refreshing Dark-Wave/Post-Punk sound. The guitar revives the quintessential dark, 80s influence, while the Electro arrangements add smoothness and a melodic touch. Few bands manage to evoke the era’s characteristic enthusiasm as effectively. This album stands strong with several standout tracks, though the final two songs, while not bad, feel more floaty and less impactful. (Rating: 8½)

Listen to “Another Grace”:

About Date At Midnight

Date At Midnight is an Italian Post-Punk and Goth-Rock band formed in 2007 in Rome by Pasquale and Daniele. Francesco joined the band in 2012, and Nunzio joined most recently. The band released “Songs To Fall And Forget” in 2016, followed by the EP “Reverse Resilience” in 2018.

“Fading Into This Grace” is the band’s third full-length album, released through Manic Depression Records. It was mastered by William Faith in his studio in Chicago.

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

This second album by the Swedish project Living Temples is released 6 years after “Against The Day”. “Glass” finds its influences in the dark sheen of 80s Dark-Wave that was subsequently polished with refined electronic arrangements. The album sounds powerful and melodic at the same time. Master thinker and operator Kalle Fagerberg is also a very good singer whose enchanting and charismatic voice will not leave you indifferent. The only minus is that the album only features 8 songs, but almost all of them are enjoyable. (Rate:8).

Listen to “Cloud My Senses”:

About Living Temples

Living Temples is the performing name of Kalle Fagerberg, a Swedish musician also known for his work with Bootblacks, Liste Noire, and The Blank VRS. He is currently based in Berlin, Germany. As Living Temples, he released the demo “The White-Haired Man”, followed by the EP “The Pickpocket” and the album “As If The World Was New”, before the album “Against The Day”. “Glass” is his second full-length album, arriving six years after “Against The Day”.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Cold-Wave, EBM, Minimal-Electro.

Format: Digital, CD, Vinyl.

Background/Info: Aux Animaux is a Swedish, female, solo-project. “Body Horror” was released in December 2023. The mastering of the album was done by Doruk Öztürkcan (She Passed Away).

Content: Aux Animaux deals with a rather eclectic Electronic sound. The bass lines are pretty EBM-driven while the global production comes closer to Cold-Wave. A dark atmosphere hangs over the songs while the female, ghost-like vocals make it only freakier.

+ + + : Aux Animaux enlarge the sonic horizon of Manic Depression Records. I like this production for its very own approach; it’s an exciting work driven by menacing, EBM, bass lines and minimal sound treatments. A few guitar sounds on top of the work accentuate the darkness. This album might appeal for lovers of Kas Product.

– – – : Among the 9 songs from the tracklist you’ll discover a few, softer, evasive cuts (cf. “Devastation Song”, “Lost Souls”) which according to me aren’t the best ones. The album is also missing a true ‘hit’ to speak about a real successful debut-album.

Conclusion: A surprising work with an interesting potential; this is a promising debut full length.

Best songs: “Black Out”, “Sleep Paralysis”, “Violence In The Silence”.

Rate: 7½.

Artist: www.facebook.com/auxanimaux

Label: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords Read the news on ‘Body Horror’.

Listen to “Body Horror”:

About Aux Animaux

Aux Animaux was founded in 2015 by musician Gözde Düzer, originally from Istanbul and based in Stockholm. She plays bass guitar and theremin and describes her music as hauntwave. The project name, French for “for the animals”, reflects the animal rights movement and veganism. Aux Animaux released the EP “Black Holes” in January 2018, followed by “Stockholm Synthrome” in April 2020, the album “The Hydesville Episode” in March 2022, the single “Devil Inside” in September 2022, the album “Hauntology” in December 2022, and the single “Lost Souls” in April 2023. Düzer has toured across Sweden and Europe, opening for acts including She Past Away, Hante and Then Comes Silence. “Body Horror”, released on Manic Depression Records in December 2023, is her debut full-length album, mastered by Doruk Öztürkcan of She Past Away.

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

Stockholm-based dark wave artist aux animaux is back with a new video for her song Venus Lucifer. The song is from her newly released album “Body Horror” that came out on Manic Depression Records in December.

The mastering for the album and also this track was done by Doruk Öztürkcan from She Past Away with whom she has been touring in Germany, Netherlands, Turkey and Scandinavia this year.

Regarding “Venus Lucifer” aux animaus says this: “I have been interested in astrology for a long time; both my mom and her best friend are astrologers. During the Venus retrograde this year, while I was writing the album, I read about how having Venus as a morning star (hence, Lucifer) or evening star can affect the kinds of relationship patterns you may have. It provided me with many answers about why I have behaved in certain ways, answers that psychology couldn’t offer, and this inspired the song.”

Here’s the video.

About aux animaux

aux animaux was founded in 2015 by musician Gözde Düzer in Stockholm. Gözde Düzer, originally from Istanbul, now resides in Stockholm and has also spent some months in Strasbourg. She plays bass guitar and theremin and describes her music as hauntwave. Gözde Düzer is married to Jonas Fransson who plays drums for Then Comes Silence.

The French project name aux animaux translates to “for the animals” and reflects the animal rights movement and veganism. Her video for “Lost Souls” features footage from the animal rights organization Djurrättsalliansen. In March 2023 she published the EP “Operatione Daemonum” as Melaina Chole.

aux animaux tour dates

• 8.3 Göteborg, Musikens Hus,SE
• 18.4 Lille, La Malterie, FR¨
• 26.4 Athens, Death Disco, GR#
• 27.4 Umeå, Bottenfauna, SE^
• 2.5 Barcelona, TBA, ESP#
• 3.5 Madrid, TBA, ESP#
• 4.5 Malmö, Plan B, SE°
• 23.5 Nottingham,The Chapel,UK’
• 24.5 Manchester, Rebellion, UK’
• 25.5 Glasgow,Classic Grand,UK’
• 26.5 London Lexington, UK’
• 21.6 Berlin, Slaughterhouse, DE
• 28.6 Subkultfestivalen, SE
• 30.8 Musta Juhla festival, FI
• 8.9 Leipzig, TBA, DE
• 19.10 Naples, Lizard Club, IT
• 7.11 Ilmenau, TBA, DE
• 9.11 Siegen, Beautiful Noise, DE
• 10.11 Graz, PPC, AT+

*W. Buzz Kull, °W. Abu Nein, ^W. Agenst Side Grinder, ‘W. Traitrs, # With Kontrovoid,¨With Patriarchy, +With She Past Away

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Dark-Wave.

Format: Digital.

Background/Info: The new work by Nice Cold Nation features six tracks. Some of the songs were composed during the previous album “Cartésiens” while there’s also a ‘new’ edit of one song plus one remix.

Content: The French Nice Cold Nation remains faithful to its sweet, Dark-Wave sound touched by melancholia. The songs are still sung in French and composed by guitar and electronics. The title song has been also remixed by Hoc Ertis while there’s a “2022”-edit of “Un Homme En Sable” (originally released in 2019 on the album “Life”).

+ + + : Like I already mentioned at the previous album Nice Cold Nation has seriously improved most aspects of the writing and production. It now resulted in a cool and credible sound revealing melancholic songs in the purest Dark-Wave style and sometimes reminding me of The Cure. This band might appeal to lovers of Manic Depression Records.

– – – : The work is missing a kind of ‘hit’ which is maybe the single but major element to reach a wider level and -audience.

Conclusion: French melancholic Wave music which is becoming better and better.

Best songs: “Êtres Contraires”, “Autre Part”.

Rate: 7.

Artist: https://nicecoldnation1.bandcamp.com

Listen to “Êtres Contraires”:

About Nice Cold Nation

Nice Cold Nation is a French cold wave project formed in 2014. Its discography includes “Sunless” (2015), “Collapse” (2016), the “Crossroads” EP (2018), “Life” (2019), “Time” and “Invictus” (2021), and “Safe” (2022), ahead of 2023’s “Cartésiens” and “Êtres Contraires”.

Inferno Sound Diaries

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

www.side-line.com

Out via Manic Depression is the new album by the Swedish solo dark wave project Aux Animaux album “Body Horror”. The album comes in limited black vinyl (200) and on CD. Theis Stockholm-based female artist mixes dark synth tunes with dystopic sounds and haunting vocals… and theremin.

Aux Animaux released her first songs in 2017 and then has been touring both in Sweden and the rest of Europe, opening for artist such as She Past Away, Hante and Then Comes Silence among others. EBM influences can be heard especially in tracks such as “Sleep Paralysis”, “Venus Lucifer”, “Blackout” and “Night”. Horror influences are clearly heard on the album with samples taken from the movies such as “The Shining”, “Halloween” or “Dracula”.

You can order the download from Bandcamp.

Below you can also check out two videos. All songs on this album were written, produced and mixed by Aux Animaux, except “Night” which was mixed by Doruk Öztürkcan (She Past Away) who also did the mastering for the album.

About Aux Animaux

Aux Animaux was founded in 2015 by musician Gözde Düzer in Stockholm. Gözde Düzer, originally from Istanbul, now resides in Stockholm and has also spent some months in Strasbourg. She plays bass guitar and theremin and describes her music as hauntwave. Gözde Düzer is married to Jonas Fransson who plays drums for Then Comes Silence.

The French project name aux animaux translates to “for the animals” and reflects the animal rights movement and veganism. Her video for “Lost Souls” features footage from the animal rights organization Djurrättsalliansen. In March 2023 she published the EP “Operatione Daemonum” as Melaina Chole. Read the review of ‘Body Horror’.

Discography

• Black Holes (EP, January 2018)
• Stockholm Synthrome (EP, April 2020)
• The Hydesville Episode (Album, March 2022)
• Devil Inside (Single, September 2022)
• Hauntology (Album, December 2022)
• Lost Souls (Single, April 2023)
• Body Horror (Album, December 2023)

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: Electro-Wave, Cold-Wave, EBM.

Format: Digital, CD, Vinyl.

Background/Info: This is the second full length by Italian formation Fall Shock. The new work comes three years after the debut album “Interior”.

Content: The main sources of inspiration remain Dark- and Cold-Wave music but “Universal Unit Crime” sounds definitely more diversified than its predecessor. The debut song reveals a Depeche Mode-like tune while the next track is driven by a solid EBM touch and aggressive sequences. Quite progressively the album moves throughout explicit 80s Dark/Cold-Wave influences now and then reinforced with EBM components.

+ + + : This album convinced me more than its predecessor. The debut part features the real solid EBM-driven “Protect” , reminding me a bit of The Invincible Limit. Another attention grabber is “Hiding In A Glass” which sounds more Dark-Wave like although empowered by EBM sequences. The album is powerful and reveals passionate vocals by front man “Francesco Kay”.

– – – : I regret the album only features 8 songs. The last song has a rather disappointing ending by the way.

Conclusion: Fall shock has made a serious step forward unleashing a great match between different influences.

Best songs: “Protect”, “Hiding In A Glass”, “Useful Liar”, “Fake New Model”.

Rate: 8.

Artist: www.facebook.com/fallshock

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

Listen to “Universal Unit Crime”:

About Fall Shock

Fall Shock is an Italian formation fronted by Francesco Kay, working in Electro-Wave, Cold-Wave and EBM. The project released its debut album, “Interior”, followed three years later by the second full length, “Universal Unit Crime”, issued through Manic Depression Records.

Inferno Sound Diaries

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

www.side-line.com

Out via the Icy Cold label on December 1st is the 15th anniversary edition of the self-titled 2007 debut album (released on CD only) by the Swedish Postpunk band The Exploding Boy. The reissue comes completely remastered and for the first time ever available on vinyl, and including an exclusive bonus-track, “Susanne”.

This special ‘Anniversary Edition’ (coming with 1 year of delay actually) also contains a full colour vinyl-sized lyrics sheet, with lots of band-pictures from 15 years ago.

About The Exploding Boy

The band was founded in 2006 by Lars Andersson and Johan Sjöblom and named after a song by The Cure. After 3 albums on the Swedish Ad Inexplorata label (Twice a Man, Karin My, Fake Moss…), in 2013 the band signed to Drakkar/SONY, who later also re-released 2 of their previous albums.

The band’s member Johan Sjöblom also released a solo-album on Manic Depression in 2016.

Here’s how they sound live. “At The Dress Circle – Live at the Sullivan Room NYC” is available on Bandcamp.

Bernard - Side-Line Staff

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

Ahead of the forthcoming limited edition 5th anniversary release of “Damage”, Kill Shelter has launched an official video for “In Decay [ V ]” featuring Antipole and Delphine Coma. The new version is taken from the “Damage [ V ]” CD which features new versions and remastered tracks.

The original debut CD release was launched in November 2018. Released again on Unknown Pleasures Records, “Damage [ V ]” features vocal contributions and collaborations from a host of global underground artists including; Hante. (FR), Buzz Kull (AUS), Delphine Coma (US), Antipole (NOR), undertheskin (PL), Killjoi (US), The Shyness of Strangers (CA), Iamtheshadow (PT), Ultrviolence (CA), New Haunts (UK) and Bragolin (NL).

“Damage [ V ]” is slated for release on 1st December 2023 with pre-orders starting on 27th October 2023.

Below is the official video for “In Decay [ V ]” featuring Antipole and Delphine Coma.

Kill Shelter is UK based alternative artist and producer Pete Burns. His work blends elements of darkwave and contemporary electronica with processed guitars.

His debut album “Damage” (2018) was originally released by Unknown Pleasures Records. This was followed up by the 2021 release, “A Haunted Place” with Antipole. His 2022 release “Asylum” is currently available via Metropolis Records and Manic Depression Records. In 2023 Kill Shelter released “The Sex Tape Sessions” EP and VHS with Death Loves Veronica on Cold Transmission.

Following a series of remixes including She Past Away’s “Soluk” for their tenth anniversary release “X” on Metropolis and Fabrika Records, The Wake’s “Emily Closer” and “Spectre (Love is Dead)” by Christian Death on Cleopatra Records amongst many others, Kill Shelter is currently working on new material. Read the review of ‘Damage’.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Dark-Wave, Gothic.

Format: Digital, CD, Vinyl.

Background/Info: Set up in 2006 French formation The Cemetery Girlz strikes back with their first new work in ten years. They never released new productions on an irregular basis so “L’Envol Du Corbeau” brings the band back on the Dark-Wave/Gothic/Death-Rock map.It rather looks like a mini-album as only six songs have been featured.

Content: The work takes off in a very dark way bringing us back to the darkest hours of 80s Dark-Wave music with a Gothic touch on top. We next discover a more melodic side, guitar playing and synths getting more in balance. The last track even sounds pure, dark, reverie.

+ + + : I especially like both debut cuts which aren’t just dark but still tormented because of the atmosphere recovering the songs. The deep, haunting, vocals are accentuating this impression.

– – – : I regret the work didn’t evolve like the dark, haunting, way of the debut. It could have been one of the darkest productions ever produced in this genre of music.

Conclusion: The Cemetery Girlz are back on track this work getting me mixed feelings as it’s switching in between great pieces and more average tracks.

Best songs: “The Wanderer”, “Echoes Of My Tears”, “Eternal Night”.

Rate: 7.

Artist: www.facebook.com/thecemetarygirlz

Label: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords Read the news on ‘L’Envol Du Corbeau’.

Listen to “L’Envol du Corbeau”:

About The Cemetary Girlz

The Cemetary Girlz is a French Dark-Wave/Gothic/Death-Rock band founded in 2006 by AlienSPagan and Manu Zorch. The band toured alongside The Chameleons, The Damned, Cinema Strange and Danse Society, and played international goth festivals including Wave Gotik Treffen, Gothic Pogo Festival and Woodgothic in Brazil. The band’s previous album was released in 2013. In 2021, AlienSPagan and Divarre relaunched the project, joined by Sioux Side on bass. “L’Envol Du Corbeau” followed on Manic Depression Records in 2023, a six-track mini-album.

Inferno Sound Diaries

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

www.side-line.com

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

Format: Digital, CD, Vinyl.

Background/Info: Legendary French 80s formation Norma Loy are back on track. Seven years have passed since the previous album “Baphomet” which already was a come-back album. Core members ‘Usher’ and ‘Chelsea’ joined hands together with a few guests to bring us twelve cover versions.

Content: You’ll discover cover versions of very famous artists like the unavoidable Suicide but also Minimal Compact, David Bowie, Leonard Cohen, Nico, The Velvet Underground, Tuxedomoon, Throbbing Gristle, Factrix, David Lynch, Coil and… Norma Loy. The songs have been meticulously transposed into the dark, haunting, and sometimes minimal style of Norma Loy. You easily recognize most of the songs and their original sound but they’ve been recovered with a darker touch mixing guitar and electronics.

+ + + : I mostly have reservations about cover albums but the way this opus has been accomplished is absolutely great and magical. You easily recognize songs from artists like Suicide, Throbbing Gristle and even Leonard Cohen but Norma Loy adapted the songs in their own, obscure, interpretation. From pure Post-Punk and Dark-Wave to Minimal-Wave the work is versatile and yet compact. Most of the songs are fully accomplished featuring porcelain sound treatments on top but I especially recommend listening to the subdued “Saeta” (Nico), the rough and minimal driven “Touch Me” (Suicide), the harder, Dark-Wave sounding “Romance” (which is a 2022 version from an older Norma Loy song), the good-old Dark/Cold-Wave like “A Night To Forget” (Factrix) and the somewhat Ritual-orientated “Ritual Of The Mind” (Coil).

– – – : The single cut which couldn’t convince me is the Bowie-cover “Some Are”.

Conclusion: Cover albums always are a bit of a challenge but “Ouroboros” sounds as a refreshing Dark-Wave / Post-Punk piece of music.

Best songs: “A Night To Forget”, “Touch Me”, “Ritual Of The Mind”, “Saeta”, “Romance”, “Venus In Furs”.

Rate: 8½.

Artist: www.facebook.com/NormaLoyOfficiel

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

About Norma Loy

Norma Loy is a French formation led by Usher and vocalist Chelsea, among the most prominent French bands of the 1980s. The group stopped activity in the early 1990s, reunited for live shows in 2006 and returned to the studio with “Un/Real” (Infrastition, 2009) and “Baphomet” (Unknown Pleasures Records, 2016). “Ouroboros” follows seven years later on Manic Depression Records, an all-covers album reinterpreting Suicide, David Bowie, Leonard Cohen, Nico, The Velvet Underground, Tuxedomoon, Throbbing Gristle, Factrix, David Lynch, Coil and Norma Loy’s own back catalogue.

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

“L’Envol du Corbeau” is the all new album by the French goth / deathrock act The Cemetary Girlz. Out via the Manic Depression label the album comes in a limited black vynil edition of 300 copies and as a CD, inside a 6-panel digipak.

The Cemetary Girlz was founded in 2006 by AlienSPagan and Manu Zorch. The band toured alongside The Chameleons, The Damned, Cinema Strange, Danse Society, and many others, playing international Goth festivals Wave Gotik Treffen, Gothic Pogo Festival, Woodgothic (Brazil) and countless others.

The band established itself abroad as a pioneer of the French ‘Goth/Batcave/Deathrock’ revival of the 2000s and their last album was released in 2013. “L’envol du Corbeau” is the first new album after a long break when, in 2021, AlienSPagan and Divarre decided to relaunch the band. The duo was joined by Sioux Side on bass, who brought a darker music dimension.

Check out the video for “The Wanderer”.

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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Denuit is a French male-female duo which last year released their second album “Inferno” on different formats (digital, CD, vinyl and cassette) by Manic Depression Records and No Need Name. The year before they released their debut album “Black Sun”. They’re actually busy working at the next album planned for Autumn 2023. The duo clearly is a prolific band finding their main sources of inspiration in the 80s Cold-Wave and Post-Punk scene. Time to discover a promising formation so I got in touch with both members: ‘Ivi Topp’ and ‘Liss Araignée’.

(Courtesy by Inferno Sound Diaries)

Q: Tell us a bit more about the origins and set up of Denuit? What have been potential sources of inspiration and influences? 

IVI: DENUIT started on a cold night, surrounded by synthesizers and the warm voice of Lis. My influences range from Minimal-Techno to Arcade Fire, from Prodigy to Nirvana, from The Doors to Pink Floyd. 

LIS: I’m a big fan of The Cramps and The Doors. They were the first bands that made me want to perform on stage. At the moment I’m listening to a lot of Cyber-Punk/Dark-Techno, especially Sierra and Swarm. It’s really my favorite style of music. I’m a big fan of Rebeka Warrior and all her projects, Mansfield.Tya, Kompromat, Sexy Sushi.  I am also very much influenced by literature, as a lyricist. I read a lot of poetry and fantasy. I love Edgar Allan Poe and Vladimir Maïakovski.

Q: What means music to you and what does Denuit stand for? 

IVI: Music for me is a way to express and communicate raw emotions. To connect and share with everyone around me. Denuit is my life, it’s an energy that has always been inside me. Denuit is ‘de nuit’, which literally means ‘by night’.

LIS: Denuit is my reason for being, it’s the breath that makes my lungs rise, it’s the blood that runs through my veins, it’s the cry of my soul. We want to bring poetry into this harsh world, to find the beauty of life.

Q: Every single aspect -like bandname, album- and song titles but also the music, sounds pretty dark and tormented. What did you try to express by darkness and in which way do the dark times we’re going through have an impact on the global production? 

IVI: We always express with our music what we experience around us, in this sense Denuit is like our personal diary. If our music is dark, we always put hope and light in it. We are very optimistic in our everyday life 🙂 

LIS: I think when I see the darkness, I feel at home in a way. I’m not afraid because I know I have the light inside me to light my way. 

Q: You’ve been very prolific; releasing a first album “Black Sun” in 2021 and next “Inferno” in 2022. How did the switch from one album towards the other happened? Were there significant aspects of the production you wanted to improve and/or change? 

LIS: It’s funny you say that because we’re recording our third album right now. In fact I can let you in on a secret, it will be out in October and the first single will be out in June. The transition from one album to another is natural, we follow our cycles, our phases. We always want to progress and to do that we always push our limits, in terms of production and work. As beings, we learn and evolve all our lives. 

IVI: We are constantly writing and working on new material. We have a need to express the important moments in our lives. With each album we try to push our limits and explore new territories musically. Colour is also important to us, as well as the visual aspect. “Black Sun” is = black, “Inferno” is = red, our next album is = purple.  

Q: And how do you look back at your latest album “Inferno”? What did you keep in mind from the writing process and the way it all took shape? 

LIS: “Inferno” contains a lot of anger, it’s born from a constant frustration, from the oppression of the society at that time. Now we see the world differently, there is so much beauty around us and in the end the most important thing is love. Love for yourself and for others. With “Inferno” we were able to overcome this anger and be reborn in a very positive way. We have hope for the future. 

IVI: “Inferno” is an important step. We had to go into this red, dry land to come out the other side.

Q: It all looks like the video clips clearly are a very important part of Denuit. What did you try to express by the clips and this other creative side of the band? Do you think clips still make sense in a world where streaming became the standard? 

LIS: Video is a complete art because it includes music, photography, acting and writing. For us it is a way to illustrate our music, to show it to people the way we want them to see it. 

IVI: I love films! I think the relationship and the fusion between moving images and music elevates the music and the films at the same time. For us, it is very important to extend our artistic expression to clips. 

Q: Another important part of the band seems to be the stage. How do you transpose the songs from studio towards the stage? And how do you see yourself as a live band? 

LIS: The stage is the performance of our music. When we are with our audience, we feel free and at the right place. We prepare our shows in residences with our technicians and before we play a new set, we check all our scenography and sound to give our audience the best possible experience. 

IVI: The stage is our home. When we play, everything else disappears. There is no past, there is no future, only the present counts. That is why we make music, to play it live! Read the review of ‘Inferno’.

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

Je T’aime, a Paris-based post-punk and coldwave trio, has unveiled their new music video for “Elbow Beach.” The video tells the story of a man who is a poor lover, husband, and father, and his daughter’s decision to escape from this difficult situation.

Watch the “Elbow Beach” video below.

The group, consisting of dBoy, Tall Bastard, and Crazy Z, recently released another video, “Blood on Fire,” which is a track from their double album, “Passive/Agressive.” The first part of the album, “Passive,” was released on February 14th, 2022, and the second part, “Agressive,” is set to be released in October.

Je T’aime was formed in 2018 and combines elements of electro-clash, new-wave, and post-punk. Their first self-titled album was released through Icy Cold Records and Manic Depression Records, followed by a live album called “Live At Gibus,” recorded in Paris.

In 2021, the band members secluded themselves on the Brittany coast to work on “Passive/Agressive,” a double-album project. The first part, “Passive,” was released on Valentine’s Day, February 14th, 2022, and the second part, “Agressive,” is slated for release in October.

The French dark-wave and post-punk trio Je T’aime has quickly gained recognition for their passionate work, characterized by powerful guitar play and elevating electronic elements. Their albums, released on Manic Depression Records and Icy Cold Records (France), are sure to appeal to fans of bands like The Cure and The Smiths. Je T’aime has tremendous potential, and it wouldn’t be surprising to see them achieve worldwide recognition within their genre.

Be sure to also check out our interview with Je T’aime.

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

French Dark-Wave / Post-Punk trio Je T’aime became a recognized formation in a rather short lapse of time. Dany Boy (programming, synth, bass, guitar & vocal), Tall Bastard (bass & guitar) and Crazy Z (guitar) last year accomplished two great new albums “Passive” and “Aggressive”. The albums reveal a passionate work mixing carrying, dark and powerful, guitar play together with elevating electronic parts. Albums were released on Manic Depression Records and Icy Cold Records (France) and will appeal for fans of The Cure, The Smiths ao. This band has an impressive potential and I would be not surprised to see them gaining a word-wide recognition in their music style. I’d a chat with the band.

(Courtesy by Inferno Sound Diaries)

Q: I don’t exactly expect a Post-Punk / Dark-Wave band called Je T’aime. Where does this name come from and tell us a bit more about the set up and influences of the band?

Crazy Z: In the end, the name probably has nothing to do with the style of music we make, and everything to do with the romance we embody.

We want to reintroduce this French romanticism, after all anyone knows the meaning of the words “Je T’aime” around the world, and all the Parisian Love they suggest immediately explodes in your mind.

Tall Bastard:After spending the all night writing and recording our first song “The Sound”, being very tired and very drunk, we were so happy to have done it that we kept on saying : ‘I love you man, I love you’ so it stayed.

dBoy:The truth is that I don’t agree with your starting point. On the contrary, when I listen to Post-Punk, and even more so to Dark-Wave, I very often hear the singer talking about his love affairs. What I find strange is that this band name did not exist before we chose it. Je T’aime is such a perfect band name.

Q: Things went really fast for Je T’aime. In a rather short lapse of time you released three studio albums plus a live one. How do you look back on this fast evolution and what’s the input of each member in the writing process?

Crazy Z:In fact, we didn’t realize that. The self-titled debut album was released in 2019, and while we were enjoying it on the road, we were suddenly put on a forced hiatus by the pandemic.

Then the situation gave us plenty of time to write, compose, produce, and polish this new double album “Passive/Aggressive”. Moreover we cheated a little bit, as you might think we’ve released a lot of albums this year, but it’s really two parts of a double album. In any case, we didn’t feel like we were forcing the pace, we just go at our own pace.

dBoy:We are still a long way from artists like Saez who are able to release nine albums in a single year.

Tall Bastard: And now begins what this band was really build for: going on stage and meeting our audience  hitting the road.

Q: You last year released a kind of twins albums; first “Passive” and later on the year “Aggressive”. Each opus features ten songs while the artwork also is a noticeable element. What are these albums all about and what is it about the ‘Peter Pan Syndrome’?

dBoy:‘Passive-aggressive’ behavior is a set of so-called passive attitudes that indirectly express a hidden hostility that is not openly assumed or remains unconscious to the subject. The eponymous first album as well as this double album tells the story of a man who is a very bad lover, husband and father. His life is entirely defined by his fear of growing up, the famous Peter Pan complex. The passive-aggressive attitude is that of his daughter, who eventually hates him.

Q: What have been the different stages in the writing, recording and production of both albums? What have been the main challenges and difficulties you encountered?

Crazy Z:Generally, we take the equipment of our Parisian studios, we load it in a truck, and we leave on the Brittany coast, where we lock ourselves in a big house near the sea. Behind those closed doors, anything can happen. Lots of discussions, about music or not, big parties just between the 3 of us, and of course, lots of work. This is where the ideas for our lyrics, music, and album concepts are born. The hardest thing to manage?  I can think of two things. The fatigue because we chain the days and the nights without counting them. And the second one is the hysterical rhythm of dBoy which is unwavering when he has an idea in mind. We have just released a small documentary of 10 minutes relating all this on our Youtube channel. Go check it out!

dBoy:The biggest difficulty I see when composing is when Tall Bastard doesn’t have enough to make us Pina Coladas.

Q: You last year also released several video clips. What did you try to express by the clips and why are clips that important?

Crazy Z: Besides being the most used support by the public to discover and be interested in a new music band, we are also personally very interested in the power of the films, and in how to film something. So we take a lot of pleasure in imagining what we will produce as the next video material. As much pleasure as when we build a new album. There is no more music on one side, and video on the other. Both are expressions of our art and our stories, one like the other.

dBoy:We are lucky to be very well surrounded, especially by the team that Anaïs Novembre and Jean-François Verganti form within their video production company Albert & Marion, or the photographer and video maker Quentin Caffier.

Q: Je T’aime definitely appears to be a live band and I was really impressed you already played in different countries in such a short lapse of time. What means live shows to the band and what did you try to express on stage?

Crazy Z: So we were right to choose such a universal name from the start! (laughs). Simply, that was the very first and only rule of the band before we started anything in 2018: to make dance all the dark scenes all over Europe. And to make them dance, you have to gather them in one place. So in the end, live is what Je T’aime is all about.

Tall Bastard:Yeah, make our audience dance and smile listening to those old sounds we all like! We travel light to be able to go everywhere and play in almost any conditions!

dBoy:I always liked to compare the stage as a big pirate ship. It always pitches very dangerously in the face of the storm but must never, ever sink. If I had been a pirate captain I would have played very dangerously with my crew because I am an adrenaline fanatic, I always need more.

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

She Pleasures HerSelf (SPHS), the Lisbon ,Portugal based new wave-ish act which formed in 2016, is back with their newest, third, album called “Latex”, out now on Manic Depression Records.

The founding trio – David Francisco (synths/guitars), Nuno Francisco (drums/programming), and Nuno Varudo (vocals/bass) – all gained experience in other formations and released various digital singles before being picked up by Manic Depression Records. Nowadays the band consists of 4 people including Leticia on live synths.

Musically the band mixes new wave, goth, 70`s/80s and post punk adding that ‘little’ touch of fetish.

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A post shared by She Pleasures HerSelf [ SPHS ] (@shepleasuresherself)

Their debut album “Fetish” was released on Manic Depression Records in 2017 and was followed by the 2019 release “XXX” also on Manic Depression Records.

Here’s the new album on Bandcamp.

And here are 4 videos the band released from this new album. Some are age-restricted.

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.

Format: Digital, CD, Vinyl, Cassette.

Background/Info: “Inferno” is the second album by French male-female duo Denuit. The work has been released in all kinds of formats as a collaboration between French labels Manic Depression Records and No Need Name.

Content: This band is clearly driven by good-old 80s influences but they injected a more contemporary and personal touch on top. It sounds a bit like the meeting between opposites and yet there’s a true harmony in the production. The vocals are diversified although mainly produced with a deep timbre of voice with a theatrical approach on top. It’s an Electronic composition which reminds me a bit of the imaginary hybrid of Lebanon Hannover and Siouxsie & The Banshees.

+ + + : This band sounds like a true discovery. Their sound isn’t that new but it has been composed with care and creativity. There’s a kind of 80s free-style adapted into a refreshing and modern Post-Punk / Cold-Wave format. Great electronic effects with uplifting rhythms and icy tunes at one side and the enigmatic, ghost-like and yet theatrical female vocals at the other side. I mainly recommend listening to “Life And Death” for its impressive progression ending into an orgasmatic climax and “Redemption” for its totally dark, melodic organ play.

– – – : I don’t have minus points to mention but I got the feeling this band is even able to do better.

Conclusion: Denuit is one more great French Post-Punk formation which you better can keep in mind.

Best songs: “Life And Death”, “Redemption”, “I’m Bleeding”, “White House”, “Némésis”.

Rate: 8½.

Artist: www.denuit.band / www.facebook.com/Denuit.band 

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.noneedname.fr / www.facebook.com/noneednameprod Read the news on ‘Inferno’.

About Denuit

Denuit is a French male-female duo working in Post-Punk and Cold-Wave, mixing 80s-rooted electronics with a contemporary, theatrical edge. “Inferno”, the duo’s second album, was released across digital, CD, vinyl and cassette formats through a joint deal between Manic Depression Records and No Need Name. Denuit discussed the album’s themes in a Side-Line interview around its release.

Inferno Sound Diaries

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

www.side-line.com

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

Format: Digital, CD, Vinyl.

Background/Info: Early 2022 Parisian (France) formation Je T’Aime released their second studio album “Passive”. By the end of the year they released this other ten-track opus entitled “Aggressive”.

Content: The sound moves in the same vein as “Passive”. This is the perfect mix between Cold-Wave influences reminding me of The Cure  and a heavier Post-Punk input. Ten powerful songs moving from rage to melancholia.

+ + + : “Passive” and “Aggressive” appear to be a kind of twins. Both albums are featuring the same number of songs while both front covers are identically the same but with a different color. The content remains interesting and bringing good-old 80s influences alive. You can feel passion and drama coming through vocals and music. The opening cut “Out Of Sight” is carried by an elevating chorus. Another major song is “Elbow Beach” for its perfect balance between electronics and guitar while reminding me of The Cure.

– – – : From a very personal point of view I have a little preference for the “Passive”-album although both works can’t live without each other.

Conclusion: Je T’Aime is a band you definitely have to discover for their great and personal interpretation of Cold-Wave and Post-Punk.

Best songs: “Out Of Sight”, “Elbow Beach”, Kiss The Boys (And Make Them Die)”, “Winter Lake”.

Rate: 8.

Artist: www.jetaime-musique.com / www.facebook.com/jetaimethemusic

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.facebook.com/icycoldrecords

About Je T’aime

Je T’aime is a Parisian cold-wave trio formed in 2018, comprising members dBoy, Tall Bastard, and Crazy Z, blending electro-clash, new-wave, and post-punk. The band is signed to Icy Cold Records and Manic Depression Records. In spring 2018 the trio released the debut single “The Sound”, followed by their self-titled debut album in 2019. During the pandemic they wrote the double album “Passive/Aggressive”, released in two parts: “Passive” on 14 February 2022 and “Aggressive” on 1 November 2022.

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

(By Stéphane Froidcoeur for Inferno Sound Diaries/Side-Line Reviews) 2022 has been once again a sad, bloody and terrible year. Living in a mad world music once more remains a true therapy to appease pain and frustration. Concerts and festivals came back; the perfect place to meet friends again. Artists remain prolific releasing great studio work. So I’m once more closing the year by a personal selection of my very own ‘best of’-albums of the year.

Over 700 productions have been selected while 540  reviews have been made all over the year. Some productions have been refused because the style of music didn’t fit, while other reviews will be postponed to 2023. I’m really grateful to all labels, bands and promoters considering my work and efforts and I hope you’ll go on providing me new promos next year.

I one again have to express my deepest gratitude to Rich Bova (NEIKKA RPM) who for years and years now is reading, correcting and improving my reviews. Without Rich there would be no reviews. I also want to thank Bernard Van Isacker – chief redactor Side-Line Music Magazine – for the successful collaboration. 

Up now to 2023. I already reduced my activities this year and will move on reducing it in 2023. I made my first reviews and interviews back in 1991 (!). Some of the readers and artists weren’t even born when I wrote my first review for Side-Line. So after more than 30 years non-stop activities I think it’s not that strange to move on slowly.

I also want to express a big ‘F*** you’ to so-called ‘artists’ and label owners who don’t realise and appreciate the work I’m doing by making reviews and preparing interviews to get them in the spotlights. The attitude and less of respect shown by those people – luckily a very few number – is just unacceptable… but I’m afraid it reflects the world we’re living in… Behind a genius artist is not always hiding a great person… It’s quite strange to realise the ’biggest’- and long-time established artists from this scene often are the most accessible ones.

Writing reviews remains very ‘subjective’ and always a source of discussion, but keep in mind it will be always the perception of the reviewer. I can assure you I’m always trying to argue my reviews the best as possible. A review will be never objective, but has to be honest!

Like every year I’ve made a selection from the best albums of the year. This ‘TOP 25’ covers different styles like EBM, Dark-Electro, IDM, Synth-Pop, Ethereal, Dark-Ambient, Industrial, Cinematographic, Gothic, Post-Punk, Cold/Dark-Wave, Dark-Techno and a few related genres. It remains an exciting but tough exercise.

This ‘TOP 25’ is taken from the promotional material I got while compilations, ‘best of’-productions, EP’s and singles were not considered.

So, here’s my ‘TOP 25’ from 2022 and don’t forget to share it with your friends….

Top 25 albums 2022

1. IVARDENSPHERE: “Ragemaker” – Metropolis Records
2. DIE ROBO SAPIENS : “Robo Sapien Race” – Alfa Matrix
3. EBE04 : “Inrush – Give/Take
4. CALDON GLOVER: “Labyrintia” – Cyclic Law
5. ROME: “Hegemonikon” – Trisol
6. NEIKKA RPM: “Scorpio In The Hourglass – Alfa Matrix
7. VANGUARD: “Spectrum” – Infacted Recordings
8. SUICIDE COMMANDO: “Goddestructor” – Out Of Line
9. ELM: “Penetrator” – Alfa Matrix
10. OBERER TOTPUNKT: “Totentanz” – Danse Macabre Records
11. THE BIRTHDAY MASSACRE: “Fascination” – Metropolis Records
12. BLACKBOOK: “Confessions Of The Innocent” – DarkTunes Music Group
13. BEYOND THE GHOST: “Sundown” – Cryo Chamber
14. THEN COMES SILENCE: “Hunger” – Metropolis Records
15. PRINCIPE VALLIENTE: “Barricades” – Metropolis Records
16. DAWN OF ASHES: “Scars Of The Broken” – Artoffact Records
17. MONSTERGOD: “Ozymandias” – Space Race Records
18. STATIQBLOOM: “Threat” – Sonic Groove Records
19. AXIOME: “Field Guide To Alien Planets And Other Disco Balls – Audiophob
20. REICHSFEIND: “Darken” – Alfa Matrix
21. FIRST AID 4 SOULS: “I Am The Night” – Alfa Matrix
22. ORDO ROSARIUS EQUILIBRIO: “Nihilist Notes And The Perputual Quest 4 Meaning In Nothing” – Out Of Line
23. KILL SHELTER: “Asylum” – Manic Depression Records / Metropolis Records
24. JAGATH: “Svapna” – Cold Spring Records
25. KILL YOUR BOYFRIEND: “Voodoo” – Shyrec

Inferno Sound Diaries

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

www.side-line.com

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

Format: Digital, CD, Vinyl.

Background/Info: Two years after their great debut album “Anxious” French formation The Midnight Computers strike back with eight new songs.

Content: The album holds on to the very dark mood of its predecessor. We’re getting back to the most obscure hours of Dark-Wave and Post-Punk. Dark guitar play and raw electronic sequences have been mixed with cavernous vocal parts.

+ + + : The first 3 songs of the album are simply astonishing and confirming the great writing skills of the band. The song “Sinner” is a great piece of music and probably the best song the band has written so far. There also is “Violence” at the end part of the work which sounds terrific. The track is driven by a solid EBM-like bass line and joined by great Cold-Wave guitar play. This song really leads to an explosion and once again confirms the potential of the band.

– – – : The album features only 8 songs and that’s a pity as I really want to hear more from this band. The softer passages of the album aren’t my favorites.

Conclusion: The Midnight Computers is a band you have to discover if you like ‘new’ bands dealing with the true 80s spirit of Cold-Wave and Post-Punk.

Best songs: “Sinner”, “Violence”, “Monologue”, “Demon Soul”. 

Rate: 8½.

Artist: www.themidnightcomputers.com / www.facebook.com/themidnightcomputers

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

Listen to “Romantic Disaster”:

About The Midnight Computers

The Midnight Computers are a French dark-wave and post-punk band whose debut album, “Anxious”, was released April 30, 2020 via Manic Depression Records. The follow-up, an eight-track album released September 28, 2022 on the same label, carries the tracklist “Demon Soul”, “Monologue”, “Sinner”, “Promises”, “Time Of Misery”, “Life”, “Violence” and “Romantic Disaster – Until The Day I Die”. Note: the archived Side-Line post title for this review reads “Midnight Disaster”, while the verified Bandcamp and label release title is “Romantic Disaster”.

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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Pete Burns started playing guitar when he was nine years old and has always retained a passion for creating music. He was the outsider kid at school who listened to alternative music and didn’t conform even at that age. Some things never change. Pete was (and still is) a big fan of Modern Eon’s “Fiction Tales” and that album epitomises Post-Punk for him. Other notable and influential releases from that time included “Quiet Life” and “Gentlemen Take Polaroids” by Japan, “Systems Of Romance” by Ultravox, “JuJu” and “Peek-A-Boo” by Siouxsie And The Banshees, “Black Celebration”, “Music For The Masses” and “Violator” by Depeche Mode, and the early Sister Of Mercy singles as well as “First And Last And Always”. Laterally bands like She Past Away, Trentemøller, The Soft Moon,  Soft Kill, M!R!M and the now disbanded Ascetic have all, amongst many others, played a part in refueling Pete’s for the genre. Kill Shelter stands for pure Cold-Wave music. A first album “Damage” got released in 2018 by Unknown Pleasures Records. Four years later he strikes back with “Asylum” –released by Manic Depression Records for Europe and Metropolis for the US. Pete Burns worked together with guest singers and accomplished a true masterpiece. I talked about Kill Shelter with this genius Scottish multi-instrumentalist and producer.

(Courtesy by Inferno Sound Diaries)

Q: You’re a so-called ‘multi-instrumentalist’ playing guitar, bass, e-bow, synths. Do you’ve a favourite instrument and is there a kind of hierarchy in the instruments when composing songs?

Pete: Definitely. I always start on the guitar. In some cases like “The Necklace”, it’s the bass but mainly my go-to instrument is the guitar. I’ll write the main riffs and themes first and once I’ve got those down, that forms the basis of the demo. In some cases those guitars will stay to the final edit or some may be completely removed. I’ll put down the bass after that and then start to work on the drums. Synths, guitar processing and textures come last. The vocals will always come in after the song has most of the parts written. I’ll then arrange the song around the vocals before doing final production work.

Q: I’m deeply impressed by your guitar play injecting a true, dark, spirit into your work. How do you see yourself as a guitarist? Who are your favorite guitar players and what do you especially like in their play?

Pete: Thank you so much. That really means a lot to me. I still see myself as a guitarist first but I think most people know me for my production work.

When it comes to guitar I will happily listen to a lot of stuff even if I don’t particularly like it from a style perspective. I’m always open to learning. I prefer guitarists who have tried to do something different like Christian Fennesz, Robert Fripp, Adrian Belew, Robin Simon, Rob Dean, Tony Iommi, Mick Karn, Andy Summers and John McGeoch. Gary Marx wasn’t a technical guitarist but he had a wonderful sense of melody and he’s one of my favourite guitarists because of it.

I’ve been working on something that isn’t for Kill Shelter which is mainly guitars. I’ve developed Dupuytren’s disease and arthritis in my hands so I’m keen to get as much recorded as possible before playing becomes impossible. I already struggle on some days but, whatever happens, I’ll find a way to make a noise in one way or another.

Q: Your new album “Asylum” comes four years after the great debut album “Damage”. How do you look back at “Damage” and how did the transition in between both albums happen? Did you focus on new/different elements of the production?

Pete: I was extremely fortunate with “Damage” to have the support and buy-in from so many like-minded people from around the world. I am still very grateful that they agreed to work with me, especially as I was (and still am to some extent) a totally unknown artist. I think I was finding my feet with Kill Shelter through “Damage” and the early remixes but I’ve had a plan for the trilogy of multi-collaboration albums from the outset.

At the time, “Damage” focussed solely on emerging talent. In contrast, I wanted “Asylum” to reflect the last four decades of Dark-Wave. At first I thought “Asylum” was going to be a double album but the delivery was fraught with difficulties as people who were scheduled to appear could no longer commit for one reason or another. It wasn’t straightforward and that’s one of the reasons it was four years in the making.

I think I was more confident and determined tackling “Asylum”. Adding my own vocals and having a guitar-only track (“Time Will Come”) were very conscious decisions that pushed me out of my comfort zone. I think working with others always pushes my production skills but I find that harder to achieve when I’m working on my own, especially when it comes to gauging if it’s good or not. I am undoubtedly my harshest critic.

Q: “Asylum” sounds like a dark and tormented title which is also reflected in the lyrical themes. What did you, together with the guest singers, try to express and/or eventually externalize? What is it all about?

Pete: I always work with an overriding concept when I tackle albums be it “Damage”, “A Haunted Place” or “Asylum”. It makes the collaborations more cohesive. The core approach with “Asylum” was to explore the duality of the meaning of the word, highlight global humanitarian issues such as human trafficking, domestic violence, exploitation and the plight of asylum seekers, as well as exploring themes of personal disillusionment and mental health. For example, domestic abuse has risen by 33% and over 75,000 migrant deaths have been recorded globally – these numbers speak for themselves.
Remembering that “Asylum” was written with the backdrop of a global pandemic, Brexit here in the UK, destructive international politics, Black Lives Matter, Me Too, increased effects of global warming and, more recently, the war in Ukraine.

We’ve seen a lot of things happen in the last few years. It’s not an overtly political album but these threads run through the overall themes and narrative and, as with many of my lyrics, they can be interpreted in various ways.

Q: Kill Shelter is much more than simply a solo-project as you’re working with guest singers –and even very famous ones like Ronny Moorings. What are your main criteria to work with a guest singer and how do the collaborations happen? The most surprising name among the list is for sure Stefan Netschio so how did you come to work together?

Pete: The starting place for me is always people with outstanding vocals and that have written songs that I think ‘I wish I’d written that’. I’m not a great singer and I also like to work with other people – it always takes the material in an unexpected direction and I can listen more objectively when someone else is involved.

I write demos with specific people in mind and I think that really helps the process. I don’t just write a track for the sake of it then try to desperately find someone to sing on it. It’s far from that. I’ll either have the demo ready or float the idea with the artist first. I always ensure that they are part of the process and that they are totally happy with the way that they are represented.
Stefan has an incredible voice and “Daisy Cutter” is one of my all time favourite songs. He is very personable and professional and is a producer’s dream to work with. I was delighted he was so open-minded as he hadn’t heard of Kill Shelter when I originally spoke to him so there was a big leap of faith on his part to work with me. We got on really well through the process and I had the absolute pleasure of meeting up with him recently. They say never meet your idols but in this case I would say that definitely doesn’t apply.

I was absolutely delighted when “In This Place” reached number one in the Deutsche Alternative Charts and I really hope we can work together again soon.

Q: In between “Damage” and “Asylum” you also released an album together with Antipole. I noticed a true chemistry between both of you, but how do you look back at this experience, which I think was inspired by personal themes like loss, addiction, isolation and remorse? Can we expect a new album? Any other plans in the pipeline?

Pete: Karl has become a really good friend of mine. After sharing the same label (UPR) for our debut albums, working on remixes together then Karl appearing on “Damage” we have kept in touch for years now. We got the chance to meet at the Cold Transmission Festival in 2019 where I did a Rule of Three DJ set. We got on incredibly well over that weekend and decided there and then we should do an album together. We are very like-minded. Troubled and sensitive but determined at the same time. We share a lot of ideals and philosophies.

Karl really supported the idea of me doing vocals on “A Haunted Place” even though it was originally going to be an instrumental album featuring mainly guitars. Because it was entirely my voice on the album, the songs had to be very personal to me. I always wear my heart on my sleeve and, in a way, writing the songs on “A Haunted Place” was a very cathartic process for me.
We still chat most days and I’m looking forward to the day I either head to Norway or he visits here. We do have plans to do another album together but there’s no immediate rush or pressure on that. I have the working title and concept and we have a few demos already so the process has started. I want it to be different from our last album though. It needs to feel like a development not more of the same.

I contracted Covid in August and have had some ongoing issues following that so, unfortunately, I’m having to take some time away. Both my hearing and voice have been affected so I need that to settle down before I begin that journey again. I’ve had to pull quite a few things from my schedule and it’s never great to have to let people down but things aren’t great at the moment.
I’m looking forward to things getting better all round for all of us…

Inferno Sound Diaries

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

www.side-line.com

The Paris based post-punk / coldwave trio Je T’aime has a brand new video available, “Blood on fire”. The track is taken from the double album “Passive/Agressive”. The first part “Passive” was released on Valentine’s day February 14th, 2022, while the second part “Agressive” will follow next October.

Frontman dBoy says this about the all new double album: “Our new double album ‘Passive / Agressive’, as well as the first album, talks about the Peter Pan syndrome and the difficulty of growing up. Our main character is constantly caught up in the past, repeats the same mistakes over and over again and ends up not being able to move forward in his life. It is no mystery that the band’s music constantly looks for influences in the past 80’s for that reason. This double album forced us to think a lot more about the musical direction to follow, as the three of us have very different influences. So, on this record, we felt the need to find how to mix our 3 personnalities but keeping it coherent. That gives a more complex sound, but still catchy, dark and open at the same time, to bring life to the lyrics based on our own stories.”

Here’s the video for “Blood on fire”.

About Je t’Aime

Je t’Aime consists of dBoy, Tall Bastard and Crazy Z. Merging electro-clash, new-wave, and post-punk, they founded Je t’Aime in 2018 and released a first eponymous album via both Icy Cold Records and Manic Depression Records. A live album called “Live At Gibus”, recorded in Paris, followed immediately.

In 2021, the silence of the three men reached a point where their labels began to wonder whether they were a real band and musicians capable of writing other records, or another one-hit wonder talent. But it appeared they had secluded themselves on the Brittany coast recording “Passive/Agressive”, a double-album. The first part “Passive” was released on Valentine’s day February 14th, 2022, while the second part “Agressive” will follow next October.

Bernard - Side-Line Staff

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Inferno Sound Diaries

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

www.side-line.com

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

Format: Digital, CD, Vinyl.

Background/Info: This is the fourth full length album by the French duo Dear Deer. Claudine Sourdeval and Federico Iovino invited a few guest musicians to perform on a few tracks.

Content: The album features 2 parts, “Collect” and “Reject” each part featuring 5 songs. The first part sounds more into Dark-Wave and Post-Punk while the second part is achieved with extra electronics on top. Male and female vocals are alternating but also produced as a duo.

+ + + : The second part of the album has an irresistible feeling. Not that Dear Deer is reinventing any kind of music but the songs have a refreshing Dark-Wave/Indie touch. It sounds diversified -which is also a noticeable element in the vocal production. I also enjoyed one of the tracks of the debut part for the cool trumpet playing.

– – – : I can’t say that the debut songs are hesitant but just a teaser to what’s coming next.

Conclusion: Dear Deer sounds like it’s in constant progress and even if their sound has a strong 80s appeal they progressively reached a more personal production.

Best songs: “Plaster”, “Watch Me I’m A Marauder”, “JJR”, “Deux”, “Backward Groove”.

Rate: 8.

Artist: www.facebook.com/deardeerfr

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

About Dear Deer

Dear Deer is a French duo made up of Claudine Sourdeval (vocals, bass) and Federico Iovino (vocals, guitar, keyboards, electronics). The pair debuted with “Oh My…” in 2016 through Manic Depression Records, which also handled the vinyl edition. “Chew-Chew” followed in 2018.

“Collect And Reject” was issued on 25 March 2022 by Manic Depression Records with support from Swiss Dark Nights. It was recorded and mixed at home and at Studio Ka between 2019 and 2021, and mastered by Paul Fiction at Studio BXL in December 2021. Claudine Sourdeval wrote the lyrics.

The duo has kept releasing since, including the 2025 single “Les deux piliers”.

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, Electro-Wave, Shoegaze.

Format: Digital, CD.

Background/Info: “Disgelo” is the third album by Italian formation Winter Severity Index. The band went through different line ups but has been always driven by core member Simona Ferrucci while Alessandra Romeo joined in later on. This production is new collaboration between both French labels Manic Depression Records and Icy Cold Records.

Content: The work is mainly carried by electronic arrangements while guitar playing injects extra power and true 80s spirit. The songs are reminding me of  The Cocteau Twins but are definitely more electro-driven. This work sounds melancholic and filled with reverie while the vocals have something shimmering.

+ + + : I fully enjoyed this work which brings good-old memories alive. There are not enough female bands in this scene and Winter Society Index can only encourage other women to play music. I however don’t care about male or female bands as the most important thing is the quality of the production. This album is enjoyable from start until finish and I have a serious preference for “Another Woman”. 

– – – : An enjoyable piece of music without real surprises.

Conclusion: Winter Severity Index is a band deserving more recognition and definitely worthy of examination if you suffer from 80s nostalgia.

Best songs: “Another Woman”, “Solar Cycle”, “The Tide”.

Rate: 7½. 

Artist: www.facebook.com/winterseverityindex

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.facebook.com/icycoldrecords

Listen to “Disgelo”:

About Winter Severity Index

Winter Severity Index is a cold wave and post-punk project from Rome, Italy, formed in 2009 around Simona Ferrucci, who sings and handles guitar, bass, synths and drum machine programming. It started as a full band and shed members over the years; Alessandra Romeo later joined on synthesizers, and the pair now share the synth parts.

The second EP, “Survival Rate”, came out on vinyl through Blood Rock Records in 2013, with Valentina Fanigliulo on synthesizers; those tracks reappeared on CD in 2017 as “Katabasis”. Side-Line covered the second album, “Human Taxonomy”, on its 2016 vinyl and CD release. “Slanting Ray” followed on 14 April 2018.

“Disgelo” came out on CD and digital through Manic Depression Records and Icy Cold Records, with a vinyl edition on Blood Rock Records. The band’s Bandcamp page dates the release to 18 February 2022, while Manic Depression Records lists 19 February 2022. The title is Italian for thaw, and the band has said the album is about adapting to new phases in life.

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 French coldwave act Je t’Aime has a brand new video out for the track “Dirty Tricks”. The video was directed by Quentin Caffier and produced by Sélénites Films & Noires Productions. Shot at Le Bus Palladium (Paris) and Studio Five Monkeys (Ivry-sur-Seine) the video is the 4th single taken from the band’s recent album “Passive”.

The first single of “Passive” was the song “Another Day In Hell”, released in the spring of 2021 and the second “Give Me More Kohl” in the Fall of the same year with a music video. The third, “Stupid Songs”, was released on Valentine’s day to accompany the release of “Passive”.

Here’s the video for “Dirty Tricks”.

And here is the full album, out as download, CD and vinyl.

About Je t’Aime

Je t’Aime consists of dBoy, Tall Bastard and Crazy Z. Merging electro-clash, new-wave, and post-punk, they founded Je t’Aime in 2018 and released a first eponymous album via both Icy Cold Records and Manic Depression Records. A live album called “Live At Gibus”, recorded in Paris, followed immediately.

In 2021, the silence of the three men reached a point where their labels began to wonder whether they were a real band and musicians capable of writing other records, or another one-hit wonder talent. But it appeared they had secluded themselves on the Brittany coast recording “Passive/Agressive”, a double-album. The first part “Passive” was released on Valentine’s day February 14th, 2022, while the second part “Agressive” will follow next October. Read the review of ‘Je T’Aime’.

Bernard - Side-Line Staff

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

side-line.com

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

Format: Digital, CD, Vinyl.

Background/Info: Parisian (France) formation Je T’Aime strikes back with their second studio album. They in the meantime also released a live album “Live At Gibus”.

Content: The sound formula and influences featured on “Passive” are totally comparable to the self-titled debut album. This is pure Dark-Wave music carried with typical 80s guitar play and accomplished with electronic arrangements. The influence and especially the way of singing comes closer to The Cure -while the debut album was more reminding me of The Smiths.

+ + + : Je T’Aime avoids any element of innovation but has seriously improved the global production process. The guitar parts and vocals are definitely The Cure-like. But I like the passion of the vocals which together with the guitar creates a true emotional feeling. The electro arrangements have something refined and even elevating. There are several cool songs but I especially recommend “Dirty Tricks” and “Unleashed”.

– – – : I regret the album is only featuring 10 songs but it also reminds me of the 80s album. The song “On The Phone” sounds a bit weird, revealing a more Ska-driven guitar playing.

Conclusion: Je T’Aime has accomplished a great, mature and passionate album. When listening to this album I can only but recognize there’s still great Cold-Wave music today!

Best songs: “Dirty Tricks”, “Unleashed”, “Give Me More Kohl”, “Another Day In Hell”, “Lonely Days”.

Rate: 8½.

Artist: www.jetaime-musique.com / www.facebook.com/jetaimethemusic

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.facebook.com/icycoldrecords

“Passive” was released on 14 February 2022 through Manic Depression Records and Icy Cold Records, on vinyl, CD and digitally. The ten tracks are “Another Day In Hell”, “Dirty Tricks”, “Lonely Days”, “Unleashed”, “Stupid Songs (feat. Ophelia)”, “Cold”, “Blood on Fire”, “Give Me More Kohl”, “On The Phone” and “Marble Heroes”.

The band produced the album and wrote and performed all songs: dBoy on programming, synths, bass, guitar and vocals, Tall Bastard on bass and guitar, and Crazy Z. on programming, synths, bass and guitar. Crazy Z. mixed and mastered the record at Studio Zoé H. Andy Julia and Adrien Chapuis handled design and art direction, with photography by Andy Julia.

Videos were released for “Another Day In Hell”, “Give Me More Kohl” and “Stupid Songs”. Side-Line carried the video for ‘Dirty Tricks’ in May 2022 and for ‘Blood on fire’ in September 2022.

Listen to “Passive”:

About Je T’Aime

Je T’Aime is a Parisian trio working in dark wave, cold wave and post-punk. The line-up is dBoy, Tall Bastard and Crazy Z. Side-Line reviewed the self-titled debut album, released on Manic Depression Records, in 2019.

“Passive” is the second studio album and the first to appear jointly on Manic Depression Records and Icy Cold Records. Both labels also handled the follow-ups. The band explained its name and its working method in the Click Interview with Je T’Aime in June 2022.

The third album, “Aggressive”, followed in January 2023, and “Useless Boy” in 2025. The trio also appears on the 7CD post-punk boxset ‘Resurgence’.

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 French coldwave / pots-punk act AinSophAur, founded in 1994, is back with an all new album on Manic Depression Records, “Chants de Ruines”. Composed of Phil K on vocals and Antoine “TOY” on melodic guitars, the band was joined by Romain on bass (Roman Generation) in 2017. The all new EP “Chants de Ruines” is out now and holds songs written by Romain as well.

The material was produced and mixed by Pascale Le Berre (Complot Bronswick, Marc Seberg, Philippe Pascale).

Included is the track “Sans Mémoire”, a cover of the track by the French new wave act Marc Seberg, which became a tribute to the late Philippe Pascal (and his ex-band Marquis de Sade).

The first promo single for the EP will be the track “Rumeur” for which a video clip is being prepared. For now check out the following videos.

Bernard - Side-Line Staff

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

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Genre/Influences: Electro-Wave, Wave-Pop, Dream-Pop.

Format: Digital, CD.

Background/Info: Stridulum is a Polish duo driven by classically trained singer Marita Volodina and musician Arkadiy Berg. They’re both also involved with Minoar. They previously released a few singles and this year unleashed their debut album. 

Content: The work takes off with a short intro-track and progressively moves into a dreamy darkness of Electronic songs. There’s an 80s touch supporting the work, which globally also reflects a minimal approach. Marita’s graceful- although sometimes bit cold way of singing is one of the album’s main characteristics. 

+ + + : The main strength of this debut album is the angelic signing of Marita Volodina. Sound-wise Stridulum will mainly appeal to lovers of dreamy Electronic music with some simple melody lines on top. I especially recommend listening to “Ghost” revealing a true potential.

– – – : The main aspect that has to be improved is the songwriting. Everything sounds a bit flat and even monotonous, with the exception of “Ghost” this work doesn’t have many highlights.

Conclusion: This album is a debut, which has to be the basis for elaboration.

Best songs: “Ghost”, “Odium”.

Rate: 6.

Artist: www.facebook.com/stridulum.official

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords

About Stridulum

Stridulum is a Polish duo formed by singer Marita Volodina and musician Arkadiy Berg, both of whom also record as Minoar. The project started with self-released digital singles: “Collapse” and “Burial” in 2020, then “Ghost”, “Bleeding” and “Home” in 2021.

“Soothing Tales Of Escapism” followed in 2021 through Manic Depression Records. The duo continued with the singles “Fear” in 2022 and “Astray” and “Flesh” in 2023, and a second album, “Paradigm”, in 2023. Stridulum tracks have also appeared on compilations including the Orkus CD “The Dark Hits Of Tomorrow Vol. 3” in 2022.

Inferno Sound Diaries

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

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Genre/Influences: Dream-Pop, Wave-Pop, Cinematographic.

Format: Digital, CD.

Background/Info: This is the second full length album by American artist Jackson VanHorn. The work has already been released as a collaboration between French labels Manic Depression Records and Icy Cold Records. The work is inspired by literary- and cinematic influences with a philosophical touch on top.

Content: The album mainly reflects Dream-Pop influences, which the multi-instrumentalist accomplished with melancholic passages composed by guitar and electronics. The songs have been completed with delicate arrangements and a              melodies. Jackson VanHorn’s deep- and sensual timbre of voice remains one of the main characteristics of the album. The second part of the work sounds more evasive and into Cinematographic music.

+ + + : The debut part of this work is really great and sounds like a delicate sonic caress. The first 3 songs are deeply artistic revealing a perfect balance between melodies and melancholia with the sensual voice on top. The dark interpretation has something enlightening… I also like the delicacy of this work, which is mainly coming through with the subtle arrangements. 

– – – : The second part of the work is definitely more into reverie and Cinematographic music, but not exactly the most convincing side of the album.

Conclusion: Jackson VanHorn republishes his sweet melancholic approach of Dream-Pop, but I prefer this album to its predecessor.

Best songs: “Invisible Hand”, “Common Era”, “Two Evils”, “Lady Of Light”.

Rate: 7½.

Artist: www.facebook.com/JacksonVanHornMusic

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.facebook.com/icycoldrecords

About Jackson VanHorn

Jackson VanHorn is an American multi-instrumentalist and singer. He recorded with the Lafayette, Indiana post-punk band TV Ghost before working under his own name, starting with a self-titled cassette EP on Jerkwave Tapes in 2008.

The singles “Desire” and “Burn” appeared on Stupid Decisions in 2017, followed by the LP “blood” in 2018 and further releases including “hvn” in 2019 and “After The Rehearsal” and “Saturnine” in 2020. The remix set “After The Rehearsal Reworks” and the album reviewed here both date from 2021, the latter co-released by Manic Depression Records and Icy Cold Records. VanHorn has also appeared on both labels’ compilations.

Inferno Sound Diaries

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

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

Format: Digital, CD, Vinyl, Cassette.

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

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

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

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

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

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

Rate: 7½.

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

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

About 1919

1919 is a post-punk band from Bradford, England, formed in 1980. Founding guitarist Mark Tighe was part of the original line-up. The band split in 1985 and reformed in 2014.

Tighe was diagnosed with cancer in 2016 and died in January 2017. Former member Steve Madden died in 2019. The third studio album “Futurecide” was released that same year on Cleopatra Records and included guest performances by Tighe.

“Citizens Of Nowhere” followed in 2021 on Manic Depression Records, with a cassette edition issued by Cry Wolf Records.

Inferno Sound Diaries

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

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

Format: Digital, CD, Vinyl.

Background/Info: This album resulted from the common efforts between Pete Burns (Scotland) and Karl Morten Dahl (Norway). Their respective projects Kill Shelter and Antipole both released an album each  on Unknown Pleasures Records. They now joined hands together to achieve eight songs inspired by personal themes like loss, addiction, isolation and remorse.

Content: Kill Shelter reminded me of The Sisters Of Mercy while Antipole is more connected with The Cure. Both artists together achieved a pure Dark-Wave production featuring slower, melancholic pieces at one side and a few harder cuts at the other side. Pete Burns is singing with an expression of sorrow, but still passion. The guitar play brings us back to the darkest hours of the 80s.

+ + + : I’m often skeptical about collaborations, which often result in one shots and poorly inspired songs. “A Haunted Place” doesn’t sound like an occasional collaboration, but reveals a mature production resulting in a few great songs. It reminds me more of Kill Shelter than Antidote and especially the last part of the album is worthy of examination. The dark sphere supporting “The Edge Of Reason” and “Every Walking Hour” will give you goosebumps. And there also is the great and more passionate “Of Roses And Thorns” carried by cool, mewing guitar play reminiscent of the 80s.

– – – : The first part of the album is less convincing, the slower “Into The Fire” sounding less inspired in comparison with the great final part.

Conclusion: “A Haunted Place” is a fully accomplished, dark work, which will appeal for lovers of Dark-Wave and Post-Punk. I hope this duo will renew their collaboration.

Best songs: “Of Roses And Thorns”, “The Edge Of Reason”, “Every Walking Hour”, “Raise The Skies”.

Rate: 8.

Artists: www.facebook.com/killshelterofficial / www.facebook.com/antipoleband

Label: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords Read the news on ‘A Haunted Place’.

About Kill Shelter and Antipole

Kill Shelter is the project of Edinburgh-based multi-instrumentalist, producer and remixer Pete Burns, who mixes post-punk, darkwave and heavily processed guitars. Antipole is the project of Norwegian guitarist and producer Karl Morten Dahl.

Kill Shelter debuted in 2018 with the album “Damage” and followed it with the “In Decay / Bodies” single in 2019. Antipole released “Northern Flux” in 2017 and “Radial Glare” in 2019.

“A Haunted Place” was released on 26 March 2021 through Manic Depression Records in digital, CD and vinyl formats. Kill Shelter continued with “Asylum” in 2022 and a fifth-anniversary reissue of “Damage” in 2023, while Antipole released “Crystalline” in 2023.

Inferno Sound Diaries

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

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

Format: Digital, CD, Vinyl.

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

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

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

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

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

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

Rate: 8.

Artist: www.facebook.com/nox.novacula

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

About Nox Novacula

Nox Novacula is a deathrock quartet formed in 2017 in Seattle, Washington, fronted by singer Charlotte Blythe.

The band issued a self-titled EP in 2018, followed by the single “Hitchhiker / Drug” and “The Beginning” in 2019. “Ascension” was released on 28 May 2021 in digital, CD and vinyl formats, and the single “Moment Of Pleasure” appeared the same year through Artoffact Records. “Feed The Fire” followed in 2024.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Cold-Wave, Dream-Pop.

Format: Digital, CD, Vinyl.

Background/Info: Three years after their self-titled debut-EP –released by Solange Endormie, the French formation Candélabre signed to Manic Depression Records to unleash their debut album.

Content: The work is mixing pure dark 80s influences, mixing Cold-Wave and Dream-Pop. The songs are infused by typical 80s guitar play, which switches from melancholia into heavier pieces. On top of the production you’ll notice the bewitching and sometimes fragile timbre of Cindy Sanchez’s voice.

+ + + : Candélabre confirms the interesting potential showed at “Candélabre”. The production of the vocals became more dominant and definitely appears to be the main strength of this work. But a good singer is nothing without great music. Candélabre doesn’t innovate, but still moves on dealing with alluring Cold-Wave intermixed with Dream-Pop and a few Shoegaze passages. Globally speaking the influences remain the same, but the sound became more personal.

– – – : I regret this album only features seven songs.

Conclusion: Candélabre is a band I would recommend to 80s nostalgics of Cold-Wave music and related styles.

Best songs: “Men And Beasts”, “Bliss”, “Ceasefire Of Love”.

Rate: 7½.

Artist: www.facebook.com/candelabre.band  

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

About Candélabre

Candélabre is a French band from Toulouse, fronted by singer Cindy Sanchez.

The group debuted in 2018 with the self-titled EP “Candélabre” on Solange Endormie. “For To Have Time Is To Have Wings” followed on 7 May 2021 through Manic Depression Records in digital, CD and vinyl formats and holds seven songs.

Inferno Sound Diaries

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

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There must be some post-punk in the drinking water in canada… Out via Freakwave on November 19 is the new album from the Canadian post-punk act Traitrs: “Horses in the Abattoir”. The release will be out on CD and vinyl. The band is known for mixing emotive melodies, propulsive rhythms, angular guitars and dark cinematic electronics into one complete mix.

Traitrs consists of Sean-Patrick Nolan and Shawn Tucker, the duo formed the band during the summer of 2015 in Toronto, Ontario Canada and released their debut in April 2016. They then released the LP “Butcher’s Coin” via Pleasence Records / Manic Depression / Alchera Visions in May 2018.

The bands that influenced the duo most are New Order, Tears For Fears, Phillip Glass, Protomartyr, Talk Talk, The Smiths, Placebo, The Cure… and so on. The band explains how especially Phillip Glass inspired them to write the album track “Oh, Ballerina” .

Nolan: “While on tour, I became obsessed with the minimalist composer Phillip Glass. His music completely changed the way I thought about melodies and composition. That’s how “Oh, Ballerina” started, as this minimal and abstract piano piece with some atmospheric textures and very little else. I played it for Shawn and he liked it so we took it to rehearsal and recorded a 10 minute demo. I had insomnia a few nights later and decided to listen to the demo very late at night and mid-way through the improvised recording, it was like the song suddenly revealed itself to me. Like a crack in the sky, I suddenly heard the drums and bass in my head and realized that what we worked on was literally just the beginning. At 3 am, I grabbed my laptop, quickly programmed some drums and we finished scripting it all the next day. We opened all of our fall 2019 shows with ‘Oh, Ballerina’ just to study the audience’s reaction to see if it held up with the rest of our catalogue and it always did.”

Check out “Oh, Ballerina” below.

And this is their latest single, “Magdalene”.

Bernard - Side-Line Staff

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

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Genre/Influences: Dark-Wave.

Format: Digital, CD.

Background/Info: Jeff Clark’s is a French duo hailing from Le Mans. They previously released two EP’s “Confused”  (2018) and  “Miserable Star” ( 2020). Both EP’s have been compiled on this album.

Content: The album takes off with the 5 songs from “Confused”, which instantly reveal the 80s influence of the band. This is pure Cold-Wave melancholia. The songs aren’t driven by power, but by emotional atmospheres mainly created by the guitar playing. We next get the 4 songs from “Miserable Star”, which are pretty similar in style. Some passages remind me of The Cure. “Welcome To The Night” is driven by a harder kick injecting some diversity to the work.

+ + + : If you like the typical misty, melancholic Dark-Wave from the 80s this french band will be for sure a cool discovery. They don’t innovate, but know the way to bring the golden age of Cold-Wave music alive. The guitar playing is an essential aspect of the production, not only for the 80s connection, but also for the emotive side. The guitar definitely sounds like the heart and soul of this work.

– – – : A few ‘harder’ cuts would be a real extra and a way to catch a wider attention. I have a preference for the earlier songs featured at “Confused”.

Conclusion: This “EP Collection” is an opportunity to get a bit more familiar with the work of Jeff Clark’s.

Best songs: “Welcome To The Night”, “Romeo and Juliet”, “Confused”, “Blank”.

Rate: (7).

Artist: www.facebook.com/jeffclarksmusic

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

About Jeff Clark’s

Jeff Clark’s is the solo project of French musician Charly Loyer, who writes, records and mixes the material himself with additional bass and keyboards from Guillaume Jean. “EP Collection” gathers the project’s two prior EPs, “Confused” (May 2018) and “Miserable Star” (April 2020), mastered by Jordan Champlon.

It was issued by Manic Depression Records on 12 December 2020.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Gothic, Dark-Rock & Pop, Cinematographic.

Format: Digital, Vinyl.

Background/Info: After a self-released debut album (cf. “Step On) and the official albums “Nothing” (released in 2016 on Bunkier) and “Recalling” (released in 2017 on Unknown Pleasures Records), Daniele Giustra (still involved with The Well Of Sadness) released the newest album of Selfishadows at the end of 2020 on Manic Depression. The musician got some help from a few guest musicians to achieve “Again”.

Content: The work is clearly evoking 80s influences and some songs might remind you of Echo And The Bunnymen and The Cure. There’s this typical 80s spirit, but you’ll also discover dreamier cuts, which could be suited for a kind of ‘film-noir’. I also noticed a Rock-Pop touch emerging from other cuts.

+ + + : The 80s influence is one of the most noticeable elements from the work and for sure one of the main reasons why it previously caught the attention of Unknown Pleasures Records and now Manic Depression. The typical low resonating bass lines and guitar playing both express this unique spirit of the 80s Cold/New-Wave sound. That’s why I like the song “Close To Me” (does the title evoke something in you?), but also the debut track “A Way To Cry”. There’s also something to say about the more Cinematographic title song.

– – – : Despite of the album’s diversity I didn’t really hear a potential ‘hit’.

Conclusion: Call it Dark- or Cold-Wave music, but with an extra Cinematographic touch on top.

Best songs: “Close To Me”, “A Way To Cry”, “Again”.

Rate: (6½).

Artist: www.facebook.com/Selfishadows

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

About Selfishadows

Selfishadows is the project of Italian musician Daniele Giustra, also involved with The Well Of Sadness. Discogs lists a self-released debut EP (2013) and “Step On” (2015), followed by “Nothing” (2016, Bunkier) and “Recalling” (2017), issued on Unknown Pleasures Records, the French label Side-Line reported had closed in June 2020 (Discogs).

“Again” was released 5 December 2020 on Manic Depression, recorded using only analog equipment with artistic production by Adriano Modica. Selfishadows released “Everything Changes” on the same label in 2023.

Inferno Sound Diaries

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

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Two years after the release of “Bleu Acier” (October 2019), the Frenchwave Paris based act Order89 are back together with “L’Été des Corbeaux” on the Manic Depression label. The band again combines cold-wave, pop, an organic-synthetic approach, cold electro and new-wave elements. The new album has 10 tracks, and you can check out one already below, “Gangster”.

Besides a 6 panel digipak the release is also out as a limited edition of 300 copies, on black vinyl. Again a well-crafted released from Jordi, Flavien and Elliot. Note also the super excellent artwork.

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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British darkwave and Scandinavian coldwave fuse as Kill Shelter (UK) and Antipole (Norway) announce a new collaboration album entitled “A Haunted Place” to be released March 26th on Manic Depression Records with limited edition variants available via the artists bandcamp pages. Having worked together on various projects since 2018, Kill Shelter and Antipole decided to join forces after meeting up in Cologne at the Cold Transmission Festival in 2019.

The album itself deals with personal themes of loss, addiction, isolation and remorse.

Karl Morten Dahl, Antipole: “A Haunted Place was a real journey for both of us. I’d just completed Radial Glare and I had some ideas that I wanted to explore in a different way. Pete and I had often discussed working together so we formulated a plan to write an album together that reflected both the Antipole and Kill Shelter aesthetics. The end result is definitely so much more than just the sum of its parts. It’s an album that I’m deeply proud of.”

Pete Burns, Kill Shelter: “The concept for the album was born out of some of the conversations that Karl and I were having at the time. The lyrical sentiment on A Haunted Place is reminiscent of Keats and the dark romantics and reflects heavily on the fragility of human life. I wear my heart on my sleeve and the lyrics come from a very personal place. Musically, I wanted to make sure we struck a balance in influences and sonic signatures whilst delivering something unexpected in the process.”

To support the new album Kill Shelter and Antipole release the music video for the first single, “Raise the Skies”. Read the review of ‘A Haunted Place’.

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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Post-Punk/Darkwave artists Twin Tribes are back with a remix album. “Altars” is the follow-up to their sophomore album “Ceremony” and features a myriad of artists from the post-punk, darkwave scene remixing songs off Twin Tribes’ debut album “Shadows and Ceremony”.

Altars features remixes from She Past Away, Ash Code, Bootblacks, Wingtips and more and can be pore-ordered now.

“Altars” will be released April 9th through Negative Gain (North America), Manic Depression Records (France), and Young & Cold Records (Germany) on CD, Vinyl, and digitally.

Select remixes can be heard via the pre-order link.

Tracklist

1. The River (Skeleton Hands Remix)
2. Tower of Glass (Geometric Visions Remix)
3. Dark Crystal (Luz Futuro Remix)
4. Fantasmas (Ash Code Remix)
5. Perdidos (Cult of Alia Remix)
6. Upir (NITE Remix)
7. Exilio (Wingtips Remix)
8. Shadows (Matte Blvck Remix)
9. Still in Still (Dave Parley Remix)
10. Portal to the Void (She Past Away Remix)
11. Avalon (Bootblacks Remix)
12. Talisman (Creux Lies Remix)

About Twin Tribes

Twin Tribes is a Dark Synth / Post Punk duo based in Brownsville, Texas. Formed by Luis Navarro (vocals, guitar, synth, drum machines) and Joel Niño, Jr. (bass, synth, vocals) in 2017.

The band gathers their influences from the period of the dark 80’s. Dark Wave, Post-Punk and Cold Wave are genres that the band summon using analog synthesizers and drum machines. Dark melodic sounds, lyrics of the undead, the occult and parallel universes are what conjure Twin Tribes.

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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SCHONWALD is an Italian duo based in Ravenna. Ale Gismondi and Luca Bandini are now active under the SCHONWALD moniker for several years. They last year released their fourth full length album entitled “Abstraction”. The album has been released on Manic Depression and reveals a fascinating mix between Dark-Wave, Dream-Pop, Post-Punk and Shoegaze. I think it’s one of the best productions from the past year. So here’s an interview with Ale and Luca.

(Courtesy by Inferno Sound Diaries)

Q: Italy has been badly touched by Covid-19 so how did you experience this situation and in, which way did you feel your artistic activities impacted by the pandemic?

Luca: The situation in Italy has been very difficult from the beginning of the pandemic. We were struck not as musicians only, but also regarding our new adventure, we are running for 2 years now a B&B.
Ravenna our hometown is rich of history and art;  because of the closing of the boundary, museums, restaurants we had to stop with the B&B and cancel all our  gigs in Europe. I can’t hide it was really hard to face this situation. We hope to come-back to normality as soon as possible. 

Q: 2020 was also a special year for SCHONWALD as you released your new album “Abstraction”. What can you say about it and how do you look back at the composition and production?

Ale: The process of writing/composition of the new album took a long time. We started working on the first songs at the end of 2018. First Luca started as usual with the structure of drums and rhythmic loops then the bass lines made by synths followed. At that point Luca did a strong work with the guitar lines because at the end of Summer 2019 I got sick and suffered of pneumonia. For this reason we had to stop for several months in order to recovery at best.  Finally when I was getting better I decided to record the bass lines and a lot of synths were deleted; we wanted to get a Post-Punk sound that could fit the most as possible to the actual attitude. January 2020 I was able to sing again, but it was really hard for me singing after the illness, that’s why it took so long.

Q: Abstraction” is inspired ‘by esoteric hymns, aesthetic mantras, echoes of savage human nature. It’s called ‘a voyage through introspection of the 21th century’s utopian hopes’. Can you give us more details about the theme(s) and do you see a connection with the dystopian year 2020?

Ale: The main theme is probably the situation I was experiencing or rather the physical and mental disease caused me a serious stress. All of this has left me away from the daily routine for months. The impossibility to go out and have a life. This forced loneliness has brought to the surface a primordial side of my personality that I didn’t know before. As we say here in Italy I had  ‘an epiphany’.

Now I only can say that through the pain something unreal can happen, which luckily inspired me; not through a rational way of creating a song, but pushed by an unknown inner strength; something absolutely beautiful though.  To me the word abstraction is now a different way of thinking and see things without limits. I let my mind wander freely.

Q: Abstraction” clearly sounds as your darkest opus. What explains and inspires this darkness and what does it say about you own vision and perception of life?

Ale: I definitely agree with you, “Abstraction” is the saddest and darkest album we ever did. In my personal opinion I’m just a little disillusioned about ‘humans’. We realized that we are surrounded by few people who really matter to us.

Lately we prefer spending time with our cat staying at home or in our garden, being immersed among the trees deeply in contact with the heart of nature. Nature has purified minds and souls during the pandemic. 

Q: The song “Passion Of Lover” sounds as a wink to BAUHAUS, but was it all about? Do you have favorite songs and are there songs you now would have produced a different way?

Ale: I often wondered  if it was appropriate to name the song as the almost homonymous of BAUHAUS. But in the end, I realized, we’d to call it this way because this is our tribute to passion. 

Of course we have favorite ones; mine are: “Desert”, “Polar”, “Reflex” and “Echo’s Dream”.
Luca’s favorites are: “No Return” and “Fall Apart”.
Every time we find something that we would have liked to change.

Q: How do you see SCHONWALD evolving as band throughout the years? Do you notice important changes and evolutions and how do you look back at previous releases?  

Luca: Looking back from our first album to this late work I can see a progressive change that leads to a greater compositional awareness without changing too much our artistic identity.

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, Dark-Pop, Cold-Wave, Shoegaze.

Format: Digital, CD, Vinyl.

Background/Info: Alessandra Gismondi and Luca Bandini are now active under the Schonwald moniker for several years. The Italian duo never stopped gaining new fans and more recognition. “Abstraction” is the band’s fourth album, which is inspired by esoteric hymns, aesthetic mantras, echoes of savage human nature.

Content: If you’re familiar with the work of this band you for sure will immediately recognize their passion for 80s music. The work is a nice fusion between pure darker Dream-Pop, Cold-Wave and Shoegaze. The global work makes me think to an imaginary hybrid between Bauhaus, The Cure and Suicide. Dark and melancholic, Alessandra Gismondi empowers the mood by her sterile way of singing, which here again is pretty 80s like.

+ + + : I’ve always liked the work of this band and Schonwald hasn’t change this sound formula. It seems that they took more care for the technical aspect of the work, but they didn’t lose their skills to write great songs. There’s a true symbiosis between the guitar playing and the electronic arrangements. The album is supported with a dark and desperate mood; it’s the kind of music that will make you dream away, but it’s not what I would call a relaxing experience. Schonwald will bring you to dance on the magic effect of their icy, elevating melodies and the deep, vibrating bass lines. The album is a constant succession of noticeable songs, but “Passion Of Lover” is definitely my favorite one. The title reminds me of Bauhaus and with some imagination you might consider Schonwald as the contemporary and female fronted heritor of Bauhaus. The album is a great and professional production revealing one of the best artists in this genre today.

– – – : Schonwald avoids innovation; it must be voluntary, but I honestly don’t care as this is one of the best productions from the year.

Conclusion: Schonwald confirms to be one of the most talented ‘Post-Punk’ formations of the past years. This is an album I can only but highly recommend!

Best songs: “Passion Of Lover”, “Desert”, “Polar”, “No Return”, “Reflex”, “Violet”, “Fire Fire”.

Rate: (9).

Artist: www.facebook.com/schonwald.music

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

About Schonwald

Schonwald is a duo from Ravenna, Italy, made up of Alessandra Gismondi and Luca Bandini. The band’s debut album, “Amplified Nature,” was released in February 2009 on a vinyl-with-CD edition through Pocket Heaven Records. Side-Line previously covered the band’s “Between Parallel Lights” (2016). “Abstraction,” released via Manic Depression Records, is the band’s fourth album.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-Wave, Cold-Wave.

Format: Digital, CD, Vinyl.

Background/Info: French project Blind Delon strikes back with a new album, which comes one year after the last year released “Discipline” (Unknown Pleasures Records). Multiple EP’s have been released as well and in a rather short lapse of time. Mathis Kolkoz who set up Blind Delon as a solo-project has now been joined by Coco Thiburs.

Content: I remember “Discipline” as a rather Minimal-Electro work. “Chimères” sounds totally different although again inspired by the legacy of the 80s ‘Wave’-music spirit. The opening cut is pure Dark-Wave; a kind of tormented song with French vocals on top. This opening song stands for the entire album, characterized by low bass lines, guitar and synth melodies. The low timbre of voice and the mysterious French vocals accentuate the darkness hanging over the work. I also noticed one song (cf. “Elle”).

+ + + : This work sounds totally different to the previous album, but I think it’s an interesting experience, which will rapidly appeal for the darkest souls and 80s lovers. Blind Delon creates an extremely dark work; everything appears desperate and sad. But darkness can be also beautiful and especially when there’s such a great balance between guitar, bass and synth. I already mentioned the debut song “Elle”, but other little pearls like “Mourir Seul” and “Outrage” only confirm the potential of the band. The tracks are moving to a crescendo, creating an uplifting effect. “Discipline” was an okay album, but “Chimères” is a true masterpiece!

– – – : I’m afraid those who became great fans of the debut album, will have some difficulties to recognize Blind Delon’s new work. This is a little metamorphosis.

Conclusion: Cold/Dark-Wave music remains a great source of inspiration for contemporary artists and Blind Delon appears to be one of the most talented ones from their class.

Best songs: “Mourir Seul”, “Elle”, “Outrage”, “Tes Lèvres”, “Cigarette”.

Rate: (8½).

Artist: www.facebook.com/blinddelon

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.facebook.com/icycoldrecords

About Blind Delon

Blind Delon is a synth-punk/post-wave project from Toulouse, France, founded in 2016 by Mathis Kolkoz as a solo vehicle before Coco Thiburs joined. The band previously released “Discipline” (2020) via Unknown Pleasures Records. “Chimères” was released via Manic Depression Records and Icy Cold Records.

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, Dark-Pop

Format: Digital, Vinyl, Cassette.

Background/Info: American musician Jackson Vanhorn (previously involved with other bands like TV Ghost) has released his first official album as a collaboration between Manic Depression Records and Icy Cold Records; one releasing the vinyl and the other the cassette.

Content: Jackson Vanhorn has been introduced as the fusion between different music genres. I mainly heard the dark Dream-Pop style and the clear 80s influences. The songs are evasive, but still exploring other sonic horizons. The vocals are somewhat lazy-singing like, creating a sensual feeling. The last song “Another World” creates a true climax while reminding me of songs from The Cure.

+ + + : Jackson Vanhorn invites his audience to embark on a dark, wafting trip driven by his sensual singing. The guitar playing creates this moody, dark and melancholic 80s atmosphere. The opening song “Hallucination” is a cool opener revealing an elevating chorus. The last track “Another World” is another attention grabber. There’s a similar elevating effect, but the song is also somewhat more powerful.

– – – : This album is an easy listening opus without absolute hits and that’s maybe what this artist needs to gain a wider recognition.

Conclusion: Listening to Jackson Vanhorn on a grey autumn afternoon is the right way to enjoy his moody, melancholic Dream-Pop.

Best songs: “Another World”, “Hallucination”, “Faces”, “Sunday”.

Rate: (7).

Artist: www.facebook.com/JacksonVanHornMusic

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.facebook.com/icycoldrecords

About Jackson Vanhorn

Jackson Vanhorn is a shoegaze/post-punk artist from Indianapolis, Indiana, previously involved with the band TV Ghost. He released a self-titled tape via Jerkwave Tapes in 2008, followed by the “Desire” and “Burn” releases on Stupid Decisions in 2017 and the self-released “blood” in 2018. “hvn” followed in 2019. “After The Rehearsal” was released in 2020 as a joint effort between Manic Depression Records (vinyl) and Icy Cold Records (cassette), followed the same year by “Saturnine” and, in 2021, by the “After The Rehearsal Reworks” remix set.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Cold-Wave, Dark-Wave.

Format: Digital, CD.

Background/Info: Fall Shock is an Italian duo set up in 2017 by producer Francesco Kay and rapidly joined by  guitarist Markus O. “Interior” is the band’s debut album released on Manic Depression Records.

Content: Who says Manic Depression Records immediately makes a link with Dark/Cold-Wave music? “Interior” indeed is driven by the good-old 80s spirit from these genres. The songs are dynamic and refined with electronic melodies. Moving from typical 80s wave music towards dark-reverie pieces the album is coming to an end with the dreamy-like “Marion Valerie”.

+ + + : “Interior” is an honest and promising debut. Fall Shock brings the good-old 80s spirit to life with devotion and a real good harmony between guitar and electronic arrangements. I especially like when the melodic side emerges at the top of the choruses. “Synthetica” and “Wall Of Try” both are cool songs in the genre. I also want to mention the moodier “The Holy Rage”. Last but not least, I also want to say a word about the sober, artistic digipak format of the CD.

– – – : Fall Shock is not exactly a band that will take you by surprise; there’s no trace of innovation, but is it really a must when the album is good!? I however am not totally convinced by the softer cuts of the album.

Conclusion: Fall Shock has found the right label to release their debut work, which is honest work without absolute highlights, but without unaccomplished songs.

Best songs: “Synthetica”, “Wall Of Try”, “The Holy Rage”.

Rate: (7).

Artist: www.facebook.com/fallshock

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

About Fall Shock

Fall Shock is an Italian duo formed in 2017 by producer Francesco Kay, later joined by guitarist Markus O. “Interior” was released as the project’s debut album on Manic Depression Records in 2020. Fall Shock went on to release “Universal Unit Crime” via the same label in 2023.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Cold-Wave, Dark-Wave.

Format: Digital, CD, Vinyl.

Background/Info: The Midnight Computers is a French trio featuring members from different musical horizons. “Anxious” is the band’s debut album featuring nine songs.

Content: From the very first song you immediately feel like getting back to the past and awakening somewhere in the 80s. This band is dealing with powerful Cold/Dark-Wave music carried by solid and mewing guitar playing. The songs have been accomplished with electronic melodies and arrangements. The songs remind me of an imaginary hybrid between The Sisters Of Mercy and Lebanon Hanover.

+ + + : The album only features 9 tracks, and there’s not much to throw away. This album is an extremely powerful exposure of a band mainly inspired by the darkest hours of Dark/Cold-Wave music, but with a unique touch on top. There’s a great balance between the masterly produced guitar parts and the electronics. It creates a fusion between power and melody with grave, charismatic vocals on top. There’re a few brilliant songs featured in this work, but I especially recommend “Disgrace” and “Succubus”.

– – – : There’s just one song (cf. “Murder Pain”), which can’t convince me and quite curiously this song also is the softest one from the album.

Conclusion: The Midnight Computers is a real hot discovery, which I can only, but highly recommend to discover!

Best songs: “Disgrace”, “Succubus”, “Tears”, “Our Most Beautiful Lies”.

Rate: (8½).

Artist: www.themidnightcomputers.com / www.facebook.com/themidnightcomputers

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.swiussdarknights.ch / www.facebook.com/SwissDarkNights

About The Midnight Computers

The Midnight Computers is a post-punk and coldwave trio from France, made up of Alexandre Saintorant, Jonathann Cast and Pascal Roeder. “Anxious” is the band’s debut album, released via Swiss Dark Nights and Manic Depression Records.

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 Katrin Albert) The New York City based act post-punk band Bootblacks have released a new single, “Nostalgia Void”. The song appears on the upcoming Artoffact Records album “Thin Skies”, to be released October 23rd.

About the new single, Bootblacks vocalist Panther Almqvist states: “The person we were in the past often seems unrecognizable. Memories can often seem like scenes from another person’s life. There are moments however when we see ourselves in the present and that we realize that we are summation of the experiences of the past and maybe we haven’t changed as much as we think we have.”

Check out the single below.

“Thin Skies”, Bootblacks’ first album for Artoffact Records, was produced by Jason Corbett of Artoffact labelmates Actors.

Bootblacks The band consists of Panther Almqvist (vocals), Alli Gorman (guitar), Barrett Hiatt (synth) and Larry Gorman (drums). The band has toured North America and Europe, most recently being handpicked by Modern English as direct support for a 2020 North American tour (currently postponed).

So far they released 3 albums: “Fragments” (2017, Manic Depression Records), “Veins” (2016, self-released) and “Narrowed” (2012, self-released).

Bernard - Side-Line Staff

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

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Genre/Influences: Electro-wave, cold-wave.

Format: Digital, Vinyl.

Background/Info: Three years after the remarkable debut album “Mischievous Urges”, Portuguese formation Velvet Kills are back on track. The album rather looks like a mini-album featuring six songs. The work has been released again by Unknown Pleasures Records, and also on Manic Depression Records and Icy Cold Records.

Content: I quickly got the feeling that the new stuff is moving a step further from the previous album. There still is this cold and sterile cold-wave sound inspired by the 80s, but the work also reveals more electro-driven compositions. The magic of good-old analogue sound treatments is easily noticeable.

+ + + : Velvet Kills simply confirms their strong potential. The 80s inspiration is once again noticeable, but this album sounds more personal than its predecessor. That’s mainly due to the electronic sound treatments, which are more at the front of the work creating an irresistible, minimal touch. On top of it all you also will notice the charisma and commanding vocals of Su Eko. She perfectly brings the coldness of the 80s back to life.

– – – : All this work is missing is an absolute hit!

Conclusion: Velvet Kills not only confirm their strong potential, but are still evolving into their cold-wave investigation of the 80s.

Best songs: “The Key”, “Hangover Calling”, “Noise”, “Bitch Face”.

Rate: (8).

Artist: https://www.velvetkills.com / www.facebook.com/velvetkills

Labels: www.manicdepressionrecords.com / www.facebook.com/manicdepressionrecords / www.facebook.com/icycoldrecords / www.unknown-pleasures-records.com /  www.facebook.com/Unknown-Pleasures-Records-566180440115465

About Velvet Kills

Velvet Kills is a duo from Lisbon, Portugal, formed by vocalist/bassist Susana Santos, who performs as Su Eko, and guitarist/synth player Harris Iveson. The project self-released the EP “Memory” in 2016, followed by the debut album “Mischievous Urges” in 2017. “Bodhi Labyrinth” (2020) arrived three years later as a six-song mini-album, issued jointly through Unknown Pleasures Records, Manic Depression Records and Icy Cold Records.

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