(Photo by Fabio Calabretta) On September 13th, the Barcelona-based, post-industrial duo Dame Area will release their fourth studio album, “Toda la verdad sobre Dame Area” (“The Whole Truth about Dame Area”), a collaboration with the labels Mannequin Records and Humo Internacional.

The album serves as a companion piece to 2022’s “Toda la mentira sobre Dame Area” (“All The Lies About Dame Area” – Màgia Roja and B.F.E Records), which had a stronger focus on melody, while this latest record is more aggressive and industrial-influenced, with a greater emphasis on percussion.

Here’s already a new track, “Si No Es Hoy Cuándo Es“.

Formed in 2017 within the underground scene of Barcelona’s Màgia Roja club, Dame Area comprises the Italian-Catalan duo Silvia Konstance and Viktor Lux Crux. They fuse industrial-tribal polyrhythms with minimalist synth basslines, drawing inspiration from avant-garde masters such as Esplendor Geometrico, Throbbing Gristle, Suicide, Einstürzende Neubauten, Can, Coil, Swans, Big Black, and Wolf Eyes. Dame Area released their debut album “Centro di Gravità” in 2018 on Màgia Roja and B.F.E Records. This was followed by “Ondas Tribales” in 2021, released on the Berlin-based label Mannequin Records.

Dame Area Tour Dates

• 09/08/2024 – WINCHESTER (GB) Three Wheel Drive Festival
• 10/08/2024 – CASTELBUONO (IT) Ypsigrock Festival
• 16/08/2024 – ALVESTA (SE) Kalabalik på Tyrolen Festival
• 17/08/2024 – SAINT-MALO (FR) La Route Du Rock
• 23/08/2024 – TORREMOLINOS Canela Fest.
• 24/08/2024 – LEIRIA (PT) Extramuralhas
• 30/08/2024 – BIRMINGHAM (GB) Supersonic Festival
• 14/09/2024 – LEFFINGE (BE) Leffingeleuren Festival
• 19/09/2024 – MEXICO (MX) 316
• 20/09/2024 – SAN JOSE (CR) Edificio Steinvorth
• 21/09/2024 – BOGOTA (CO) Asilo
• 27/09/2024 – SANTIAGO (CL) TBA
• 28/09/2024 – SAO PAULO (BR) Club Madame
• 03/10/2024 – MUNICH (DE) Rote Sonne
• 04/10/2024 – BERLIN (DE) Neue Zukunft
• 05/10/2024 – HAMBURG (DE) MS Stubnitz
• 11/10/2024 – PARIS (FR) Petit Bain (Gonzaï Night)
• 12/10/2024 – AURAY (FR) Les Nuits Soniques
• 18/10/2024 – MADRID (ES) TBA
• 19/10/2024 – VITORIA (ES) TBA
• 24/10/2024 – BRUXELLES (BE) Beursschouwburg
• 25/10/2024 – CHARLEROI (BE) Le Vecteur
• 26/10/2024 – INNSBRUCK (AT) Positive Futures Festival
• 31/10/2024 – LUZERN (CH) TBA
• 01/11/2024 – LAUSANNE (CH) Le Romandie : Le Bourg
• 02/11/2024 – LONDON (GB) The Lexington
• 05/11/2024 – BRIGHTON (GB) The Hope and Ruin
• 06/11/2024 – LEEDS (GB) Headrow House
• 08/11/2024 – BRISTOL (GB) Strange Brew
• 09/11/2024 – COURTRAI (BE) Sonic City Festival
• 10/11/2024 – POITIERS (FR) Salons de Blossac – Groweekend
• 15/11/2024 – ARLES (FR) Cargo de nuit
• 23/11/2024 – LEEUWARDEN (NL) Explore The North
• 29/11/2024 – LORIENT (FR) Hydrophone – Soirée LFSM
• 30/11/2024 – SAINT-BRIEUC (FR) Pavillons des expositions Temporaires
• 01/12/2024 – ANGERS (FR) Joker’s Pub
• 14/12/2024 – MILANO (IT) Arci Bellezza

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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Police Des Mœurs is a Canadian band known for its Electro-Wave and Minimal-Electro music. Formed in the early 2010s, they have released several notable works. The current line-up features core member Francis Dugas and Manuelle Gauthier. Their latest album, “Commencement,” is an outstanding piece of music that creates an imaginative sonic bridge between classic 80s elements and a more personal touch, highlighted by French female vocals. (Courtesy by Inferno Sound Diaries)

Q: First things first; tell us a bit more about the way your duo saw the daylight and what was the initial plan referring to music, sound and inspiration?

FD: Well, it did not start as a duo with Manuelle. Police Des Moeurs released records and played shows before she joined in 2016 (?). Then I met her, and we were lovers for a few years before she joined. When she joined, we were first a trio, and now we are a duo. So it’s quite a complex evolution. I would say at first, I really wanted to have that typical minimal synth sound, but as I am into so many different styles on music, I soon wanted to take it further and incorporate other influences such as Punk, Techno or Psychedelic. When Manu came in, it was an opportunity to continue to expand the sound by using her input into composing and producing. 

MG: I refused a few times to join the band because at first, I didn’t really like the idea of being the ‘leader’s girlfriend’ (I don’t like opportunism, and I told myself that if I wanted to make music, I had to take my own initiatives). Also, being rather introverted, I was afraid to play live. Finally, I accepted and everything went well. Then, it was impossible for me to just play someone else’s tracks, so I started composing. In conclusion, I am very grateful to Francis because his invitation allowed me to do one of the things I love most, with my favorite person: him. If I had known, I would have started much sooner.

Q: You previously released four albums on Mannequin Records so how does the new opus “Commencement” differ from your previous works in terms of composition & production and lyrical themes?

FD: I don’t really see a rupture, just an evolution. In some ways, each record is a step away from the previous one. Having Manu take more place just accentuate this impression. Even though she has been involved in the last 3 LPs, this is probably the one with the most input from her.

MG: For me, “Commencement” is a logical continuation of “Péril”, because it was composed in the same breath, the same movement and therefore, very quickly after “Péril”, even if we took a little longer to release it, because of the attention we paid to the mix. 

Q: What inspired you in the writing of “Commencement” and can you tell us a bit more about the global production process of the album? Who’s responsible for what in the entire process?

FD: It depends on the song. Some songs were done entirely by Manuelle, and some were mostly produced by me. Manu did all the vocals, lyrics, and record cover and almost all the mixing. As for me specifically, I just start from scratch, try to build loops that makes sense and continue to build them into a coherent whole. I don’t have precise inspiration or goal when I start a song. And if I do, it usually change during the process, as the song leads me elsewhere. So you have to let the music show you where to go and not be too rigid about what you’re trying to achieve. 

MG: As Francis states, each one initiated certain tracks. In addition to the lyrics and the vocals (that I record myself, in our basement), I added melodic elements and arrangements on all songs. Otherwise I’m always impatient to hear Francis’ proposals because they always contain an element that quickly inspires me a melody, a narrative, or a global mood (arrangements).  At that moment, I listen his proposition in a loop, as if to enter a trance and find the contribution that could honor his work. For example, “Reprendre”, “Soif” and “Fatigue” immediately inspired me to create complementary melodies (and from this moment, I am very excited to get to work).

Q: What have been the main challenges and eventually difficulties you faced while composing this album? And what are the main points of satisfaction?

FD: I’m under the impression it took us ages to finish it, I don’t know why. It was quite hard to do. So there was some frustration with that, I guess. It’s also not always clear who does what on some song, so we have to draw a line, which ain’t always easy. On the other hand, the result is interesting and surprising. It’s a bit too diverse and unfocused, maybe, but on the other hand, ironically, it’s probably what I like the most about the record.

MG : I mixed the whole album (after Francis made a first mix on his own parts), which for me was laborious, since I’m self-taught and we weren’t very well equipped (I worked without a sub monitor, which I wouldn’t do again). It’s easy for me to get obsessed with details (which sometimes annoys Francis, he he), and I don’t always have the technical knowledge to achieve the ideal I aspire to, so the mixing stage can get painful at times. 

The satisfying point is that I learned a lot by trying to mix this album and at the end, I’m pretty happy with the result (except for a detail or two but it’s good for a first job).

Q: You sound has this retro-like feeling getting me back to the 80s. What does this era and the 80s music mean to you and how do you transpose these -and other influences, into your work?

FD: I’m a kid of the 80’s, so sure, there is some retro aspect, but it is also a part of who I am in the present. It feels natural. It wasn’t a conscious choice to go ‘retro’, it just what came easily. That said, we really want to push this further. We don’t want to be prisoners of a sound that was popular decades ago. I’m definitely not a purist on that aspect and Manu ain’t either. You have to play the music that is living inside of you, whatever that is. It needs to be incarnated and seems vital  and obvious to you. It’s the same, whether your music sounds like 40’s big band Jazz or ultra-Avant-Garde forward thinking Electronic music. It has to come from the heart.  

MG: Strangely, I don’t really perceive it as an 80’s sounding album (Am I in denial? Ha ha). One thing is certain, it’s absolutely not intentional. Personally, I choose synth patches according to their frequency or emotional evocation: so that the sounds best serve the track or best match the other elements or frequencies contained in the track. Just like Francis, I listen to many styles, from several decades. Very current stuff too. I’m not nostalgic for a musical era and I don’t idealize an era either.

Q: Do you have any plans for live shows and eventually a tour to promote “Commencement” and especially in Europe? And what else can we expect from Police Des Moeurs?

FD: We don’t play live at all these days. We haven’t played since fall 2019. I guess one day, we’ll go back on stage. So to answer your question, nothing is scheduled right now, even though we have offers once in a while, so who knows. 

Recording wise, we are planning some sort of special project, but I can’t tell you more about it for now. 

MG: We’ve received several offers since the pandemic (in America and Europe) but we’ve turned them all down for the moment, because we were running out of time and weren’t ready to go back on stage. Promotion is not something we really invest in. We have neither the time or the interest to ‘sell’ ourselves. But we are very touched when fans or ‘cultural agents’ approach us to talk about our work or to share about it. We are very honored that our music travels to many continents (and this, despite the fact that our lyrics are in French).

About present and future; we’re currently working on an EP that will be released on a Punk label.

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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Out via Mannequin Records on vinyl on July 5th is “Voltage Control (1990-1992)”, a compilation of the Dutch EBM-Techno pioneers Voltage Control aka Arno Peeters & Tibor Fülöp. The compilation comes with a selection of their dancefloor tracks originally released on the legendary Belgian label Antler Subway.

The duo was inspired by Front 242, Skinny Puppy and Clock DVA and both Arno and Tibor were fellow students at the Centre of Electronic Music (CEM) in Arnhem/NL during the mid 80’s. After getting a record deal with Antler Subway, they started producing their first EP while acid house hit Europe. As a result they incorporated some of those influences in their first record, “Force d’Inquisition” released in 1990.

The compilation includes also the legendary “Apocalypse”, which was quite a hit at the time both in the EBM and acid scene. Arno Peeters was later part of Random XS and Urban Electro on Djax-Up-Beats. The release is dedicated to Tibor Fülöp, who died in 2010.

Bernard - Side-Line Staff

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

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Out on December 1st is the new album from the Paris-based musical duo Leroy Se Meurt (LSM). “Voué à rouiller” will be out under the Mannequin Records label and will be available in a limited LP format.

Formed in 2018, Leroy Se Meurt is known for its eclectic and experimental sound and a rather unique blend of genres. Their sound is an amalgamation of old-school EBM – reminiscent of minimal Nitzer Ebb with DAF influences – fused with fierce electro elements, all bound by a punk ethos. If you’re a fan of post-punk or are interested in exploring this genre, you’ll find aspects of it in their music, but be prepared for a sonic experience that goes beyond conventional labels.

While there are no official videos for the new album yet, fans can get a taste of Leroy Se Meurt’s live performance through these two live tracks available on YouTube.

Bernard - Side-Line Staff

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

side-line.com

Out via the brand new label Midnight Mannequin Records (based in Minneapolis, Minnesota and run by Adam Black) is the debut album by new wave/post-punk artist Jason Priest. Expect a mix of synthpop and new wave, with some darkwave and goth thrown in it.

Jason Priest is the post-punk/synthpop alter ego of Antoni Maiovvi. Originally from Bristol, UK (and now residing in the US), Maiovvi is the co-founder of Giallo Disco Records, and has released previous work on Death Waltz Originals, Burning Witches Records, and Lunaris Records, among many others. He’s also the creative force behind a long list of horror soundtracks, both real and imagined.

Jason Priest is a new alter ego for Maiovvi representing a British punk rocker who heads to New York City in 1982 on the heels of a brand new record deal, only to spend the better part of the decade strung out on amphetamines and drowning in alcohol. Now, Jason is back in London with renewed energy from both the change of scenery and, more importantly, a newfound sobriety. An interesting take on things we must say.

Jason Priest debuted in 2018 with the “King-Kill/33°” EP and 2019’s “Nightmare Boy” EP which you can check below. On “Jason Priest Is Missing” you may expect 8 tracks with ingredients from New Order, 80s synthpop acts, The Cure and more. The album is available digitally and on vinyl via Bandcamp. A first vinyl version is already sold out, a second is still available.

You can check out the full album below.

This is the music video for lead single “When The Clown Cries”.

This is the music video for the second single “White Anglo-Saxon Protestants”.

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:Minimal-electro, techno-body.

Background/Info: Operating from Berlin, Alessandro Adriani has already been active for a couple of years now as a DJ, producer and label owner (Mannequin Records). He from time to time is also releasing new material on other labels. He already released a few previous productions at Stroboscopic Artefacts and stroke back earlier this year by this “Embryo”-maxi.

Content: The sound and influences from Alessandro Adriani are moving from dark, ambient and somewhat experimental atmospheres and sound treatments towards more danceable, minimal-like parts. The EP takes off with a rather experimental exposure and moves on with minimal techno-body music. EBM sequences and technoid treatments have been merged together. The final cut is a more obscure, yet danceable piece featuring deep, vibrating waves.

+ + + : This artist has a nose to compose a minimal-like and yet sophisticated production. I like this minimalism, which has something really underground. The work is characterized by great sound treatments. I also like the retro feel running through the work. The last track “Aria – New Beat Version” is a sublime, dark piece.

– – – : I’m not as convinced by the opening song, which however serves as a kind of intro.

Conclusion: If you don’t know yet Alessandro Adriani, I can only advise to discover him without any hesitation and “Embryo” definitely appears to be a cool production to get convinced.

Best songs: “Aria – New Beat Version”, “Symmetry”.

Rate: (7½).

Artist: www.facebook.com/alealemnq

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Minimal-EBM, techno.

Background/Info: Active under the Alessandro Adriani moniker, this artist also runs Mannequin Records. He released his work on different labels and joined hands with the great Stroboscopic Artefacts to unleash this 4-track EP.

Content: Alessandro Adriani’s sound universe is made of minimal- and vintage electronics mixing EBM and techno music together. Sometimes reminding me of elements of the Kraftwerk sound, “Enter The Fire” features ‘dirty’ bass lines, haunting sound treatments and refined bleeps.

+ + + : Stroboscopic Artefacts became a real trademark when it comes to ‘intelligent’ and ‘minimal’ electronics; artists who take care to create great sound treatments and that’s precisely what I experienced listening to “Enter The Fire”. It’s a raw and unpolished production, creating this minimal- and somewhat experimental approach. It’s a production filled with numerous little noises and sound effects confirming the great intelligence this production has been made with.

– – – : The experimental touch of the work will be probably not accessible for classical techno freaks, but this is music for fine tasters!

Conclusion: If you’re into EBM and you can enjoy dark and intelligent technoid music, you definitely have to give this EP a try. You will not be disappointed!

Best songs: “He Who Harnesses The Souls”, “Rituals – 707 EBM Version”, “Astronomy”.

Rate: (8).

Artist: www.facebook.com/alealemnq

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

Inferno Sound Diaries

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

www.side-line.com

Mannequin Records will release an archival collection from Orphx’s 1993-1994 period. Inspired by early industrial music and new waves of noise from Japan and Europe, the compilation gathers together material from the Rich Oddie and Christina Sealey’s first 2 cassette releases (“01” & “02”) originally released by Xcreteria along with previously unreleased tracks recovered from the original 4 track tapes.

The 2 vinyl set is limited to 500 copies and can be ordered right here.

The project was founded in late 1993 by Rich Oddie, Christina Sealey and Aron West. West left in 1994 to create the noise project Tropism.

Tracklist:

A1 Conceptus
A2 Gestation
A3 Miasma (Edit)
A4 Inhumed
A5 The Sodomite

B1 An Initial Process
B2 Excruciate
B3 Monophilia
B4 Juliette
B5 Metaplasmic Disjecta

C1 Veil of Dream
C2 Exposure
C3 Reservoirs of Infection
C4 A la Recherche d’un Corps

D1 A Landscape of Wounds (Edit)
D2 Accuracy Overloads Procedure
D3 Lecture
D4 Serial Deaths
D5 Beautiful Wreckage
D6 Live Fragment 21/10/94

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