US electronic musician and vocalist Mari Kattman has released her new single, “It’s In The Losing You”, today, November 6, 2026, through Metropolis Records.

Written and produced by Kattman herself, the track combines synth-pop, EBM and industrial influences with driving electronic beats and her distinctive vocals. Lyrically, it deals with self-worth, letting go of expectations and finally refusing to seek validation from others.

Kattman explains the idea behind the song:

“It’s about the liberation that comes with finally saying fuck it and realising that the validation you’ve spent a lifetime seeking was never someone else’s to give. Your worth is determined by the one constant – yourself.”

The single follows her 2025 album “Year Of The Katt”, her first full-length release for Metropolis Records. The album featured tracks such as “Anemia”, “Sharp Shooter” and “Typical Girl”.

Active as a musician, songwriter and producer since 2012, Kattman has built an extensive list of collaborations, including work with Mesh, Rotersand, Neuroticfish, Comaduster and Caustic.

More recently, she contributed vocals to “Ich Will Nur Das”, a September 2026 single by Lords Of Acid, released ahead of their album “Mundo Bizarro”.

Kattman has also been confirmed for the 2027 edition of M’era Luna Festival in Hildesheim, Germany.

“It’s In The Losing You” is available now on streaming platforms and Bandcamp.

Mari Kattman on self-worth and letting go

“It’s In The Losing You” follows Kattman’s own account of the song’s theme: a refusal to keep seeking validation from others after a lifetime of doing so. The track keeps the electro-industrial sound of her other work, built this time around the idea that self-worth does not depend on anyone else’s approval.

About Mari Kattman

Mari Kattman is a musician, songwriter, producer and vocalist based in Boston, Massachusetts, self-recording, composing, producing and performing live since 2012. Her work combines synth-pop, EBM and industrial influences, and she has built a wide list of collaborations across the electronic music scene, including with Mesh, Rotersand, Neuroticfish, Comaduster and Caustic.

In 2025, Kattman announced her debut full-length for Metropolis Records, “Year Of The Katt”, and shared a video for “Typical Girl” ahead of its release. The album included tracks such as “Anemia” and “Sharp Shooter” alongside “Typical Girl”. Side-Line interviewed Kattman around the album’s release.

Kattman has also toured as part of Assemblage 23’s 2026 European headline run, and contributed vocals to Lords Of Acid’s “Ich Will Nur Das”, released ahead of their album “Mundo Bizarro”.

“It’s In The Losing You”, released November 6, 2026 via Metropolis Records, is Kattman’s latest single after “Year Of The Katt” and her Assemblage 23 and Lords Of Acid collaborations, and she is confirmed to perform at the 2027 edition of M’era Luna Festival in Hildesheim, Germany.

Britta Pirkko

For almost 15 years I’ve been writing about music, interviewing artists and reviewing releases for Peek-A-Boo Magazine. Recently, I also launched my own WordPress website, where I continue to share interviews, reviews and news from the underground scene. The darker side of music has been part of my life for more than 30 years, with a passion for everything from ’80s synthpop and New Wave to EBM, Futurepop and dark electronic music in general. Also Metal and Rock is part of my world. Away from the scene, I work in a public library, where books are part of my everyday life. I enjoy both fiction and non-fiction, especially books on politics, religion, health and travel. I’m also a fan of thrillers and horror films. When I’m not listening to music or reading, you’ll usually find me exploring nature, enjoying a good sauna, experimenting with vegan cooking, or travelling to my second home, Finland. I’ve always believed the underground has the best stories. My job is simply to help tell them

Mari Kattman is a multi-talented American artist best known as a singer. She has lent her heavenly voice to numerous artists such as Assemblage 23, Mesh, Psy’aviah, iVardensphere, Aesthetische, Neuroticfish, Solitary Experiments, Comaduster, and others. We also know Mari Kattman from projects like Helix (a collaboration with her husband Tom Shear of Assemblage 23), The Joy Thieves, and Mari & The Ghost (with Jean-Marc Lederman). A few years ago, however, Mari Kattman also launched her own solo career, developing her own sound and contributing her personal ideas. Her latest album, “Year Of The Katt”, released this year on Metropolis Records, is a significant milestone. For the first time, Mari Kattman did everything herself. Beyond her stunning vocals, she now showcases her musicianship as well. The result is wonderful; a captivating blend of Electro-Pop with occasional harder EBM elements, enriched by an airy, floating atmosphere. In my opinion, it’s a strong album that marks an exciting step forward in her artistic journey. I had the chance to speak with Mari Kattman about it. (Courtesy by Inferno Sound Diaries)

Q: You’ve been active in the underground electronic scene for years, primarily as a guest vocalist. Looking back, what do you consider your most important achievements, and how did your path lead you to releasing a full solo Mari Kattman album?

Mari: I think the most important part of my journey was everything. I know that’s really broad but  without things unfolding the way they did I don’t think I would have ever had the confidence of going out on my own and working alone. I am who I am because of the people who believed in me and put faith in my voice, people with far more experience than me who saw inspiration in my performance. I certainly love working with others but I also wanted my own voice.

There were so many times I was working on others peoples music where I would think to myself ‘oh, I would have done that differently there’ but I didn’t know how to reproduce what I was hearing in my head. Everything you hear on my solo album is what music sounds like, channeled solely through me. I think that’s a really beautiful thing to be able to have that much control over the world you want your listener in. 

Q: “Year Of The Katt” seems like a milestone in your artistic career, but what does it truly represent for you? Could you also share a bit more about your musical background, since many listeners have known you mainly as a singer?

Mari: “Year Of The Katt” is a culmination of all of my learning and perseverance as an artist through the last 5 years. I’ve spent so much time learning and striving for the chance to have an autonomous voice of my own. This is a celebration of that achievement. I am primarily a singer, I trained in singing since I was very young but I also sang in many choirs throughout my life and became extremely adept at recording harmonies. The process of writing songs for me is much like the process of writing for a full choir and all the parts that move over one another. My choir experience is everything to my song composition abilities.

Q: After so many years of collaborations, taking on every aspect of a release entirely on your own must have been a real challenge. What did you find to be the biggest difficulties, and what lessons or techniques did you carry over from past collaborations—especially your work with Tom Shear?

Mari: It was a real challenge, especially the post production end. I consider myself more a musician than an engineer but becoming great at engineering is the only thing that will do justice to a great song. So taking what I have done and ‘shining the apple’ per se was my greatest concern. 

I have learned a lot from Tom, when we work on Helix (our side project) I ask a lot of questions. Tom is a rare talent in that he does everything, outside of mastering, alone too and he is fantastic at it. He has a method and as artists I think we all do start to fall into a comfortable groove of what plugins we like and how we put a song together. Tom is very solid in his approach which makes for that very recognizable Tom Shear sound! I take every chance I can get to pop in and ask how he puts things together and he is a very willing teacher.  

Q: When you began writing “Year Of The Katt”, did you have a clear vision regarding style, influences, and production? What were the key steps in shaping the album into its final form?

Mari: I wanted “Year Of The Katt” to reflect my current abilities and my current stage of learning. I didn’t want to over do it, so on my album you will hear often a minimalistic approach. I am still learning proper mixing and post production. I didn’t want to crowd the mix in a way I couldn’t control or work my way out of. On this album I tried to pick a few sounds to shine and back off of the idea of layering too many elements. I really admire artists that know dynamics, when to give it all and when to take away. I really appreciate a clean sound so this was my ultimate goal! 

Q: How do the themes and emotions in your lyrics relate to the album’s title? What core message or feeling were you aiming to convey?

Mari: There was no specific message to the album. I tried to make the songs relatable and mainly the songs reflect the thoughts of a person at the mid point of their life. Finding your sense of self worth, injustice, introspection are all on the table in this release. 

Q: Working alone can be rewarding but also demanding. Were there moments when it felt overwhelming, and how did you navigate those? What helped you maintain balance throughout the process?

Mari: There were definitely moments where I felt overwhelmed. It feels like you are juggling far too many objects, at times. You must make all the songs fit together and also handle every single stem within each song to make those play nice together. I think you learn, in the end, that the things you feel are important, a listener will never pick up on. Music is truly for the listener and making it less about you and more about them is a welcome way to unburden yourself from becoming too picky or too paralyzed in your inability to choose something and just move on. 

Q: Now that the album is out, are there plans for live performances or other forms of presentation? And are there any new projects already taking shape?

Mari: Yes! Assemblage 23 and I are doing a UK/EU tour in October 2025. 

• October 15th – Bristol, Exchange
• October 16th – Manchester, Rebellion
• October 17th – Glasgow, Ivory Blacks
• October 18th – Sheffield, Corporation
• October 19th – London, The Dome (Downstairs)
• October 20th – Oberhausen, Kulttempel

I have already begun to work on the follow up Mari Kattman album to “Year Of The Katt” and hope to have it released by this time next year. I can’t tell you how happy I am at the response to this album, it’s only motivated me to keep going harder. Helix will also have another release as well, so stay tuned on that front as well! 

About Mari Kattman

Mari Kattman is an American electronic music artist, vocalist, songwriter, and producer based in Boston, Massachusetts. Mari Kattman began self-recording, writing, composing, and performing music in 2012.

Kattman signed with COP International in 2022, releasing her first EP with the label, “Is It Really That Bad” (May 13, 2022), which featured remixes by Neuroticfish, Rotersand, and John Fryer. Mari Kattman later joined Metropolis Records, where she released “Year of the Katt” in 2025. The album, entirely written, recorded, and produced by Kattman, features tracks like “Typical Girl”, “Anemia” and “Sharp Shooter”, which combine industrial and EBM influences with synthpop elements.

Mari Kattman has collaborated with a wide array of artists including Assemblage 23 (together with her husband Tom Shear she also forms the duo Helix), Mesh, Ivardensphere, Psy’Aviah, Neuroticfish, Comaduster, Cassetter, This Morn Omina, Solitary Experiments, Mephisto Walz, Aiboforcen, Interface, Jean-Marc Lederman, BlackCarBurning, Fury Weekend, 3FORCE, and Aesthetische.

Mari Kattman has also fronted the project Mari and the Ghost with Jean-Marc Lederman.

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

We know Mari Kattman primarily for her numerous vocal performances, as well as for her involvement in projects like Helix (with Tom Shear), The Joy Thieves, and Mari & The Ghost. She has also released several solo albums and now returns in that capacity with her first release on Metropolis Records. This new opus was written and produced entirely by Mari herself. It apparently took a considerable amount of time to complete, but the result is impressive.

Mari Kattman is, first and foremost, a voice-at times sensual and fragile, at others powerful and full of passion. But now there is also her music, which charts a course somewhere between EBM and Electro-Pop. Some tracks evoke the raw energy of And One, while others feature infectious choruses that captivate the listener. The lyrics range from witty to deeply personal, adding an intimate and emotional layer to the work.

Not every track is equally convincing, but the standouts are well worth your attention. This is more than just a commendable effort-it’s a strong and even defining album, one that lays a solid foundation for Mari Kattman to build on in the future. (Rating:8).

Listen to “The Worst”:

Read the news on ‘Year Of The Katt’.

About Mari Kattman

Mari Kattman is an American electronic music artist, vocalist, songwriter, and producer based in Boston, Massachusetts. She began self-recording, writing, composing, and performing music in 2012.

Kattman signed with COP International in 2022, releasing her first EP with the label, “Is It Really That Bad” (May 13, 2022), which featured remixes by Neuroticfish, Rotersand, and John Fryer. She later joined Metropolis Records, where “Year of the Katt”, reviewed here, followed in 2025, entirely written, recorded, and produced by Kattman herself, with tracks including “Typical Girl”, “Anemia” and “Sharp Shooter”.

Mari Kattman has collaborated with a wide array of artists including Assemblage 23 (together with her husband Tom Shear she also forms the duo Helix), Mesh, Ivardensphere, Psy’Aviah, Neuroticfish, Comaduster, Cassetter, This Morn Omina, Solitary Experiments, Mephisto Walz, Aiboforcen, Interface, Jean-Marc Lederman, BlackCarBurning, Fury Weekend, 3FORCE, and Aesthetische. She has also fronted the project Mari and the Ghost with Jean-Marc Lederman.

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

US electronic musician and vocalist Mari Kattman has released a new video for “Typical Girl”, the opening track on her latest album “Year Of The Katt.” The album was issued in late June 2025 via Metropolis Records.

The video was filmed in downtown Providence, Rhode Island by Mark Allison of 401FilmsPVD. Commenting on the theme, Kattman states: “Typical girl. People say it constantly, so much so it feels almost criminal to be female by birth […] There are so many misunderstandings about what it is to be a woman.”

“Year Of The Katt” includes the previously released singles “Anemia” and “Sharp Shooter”. The album was entirely self-produced: “It was an album completely recorded, composed and produced by myself, so there were a lot of learning curves […] I feel relief and enormously proud that I got it done.”

Mari Kattman has also announced a UK tour in October 2025, where she will appear as the special guest of Assemblage 23. Tour dates include:

• October 15 – Bristol, Exchange
• October 16 – Manchester, Rebellion
• October 17 – Glasgow, Ivory Blacks
• October 18 – Sheffield, Corporation
• October 19 – London, The Dome (downstairs)

About Mari Kattman

Mari Kattman is an American electronic music artist, vocalist, songwriter, and producer based in Boston, Massachusetts. Kattman began self-recording, writing, composing, and performing music in 2012.

Kattman signed with COP International in 2022, releasing her first EP with the label, “Is It Really That Bad” (May 13, 2022), which featured remixes by Neuroticfish, Rotersand, and John Fryer. She later joined Metropolis Records, where she released “Year of the Katt” in 2025. The album, entirely written, recorded, and produced by Kattman, features tracks like “Typical Girl”, “Anemia” and “Sharp Shooter”, which combine industrial and EBM influences with synthpop elements.

Kattman has collaborated with a wide array of artists including Assemblage 23 (together with her husband Tom Shear she also forms the duo Helix), Mesh, Ivardensphere, Psy’Aviah, Neuroticfish, Comaduster, Cassetter, This Morn Omina, Solitary Experiments, Mephisto Walz, Aiboforcen, Interface, Jean-Marc Lederman, BlackCarBurning, Fury Weekend, 3FORCE, and Aesthetische.

Mari Kattman has also fronted the project Mari and the Ghost with Jean-Marc Lederman.

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

Electronic vocalist and producer Mari Kattman will release her third solo album, “Year of the Katt,” on June 20, 2025, via Metropolis Records. The album marks her debut release for the label and follows a career both as a solo artist and a featured vocalist with numerous electronic and industrial acts.

The first single from the album, “Anemia”, is available now. “This song stemmed from my own current iron deficient state, which is an extremely frustrating condition that can take a year or more to correct,” Kattman explains. “It was actually the last track I wrote for it while I was completing the mixing of all the other songs. I’m glad it made it on there!”

Kattman’s work spans a wide range of electronic subgenres, blending Trap, Electro, Hip Hop, Ambient, EBM, and Industrial influences. Her previous singles include “Fever Shakes”, “URGOD.AI”, and “Swallow”.

About Mari Kattman

Mari Kattman began her music career in 2012 and is based in the United States. Known for her solo work and her collaboration with Tom Shear in the project Helix, she has also contributed vocals to releases by Assemblage 23, Mesh, Psy’Aviah, Ivardensphere, Aesthetische, Jean-Marc Lederman, Neuroticfish, Solitary Experiments, Cassetter, and Comaduster, among others.

Her debut with Mari & The Ghost, “Superstitions,” was released in 2014.

In addition to her solo output, Kattman has appeared on multiple collaborative recordings throughout the 2010s and 2020s, with tracks issued on Alfa Matrix, including her work with Aesthetische on EPs like “Cold Is Clean” and contributions to Psy’Aviah’s work. Read the review of ‘Year Of The Katt’.

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

Belgian studio project Aiboforcen has been a fixture in the music scene for over 30 years. However, its operator, Benoit Blanchart, has taken a more relaxed approach to releasing new albums. Their latest, the 7th studio album, arrives after a six-year hiatus and features an impressive 22 tracks. Longtime collaborator Patrice Synthea (Regenerator) continues to contribute as a vocalist, appearing on several tracks. Blanchart also enlisted a wide array of guest artists, including Jan Dieckmann (Norderney), who shines on multiple tracks, Mari Kattman (Helix), Noemi Aurora (Helalyn Flowers), Emke (Black Nail Cabaret), Sorrow Stories, and even Patrick Codenys (Front 242), Implant & Pouppéé Fabrikk (singing together), and Numb.

The album primarily consists of original compositions, but it also features a few alternative versions, a remix by Patrick Codenys, and a cover of a Death In June-song. The sound remains unmistakably Aiboforcen—a blend of Electro influences that lies somewhere between EBM, Future-Pop, and their unique, freeform style. The music is intricate and sophisticated, offering a compelling mix of tracks that are both listenable and danceable.

Jan Dieckmann’s vocal performance left a lasting impression, his voice evoking shades of Ronan Harris but with a subtler, more sensual delivery. His duet with Noemi Aurora—unquestionably one of the finest vocalists in the scene—creates a truly euphoric moment. While I’m unsure if this is my all-time favorite Aiboforcen album, it certainly showcases some of the project’s best work to date. (Rating: 8½).

Listen to “Heaven Knows”:

About Aiboforcen

Aiboforcen is a Belgian electronic band founded in 1993 in Charleroi by Benoit Blanchart and Séba Dolimont. The project blends elements of electronic body music (EBM), industrial, and synthpop. Blanchart handled music, synths, and sampling, while Dolimont provided vocals, lyrics, and additional sampling. Their earliest work, the demo “Black Slang”, appeared in 1993 in fewer than 100 copies, released via Side-Line’s former tape label.

In 1995, Aiboforcen released their debut album “Elixir Lytique” through Khazad-Dûm, a sublabel of Celtic Circle Productions. Their second album, “Face (of) Death”, followed in 1996. After a period of inactivity, both members co-founded the Belgian label Alfa Matrix in 2001, the same year Aiboforcen returned with “Sons Palliatifs”, concluding the trilogy begun with “Elixir Lytique” and “Face (of) Death”. “Kafarnaüm” followed in 2004, then “Dédale” in 2011 and “Sense & Nonsense” in 2018.

“Between Noise & Silence” is Aiboforcen’s seventh studio album, arriving in 2024 to mark the project’s 25th anniversary. It features collaborations with Patrick Codenys (Front 242), Henrik Bjørkk (Pouppée Fabrikk), and Don Gordon (Numb), alongside vocal appearances from Mari Kattman, Noemi Aurora, Emke, and Sorrow Stories.

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 iconic Belgian dark electro/future pop act Aiboforcen recently returned with their 7th studio album, “Between Noise & Silence”. Led by Benoit Blanchart and featuring the enigmatic Patrice Synthea (REGENERATOR), this album merges melancholic dark synth/EBM anthems with thrilling collaborations! Notable appearances include EBM/industrial legends like Patrick Codenys of FRONT 242, POUPPEE FABRIKK & IMPLANT (in a duet), and NUMB. The album also features outstanding female vocalists from the pop wave scene, such as Mari Kattman (HELIX), Noemi Aurora (HELALYN FLOWERS), Emke (BLACK NAIL CABARET), and SORROW STORIES… Without forgetting the splendid collaboration with Jan Dieckmann of NORDERNEY who sings on several songs and strongly contributes to crafting the album’s magic through moving lyrics, catchy dark pop melodies, and upbeat EBM sequences that often evoke the melodic and emotional depth of VNV NATION!  Benoit gave us more insights on his new album… 

You can order the new album now on Bandcamp as download and on 2CD via the Alfa Matrix webstore. Note that the 3CD version was sold out immediately.

S. “Between Noise & Silence” is your 7th studio album and features an impressive 22 tracks. Can you share the journey of creating such a substantial body of work, and what inspired the album’s title?

B. I started working slowly on what would become this new album during the covid period.  Like many bands, those very special times allowed me to concentrate and spend much mor time in the studio creating new sequences and sounds.  After a few months, what was started with no clear objective became to take shape and I started gathering several demo tracks thinking I could use them for an EP or album.  It was a very creative period and also (hopefully for me) the opportunity to learn/improve a bit more the mixing and production side of the aïboforcen sound…  I thus also started thinking about the right vocalist for each track.  The title track “between noise & silence” is actually a sentence coming from a demo track that Tina from SORROW STORIES was working on for me…  it became the title for the track but also for the album.  It’s a bit of a special track (a bit more complex) that I really wanted to be on the album but couldn’t find the right vocalist for it…   Then Tina did a test and she nailed it down!! 😊  It also has a double meaning because since I’m not considering myself as a musician what I create in a studio probably lies in the grey area between noise and silence! 😉

S. On this album it seems that Patrice Synthea and Jan D. play a key role as vocalists? Tell us more about these collaborations?

B. Well, Patrice (REGENERATOR) has been the main vocalist with aïboforcen for quite a long time now and she helped creating some kind of a trademark for us.  But I’m always interested in working for certain tracks with other vocalists, either male or female.  Of course it can break a bit the cohesion of the album but for me it’s more like trying to avoid the monotony of the album. I see/hear the different voices as new instruments I can play with, and it can totally change the result of the tracks.  I also appreciate the fact that I can offer a broader pallet of sounds and emotions. I was introduced to Jan while working on a remix for our label mates of ELEKTROSTAUB.  I knew a bit of his project NORDERNEY that I also appreciated a lot and I thought he would be the right vocalist for a track I was working on at the time.  I sent him a demo and after a few days he came up with something really brilliant for me. I was so pleased with the result that I asked him to do a second track and the result turned out to be even better…  He has such an emotional voice that it really adds another dimension to the song and brings them to a next level.  After a while we started swapping ideas but also sequences and sounds and he eventually became more and more involved in the whole process.  He helped me a lot giving advises and also programmed several synth lines, what was totally new and unusual for me… it was surprising, challenging and it contributed in creating a more mature and developed sound.  In the end he helped for a great bunch of the album in various forms…  Therefore the album is also much more balanced between male and female vocals.  He also made a duet with Patrice on the track “everything” and I’m pretty sure that it’s something we should try again in the future…

S. The album indeed boasts collaborations with a variety of other artists too, from EBM/industrial legends to outstanding female vocalists. How did these collaborations come about, and what unique contributions did each guest artist bring to the album specifically?  

B. As I said, when a demo is finished I try to think about what would be the right vocalist and what it would add to the sound of it.  Of course there are some people/singer I would dream of having on the album but sometimes I have to stick to reality.  My choice is influenced by the music I listen to, people I met through remixing, bands I know and so on… I’ve been blessed in the past working with great artists such as Jean-Luc from FRONT 242 and this album also gathers some legend from the scene such as Henrikk from POUPPEE FABRIKK or yet Don Gordon from NUMB who both helped me deliver the most aggressive cuts from the album.  Tina from SORROW STORIES was also really involved in the process, contributing to several tracks that we can find both on the EP and the album but also on the special 8cm cd available with the limited edition.  I had met her through a remix I had done for PSY’AVIAH actually and I had been mesmerized by her rather delicate and otherworldly vocals. She is also a very passionate and nice person, and meeting and exchanging  with people is another aspect of collaborating on tracks.  Then there is also Noemi Aurora who helped us with her very characteristic and powerful voice and it helped adding the extra touch to “cycle of life” and “heaven knows” you can find on the album.  It was a pleasure working with her and she’s a professional and also involved and more than passionate with music…  Also doing a track with Emese from BLACK NAIL CABARET was really an honor for me.  She has one of the most distinctive voice from the scene at the moment and the result is a very captivating cut with upbeat sequences.  I really hope listeners will like this track as much as I do…

Mari Kattman also lends her voice on the opening track as well as on a remix of “In My Arms” (a track from the previous album) and she also has a very distinctive and beautiful voice. Last but not least I also worked with Len from Implant since he is a long time friend of us and I was glad to have him back in one form or another.  With the lyrics of the track he did evoke, it’s like a celebration of a long-time relationship between us (including also Seba, Bernard, Stephan) and how it was when we started this all as students (the magazine, the label, the bands, the gigs).

S. Your sound is often compared to iconic acts like VNV NATION, FRONT 242 or yet COVENANT. How do you approach honoring these influences while still maintaining your own distinct identity as AIBOFORCEN? “Between Noise & Silence” seamlessly weaves between oppressive industrial assaults and catchy synth-pop tunes. Can you discuss the creative process behind balancing these contrasting elements to create a cohesive listening experience?

B. Well, it’s sure that I’ve been listening to those bands a lot (one of my first vinyl was 242’s politics of pressure, along with Kraftwerk radioactivity’s 7”) but I am also influenced by other acts from inside and outside the scene.  I listen to a lot of music from the EBM but also to darkwave, gothic, experimental, industrial or yet metal…  All this is ingested and some parts/influences appear here and there in my music.  Also I hope that with time I manage to create a bit of my own distinctive sound and style. 

As far as VNV NATION is concerned, I have to admit that Ronan has a deep sense for great melodies and a very emotional voice and is an example of what soulful music is. So if we sound a bit like this it’s a good point for us! 😊  Remember he remixed one of our track at our respective very beginning!  But I always try to balance catchier tracks/tunes with a rougher sound and more complex structures or experimentations.  For me it’s kind of logical and it can create a cohesion because some sounds, fx, way of treating things are the same and reflects the different side of one same “machine”.  Also  I tend to focus on recording an album with highs and lows rather than a succession of single tracks…  so this new album (especially the first disc) needs to be explored and listened as a whole, with the tracks kind of merging one into another.  I spent hours / days / months working on sometimes very little details of mixing, samples, eq’s to find the best result I could.  I like it when it takes several listening to really get all the details included in the tracks and hopefully surprise the listeners…

S. One of the tracks on the album is a cover of DEATH IN JUNE’s “Break The Black Ice.” What drew you to reinterpret this particular song, and how did you make it your own while staying true to the original?

B. We’ve always tried to include at least one cover song on any of our releases, either for fun or to show where our roots are…  I was introduced to DEATH IN JUNE’s music more than thirty years ago and the album “The World That Summer” from 1986 has always been a favorite of mine.  “Break the black ice” was an obvious choice because it is a rather simple, dark but catchy song, kind of desperate also and I really liked the version sung by Rose McDowall which is a fragile and delicate dark cut.  I thought that Patrice could do it as well and recorded a demo.  The first version was really slower and darker than the one on the album. We will feature it on a compilation from our label later this year actually.  The final version has a stronger beat and an aggressive lead sound while the original one is softer.  Both Patrice and I liked the version very much and what was a the beginning more like a “b-side” became one of the main important track from the album…  I hope fans of DEATH IN JUNE and AIBOFORCEN will be pleased by this tribute…  the structure is rather close to the original version from DEATH IN JUNE but of course it’s 100% electronics and there are some distortions here and there… 😊

S. The album is described as a high-tension dark elektro masterpiece. How did you approach crafting the sound production to achieve this level of intensity and maturity?

B. I always spend a long time editing, changing, mixing, adding details and I hope it can be reflected in the overall sound of the album.  I never intend to choose the easiest way while producing the music and I hope I raised the level a bit more on this new release.  I spent much more time on the vocals (cutting, eq’s , volumes, …) than on any other previous releases; there are lot of movie samples (hidden or not), lots of different synths and fx…  I can sometimes leave a track for one month and then come back with new ideas and Jan also helped me developing as much as possible this new sound which is probably more focused than before.  It still goes into any directions but with a common thread and overall atmosphere throughout the numerous tracks.  It was exhausting (especially at the end) but it was worth (at least personally) and I really hope our fans will like it… 

S. How important is the visual aspect of your music, and what role does it play in enhancing the overall experience for listeners?

B. It is important, not as much as the music, but it sets the tone for the whole album.  We always tried to have eye-catching sleeve or at least mysterious ones that will give the envy to enter into the universe of aïboforcen…  When I was a kid, I used to go to a place where you could rent vinyls and I would sometimes rent releases just because the sleeve would attract me in a way or another.  On this release we obviously used AI to create the graphics but it was intended and assumed. It was our easiest way to express and get the closest to the images we had in mind while creating the music.  And since our music relies on techniques, processors, synthetic soundscapes, it makes sense…

S. Lastly, the first 50 orders from the official Alfa Matrix e-shop received a signed version with an exclusive bonus mini-CD. Can you tell us more about the significance of this bonus content and what fans can expect from these exclusive tracks?

B. When the album was completed and sent to the mastering, I noticed that there were a few tracks left without vocals that couldn’t make it on the album but were a good insight of what it’s like being in the studio and working on new tracks.  It is more like demo’s but also I had the feeling that they could stand on their own and give another view on our music.  The first of those 4 tracks is called “eliza effect” and is a brand new one that maybe will give some infos of how the future sound of aïboforcen will be (or not).  The track “pulsions” (with vocals by Tina from SORROW STORIES) arrived too late in the process of the album but was good enough as well. In the end it gives the opportunity to the die-hard fans to have some extra tracks (unreleased) and have a bit more “intimacy” with the band…

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: Cinematic, Experimental, Electro.

Format: Digital, CD.

Background/Info: Jean-Marc Lederman (The Weathermen, Ghost & Writer, Gene Loves Jezebel ao)is back on track with a new and already conceptual work. The album title speaks for itself. The Belgian Electro pioneer has been assisted by Tom Shear (Assemblage 23), Christina Z, Jim Semonik (Red Lokust), Mari Kattman, Emileigh Rohn (Chiasm), Ken Magerman, Daz Sharp, Julianne Regan, Jim Marcus (Die Warzau) and Sapphira Vee.

Content: Lederman composed the music for the impressive list of guest singers. The music is filled with explicit astral sound treatments and -atmospheres. The slow rhythms together with the different singers make it more accessible while a few passages are more into Electro-Pop and danceable passages. The main characteristic of the work is the narrating format of the singers interpreting extracts of sci-fi stories.

+ + + : Jean-Marc Lederman moves on exorcizing his endless creative thoughts and concepts with one of his most creative and ambitious works ever. It’s not only about music -which totally stands for the concept of the album revealing a ‘space’-like dimension but also the accomplishment of a wider- and higher artistic goal. There’s a kind of cyber-puzzle wherein the listener/visitor has to unlock every single track.You really have to experience it on your own to realize what it’s all about.

– – – : The importance of the concept is maybe undermining a tiny bit the music itself.

Conclusion: Jean-Marc Lederman revisited sci-fi themes which must have been a piece of cake as he’s for sure the one and only sci-fi musician from the Electronic scene.

Best songs: “The Eyes Have It​!​ Feat. Ken Magerman”, “Titanium Aegis feat. Christina Z”.

Rate: 7½. 

Artist: www.jmlederman.com / www.facebook.com/profile.php?id=100056370733178

Label: www.facebook.com/copint

Side-Line previously covered “Sci-Fi Revisited”, an audiobook and puzzle-game package accompanying the album, released via COP International.

Listen to “Sci-Fi Revisited”:

About Jean-Marc Lederman

Jean-Marc Lederman is a Belgian electronic musician known for his work with Fad Gadget, The The, Gene Loves Jezebel, The Weathermen, Ghost & Writer with Frank Spinath of Seabound, and Rohn-Lederman with Emileigh Rohn of Chiasm. Released under the Jean-Marc Lederman Experience name via COP International, “Sci-Fi Revisited” was produced, arranged and played by Lederman and features Tom Shear, Christina Z, Jim Semonik, Mari Kattman, Emileigh Rohn, Ken Magerman, Daz Sharp, Julianne Regan, Jim Marcus and Sapphira Vee, accompanied by a 12-page micro comic book and a computer puzzle game.

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 Belgian cult dark electro/future pop act Aiboforcen has announced its 7th studio album, titled “Between Noise & Silence”. The new release will be out via the Belgian label Alfa Matrix at the end of May, but can already be pre-ordered.

The 22-track album again shows a blend of electro pop, future pop and dark pop but also includes a cover of Death in June’s “Break The Black Ice”. The album is available as a double-CD digipak with a 16-page booklet and as a download via Bandcamp.

ATTENTION: The first 50 orders (!!) from the Alfa Matrix e-shop include a signed version with a bonus mini-CD “Eliza Effect” featuring four exclusive tracks.

Benoit Blanchart this time worked with Patrice Synthea from Regenerator, Patrick Codenys of Front 242, Poupee Fabrikk, Implant, Numb, and female vocalists Mari Kattman, Noemi Aurora, Emke, and Sorrow Stories. Also Jan Dieckmann of Norderney joined in.

This new album was teased earlier with the 7-track EP “Cycle Of Life” featuring collaborations with artists such as Jan of Norderney and Noemi Aurora. The EP included a mix of new songs and exclusive non-album tracks, and it’s still available on Bandcamp with a digital booklet containing lyrics and artwork.

Eldrina Mich

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

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Genre/Influences: Body-Pop, Future-Pop, Electro.

Format: Digital.

Background/Info: Belgian Aiboforcen remains driven by core member Benoit Blanchart assisted by different guest singers -although he now considers Patrice Synhtea (Regenerator) as a constant member. This EP comes as an appetizer to the announced seventh album “Between Noise & Silence”. Patrice Synthea (Regenerator) was in the company of Jan (Jordernay) & Noemi Aurora, Mari Kattman and Tina Forlom.

Content: This EP features 7 songs -including remixes and alternative edits. The title song reveals a great, danceable Electro piece with a strong melodic chorus and male-female vocals by Jan (Jordernay) and Noemi Aurora. You’ll also discover a ‘Club’-edit and a remixed version by Elektrostaub. The other songs remain in the line of Aiboforcen while featuring different vocalists. One of these cuts has been remixed by Aesthetische.

+ + + : “Cycle Of Life” is for sure one of the best and most accomplished songs ever written by Benoit Blanchart. He remains a very unique musician you can’t compare to any other. The title song sounds not just danceable but also reveals a true sound intelligence while the duo vocal parts between Jan and Noemi sound better than intercourse. There’s such a great complementarity between both artists while Noemi’s heavenly voice is mainly emerging on the final part of the song. This track has something NVN-Nation driven but transposed into Aiboforcen’s sound DNA. The “Club-Mix” is pretty cool as well. Among the other songs left I especially recommend “Heaven Knows – Single edit” also sung by the duo Jan – Noemi Aurora. “Katarsis” featuring Patrice Synhtea is another cool cut and I here especially like the Acid sequences running through the song.

– – – : I expected a bit more from the remix of Aesthetische and Elektrostaub which don’t add a true bonus to the EP.

Conclusion: The song “Cycle Of Life” is a real masterpiece and I can only hope we’ll hear more doings from this level at the announced album.

Best songs: “Cycle Of Life – Club Mix”, “Cycle Of Life – Single Edit”, “Heaven Knows – Single Edit”, “Katarsis”.

Rate: 8.

Artist: www.facebook.com/Aiboforcen

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

About Aiboforcen

Aiboforcen is the Belgian dark electro and future pop project led by Benoit Blanchart, released on Alfa Matrix. Patrice Synthea of Regenerator is a regular vocal collaborator, alongside guests including Noemi Aurora, Mari Kattman and Tina Forlorn. The “Cycle Of Life” EP, featuring Jan of Jordernay and Noemi Aurora on the title track plus remixes by Elektrostaub and Aesthetische, served as the appetizer to the band’s seventh album, “Between Noise & Silence”, released 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

Jean-Marc Lederman, known for his work with Fad Gadget, The The, Gene Loves Jezebel, The Weathermen, Ghost & Writer (with Frank Spinath from Seabound), and Rohn-Lederman with Emileigh from Chiasm, presents an audiobook of short sci-fi tales, “Sci-Fi Revisited”. The book is narrated by various singers and musicians, and it is accompanied by a computer puzzle game. The package also includes a 12-page micro book with 11 pulp covers.

Released under the The Jean-Marc Lederman Experience moniker, “Sci-Fi Revisited” features Tom Shear (Assemblage 23), Christina Z, Jim Semonik (Red Lokust), Mari Kattman, Emileigh Rohn (Chiasm), Ken Magerman, Daz Sharp, Julianne Regan, Jim Marcus (Die Warzau), and Sapphira Vee.

This release is a co-production between Les Disques De La Pantoufle and COP International. It was produced, arranged, and played by Jean-Marc Lederman. The images for the website and cover were prompted by Kevin B. Lederman. The lab/vault website and video game were developed by Kevin B. Lederman, courtesy of https://blackfoot.io/.

The album is available through COP International and on their Bandcamp page. Note that the CD version comes in a limited edition of just 100 hand numbered copies. It holds a 12-page micro book on 230 gram paper. You also get access to a puzzle game to unlock the tracks.

Bernard - Side-Line Staff

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

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We all know Mark Hockings as the singer of Mesh. Mark originally wanted to write his own music and finally, accidentally, became a singer. During the lockdown he started writing his own music and released a few singles. Blackcarburning was born and this year released the debut-album “Watching Sleepers” on COP International. Fourteen songs have been released featuring guest singers Neil Francis, Mari Katmann, Howie Venton and Janne Marvannen. “Watching Sleepers” sounds as pure Electro-Pop; a styled and alluring production for Mesh- and 80s fans.  

(Courtesy by Inferno Sound Diaries)

Q: I got the feeling Blackcarburning was already spinning for a while in a corner of your mind so what have been the triggers to get it activated? And what kind of sound did you want to compose?

Mark: I’d been thinking about releasing something for a few years if I’m honest. It was going to be low level -maybe a few instrumentals. Nothing big, just something to scratch an itch I guess. I messed about with some music in the early days of the pandemic. Mesh were on a well-deserved break and I was building a proper studio in my house. I gave one of my ideas to Mari Kattman (who I’d worked with on a Mesh track and will appear on a future Mesh release) and I unexpectedly had a song. I just carried on writing really. I had enough tracks for a single, then two singles, then an EP, then the full album “Watching Sleepers”. There was such a momentum to it all and I felt like I’d tapped into a real vein of inspiration. It was very satisfying and unexpected.

Q: You for sure will be always connected to Mesh which makes the challenge to start a side/solo-project exciting, right? What did you experience as the pros and cons to release a solo-album? And what have been the biggest challenges and difficulties in the composition- & production process?

Mark: It has been a challenge overall, yes. There was a certain amount of pressure I guess, but that pressure didn’t come to the fore until the end of the process, when we were ready to release – that was “Judgement Day”. When you’re working on your own it requires an certain amount of discipline, self-motivation and confidence in your own abilities. I had to learn to be better at those things and from that respect it was certainly a life changing journey, about one I’m glad I put myself through. Many of the skills that I’ve left to other people (like final production, mixing, ‘editorial’ etc) I had to study and learn. Everything was down to me, and stopped with me.

Most of the challenges were indeed production based. I had to build a proper listening environment to mix in. It was ultimately a big investment in recording equipment, and an investment in time to learn how to use those tools. There were certain technical challenges recording guest vocalists -I didn’t want to just send files back and forward, but rather produce the singers ‘live’. I used a remote recoding solution called ‘VST Live’ where I could work with singers in real time. This was a game changer and ultimately the results were as good as anything I could have hoped for if we were all in the studio in person.

Q: Did you handle specific criteria and/or references in the achievement of this work plus the choice of guest singers?

Mark: Not really. I just wrote without any particular direction. Mesh has a ‘sound’, and together myself and Rich  create something that is original but recognisable, but always a product of our combined skills. I was able to write without restriction because I had no audience to think of, and no expectations to live up to. This was liberating in most respects, and I think it allowed me to be more productive as every idea seemed to lead somewhere interesting.

The choice of singers varied depending on the track. With Mari, the choice was initially just shot in the dark to see what would happen. The first track with Neil Francis “Love In Control” was originally written for myself, but I didn’t think it sounded as good as it could, so I asked him to re-do it. The other tracks with Neil I wrote specifically with him in mind. With “Your Heart Is Like An Island”, I specifically wrote the track for Janne. So the approach varied.

Q: What is “Watching Sleepers” all about? And what has been the impact of the lockdowns to the writing and content of the album?

Mark: “Watching Sleepers” contains a lot of personal and social commentary from the last few years. A great deal happened to the World during the time of the album writing, and that spilled over into everyones personal lives, their mental well-being, their feelings of security and hopes for the future. I never specifically tried to write about that time, but I think it’s evident in the lyrics and feel. Moments of reflection, anger, sadness and uncertainty.

Q: What have been the different stages you’d to go through to achieve “Watching Sleepers”? And what did you keep in mind as the highlights of this entire process?

Mark: There were many stages to the writing of the album.

The most important part is getting the bulk of the album written -it’s an important framework around which to work and to understand what you have as a whole. This is the part I enjoy the most.

I would then focus on the production and editing -removing stuff that was surplus, that added nothing, was self-indulgent for just made the track longer than it needed to be. Everything should have a purpose, and if not it should be removed. It’s difficult to do sometimes as the removed parts could be 100’s of hours of work, but it’s necessary.

The final mixing is the last stage. Getting the album to sound like a real record. This is the most difficult stage but is also very satisfying if you get it right, which I think I did. I include pre-mastering, frequency analysis, loudness metering in this stage.

Of course there were other stages that were just as important -finding a great record label (COP International) and a publisher (Schubert)  being the two biggest ones.

Q: I noticed the very specific artwork of your album -and singles,  which seems directly connected to the name of your project. What is it all about and is there a connection with Helen Mort’s novel “Black Car Burning”?

Mark: All the artwork was done by myself. I was getting a little tired of heavily photoshopped artwork and decided to try a ‘back to basics’ and more natural approach. I bought 30 or 40 model cars and photographed them against backgrounds printed out on photographic paper. Each ‘diorama’ had some connection or theme relating to the song. I used some lights and coloured gels -nothing complicated. There is some colour correction on the images, but otherwise they are just as I shot them. It was quite a lot of work, but once I had the technique it got easier. Again, it was very satisfying to see the results, especially on physical media like CD’s.

I tend to write phrases and words in my phone when I hear something interesting. There was a book review on the radio of Helens novel and I wrote down ‘Black Car Burning’ in my phone. When I came to look for a band name this fitted perfectly. I must read the novel one day.

Q: What are your plans for Blackcarburning?

Mark: I would ultimately like to take Blackcarburning out touring. We are starting to look at this now, but no dates are decided yet. Hopefully late 2024. I will certainly be writing another full-length album and am hoping to fit this around the writing of the next MESH album.

Inferno Sound Diaries

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

www.side-line.com

The Belgian cult dark electro / future pop act Aiboforcen has announced the release of their 7th studio album in the Spring of 2024, titled “Between Noise & Silence”. But before that they release an all new 7-track EP via Bandcamp revealing 5 new songs as well as the first guests to be featured on “Between Noise & Silence”.

The 7-track EP’s title-track “Cycle Of Life” features a vocal duo between Jan of Norderney and Noemi Aurora. The same line-up is used on “Heaven Knows”. “Cycle Of Life” gets featured in a single and in a club version plus a melodic remix by label mates Elektrostaub. And just like on the previous album, Mari Kattman (Helix) lends once more her voice on “Dead End” which is featured in a remixed version by Aesthetische. The EP also features 2 exclusive non-album songs with Patrice Synthea on the EBM cut “Katarsis” and Tina Forlom (Sorrow Stories) on the dark electro pop tune “Echoes”.

The bandcamp edition is accompanied by a booklet with lyrics and cool artwork design.

Brand new Aiboforcen video

Also included is a video for the track “Heaven Knows”. Read the review of ‘Cycle Of Life’.

Eldrina Mich

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

www.side-line.com

Out now is the new single from Cop International signee Mari Kattman called “URGOD.AI”. “URGOD.AI” comes backed by the B-side “Lower Yourself”.

Mari Kattman has been self-recording, writing, composing, and live performing music since 2012. Currently, she operates under the Mari Kattman name as a solo artist and worked with Tom Shear, of Assemblage 23, on a project called Helix.

She has been collaborating with such artists as Mesh, Ivardensphere, Jean-Marc Lederman, Psy’Aviah, Aesthetiche, Neuroticfish BlackCarBurning, Cassetter, This Morn Omina, Solitary Experiments, Mephisto Walz, Aiboforcen, Interface and Comaduster. She also has worked on many other label releases including ones for Metropolis Records, Alfa Matrix, FiXT and will release her solo work on COP International.

You can check out the new 2-track single below.

Bernard - Side-Line Staff

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

side-line.com

Featured, the project by Julian Beeston, has teamed up with KMFDM vocalist Lucia Cifarelli for a new single, titled “Medusa”. The single will be out on July 28th.

Written by Julian Beeston and Lucia Cifarelli, the two are joined by Steve White (KMFDM,PIG) and Dean Garcia (Curve, SPC_ECO) on the new release along with remixes by Marc Heal, INHALT, Blush Response, Mark Pistel, Giuseppe Morena and Metroglow.

A video will accompany the release which utilizes extensive facial capture technology and integration with the Unreal Engine.

The single is taken from the forthcoming Featured album, “All Mouth and No Trousers”, due in September 2023, which features further collaborations with Lucia Cifarelli as well as Mari Kattman, Bara Hari, Rose Berlin, Mia FluxXx, Christine Hanlon, Lis van den Akker, Jayelle Gerber and Livvy Holland.

Julian Beeston is an English musician, mainly noted for his time in the electronic groups Nitzer Ebb and Cubanate. He has spent time as a remixing engineer working on artists such as Bob Marley and Billy Idol. More recently, he has worked as a composer and producer, making music for TV commercials for companies such as Mitsubishi and Ford and has produced trailers for Universal, Miramax and 20th Century Fox.

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

On August 8th the German conzoom Records label will celebrate its 15th anniversary. Especially for the occasion two new “electropop.” compilations will be released on that same date: “electropop.25” and “electropop.depeche mode”. Both can be ordered via Conzoom Records.

Side-Line hereby send its congratulations to both Ingo Möller and Annet Möller for their work in the past 15 years!

“electropop.25” will again carry 13 tracks by 13 artists who have not yet appeared on an official compilation. As usual, there will also be a strictly limited “electropop.25 (Super Deluxe Fan Bundle)” with 4 promotional bonus CD-Rs.

“electropop.depeche mode” holds cover versions of Depeche Mode tracks by new bands from the electropop field. The three promotional bonus CD-Rs of the “electropop. depeche mode (Super Deluxe Fan Bundle)” include a remix collection of the latest “Nature Of Wire Remixes Volume 5”, a ten-song retrospective of the work of the Swedish synthpop band Climate Zombies and an exclusive remix album by Birmingham Electric with previously unpublished tracks.

Tracklisting of “electropop.25”:

1. Aeon Rings – Slow Choke (Full Length Version)
2. Blackcarburning – All About You (Olaf Wollschläger Remix)
3. Code 64 – Soundwave (Extended)
4. Eckotrigger – Collide (Extended)
5. Helalyn Flowers – Halos (People Theatre’s Fireball Mix)
6. Jetlag Junction – Hope & Bravery (Dance Remix)
7. Main – End This Game (Full Length Version)
8. Mari Kattman – Is It Really That Bad (Neuroticfish Remix)
9. Neon Space Men – Twisted Mind (Rob #Dust Remix)
10. Rohn-Lederman – We Need A Plan (Mark Hockings Remix)
11. The Grab Society – Outsider (Oren Amram Remix Edit)
12. The Nordic Act – Give Me The Power (Remix 2022)
13. Voltron2 – Catwalk Madness (Extended Mix)

Tracklisting of “electropop.depeche mode”

1. Alphamay – Everything Counts
2. Bt47 – Master & Servant
3. Demokratie – And Then
4. Egoamp – New Dress (Edit)
5. Engraved Garden – Lie To Me (Extended)
6. Kellertechnik Feat. Shelter – Now This Is Fun
7. Maschinengeist – Wrong
8. Neon Space Men – Leave In Silence (Extended)
9. Parralox – Ghosts Again (Extended)
10. Platronic – The Things You Said
11. Royal Visionaries – The Sun And The Rainfall
12. Split Vision – A Photograph Of You
13. Supercraft – My Secret Garden
14. Tycho Brahe – Suffer Well
15. Vainerz – Two Minute Warning (Extended)

Side-Line also covered Depeche Mode’s ‘s ’.

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

CARV.R, the Providence (Rhode Island) based dark synth-pop project from producer Cristian Carver, has recently released their newest single “Deflect” which you can get here.

“This track is personal to me,” states CARV.R, “the single was inspired by individuals who evaded responsibility for their actions and instead portrayed themselves as victims, a frustrating and disheartening experience many can relate to.”

The track includes vocals from Mari Kattman (COP International), who collaborates with Tom Shear of Assemblage 23 on a project named Helix. Regarding the partnership, Cristian Carver comments: “When I composed the instrumental for ‘Deflect,’ I was certain that Mari was the ideal person for the track. Her vocals blend seamlessly with the music, and her lyrics truly encapsulate the original concept of the song.”

Following the release of “Deflect,” a remix of the track is set to launch on Friday, 19th May. The remix was produced by Alex. A video for the single is available, and the track can be accessed now from all download and streaming services.

Bernard - Side-Line Staff

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

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Out now is “Dicks Incorporated”, the new single from Featured, the alternative rock industrial project from Julian Beeston (Nitzer Ebb, Cubanate).

English born Julian Beeston is best known for his time in Nitzer Ebb (1989–1992) and Cubanate (1993-2016). He has spent time as a remixing engineer working on artists such as Bob Marley and Billy Idol and more recently has worked as a composer and producer, making music for TV commercials for companies such as Mitsubishi and Ford. Next to this he has also produced trailers for Universal, Miramax and 20th Century Fox.

“Dicks Incorporated” has Steve White (PIG, KMFDM) on guitar and Dean Garcia (Curve, SPC-ECO) on bass and features Chelsea Dawn on vocals.

Taken from the forthcoming album, “All Mouth and No Trousers” which has vocal appearances from Lucia Cifarelli (KMFDM), Rose Garcia (SPC-ECO) and Mari Kattman (Helix) amongst others, “Dicks Incorporated” is a tongue in cheek poke at modern society and has remixes by MESH, Marc Heal and Cyanotic.

Here’s the video for the single.

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 via COP International on October 21st is the all new EP for Mark Hockings (mesh) and more precisely for his side-project Blackcarburning.

The opener “Divide Us” is a collaboration with Mari Kattman (of Helix with Tom Shear of Assemblage 23) in a production by John Fryer. The other tracks have Hockings on vocals. All versions are exclusive to this EP and only “Divide Us” will be on his upcoming album.

The project launched its very first release in 2021 with the self-released singles “The Mirror (Shattered Tones)” and “The Mirror”. After signing with COP International the project released the singles “All About You”, “Reset” and “Everything Worked Out”.

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-Pop, Dance-Pop, Indie-Electro-Pop.

Format: Digital, 2CD.

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

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

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

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

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

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

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

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

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

Rate: 8.

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

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

Listen to “Bittersweet (Bonus Version)”:

About Psy’Aviah

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

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

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

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

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

Inferno Sound Diaries

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

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Out now is Psy’aviah’s “Can We Make It Rhyme”, a 10-track EP featuring Mari Kattman on vocals. The release is right now available via Bandcamp exclusively.

“Can We Make It Rhyme” is taken from the band’s very recent “Bittersweet” album. As an exclusive B-side, Mari Kattman and Yves Schelpe chose to cover their Soft Cell favorite song “Monoculture”. This 10-track EP features remixes that offer a wide electronic spectrum, two trance dance-driven anthems by Omniks and Karl Roque, whilst the ‘retro club’ edit of “Monoculture” and the Assemblage 23 remix of “Can We Make It Rhyme” will be more for the synthpop dancefloor. The versions of 13th Angel and Jen Draven then again focus more on the song’s core soundpallet.

You can check out the full EP right below and download it from Bandcamp.

Yves Schelpe interviewed Mari Kattman for this release, you can read their conversation right below.

YS: ‘Can We Make It Rhyme’, can you tell your perspective on it when you had the demo and lyrics in your hands? And in what way did it convince you to say, yes I want to collaborate on this song?

MARI: I think the main thing that really made me want to participate in the track, was the meaning of the song that you provided to me. It’s always an honor to try and help make an artist’s vision come into focus, but even better when there is a great meaning behind the music. You also had a friend participating in the demo vocal reel and I loved his vocal style and the way he was reaching for the notes. It was a little different than I was used to but it really inspired me to want to take it to the next level, so I saw it as a challenge.

YS: I remember brainstorming about the music video for this one, and I thought, I need the emotions of Mari on screen for this one. Of course, budget wise, I can’t fly you over, or I can’t come to the US… But how do you feel the music video turned out with these ‘tritone’ colours? As it were your original recordings of yourself performing the song that triggered me making the music video in this colour a lot more, and make it moody, atmospherical, and leave it with an ‘open ending’…

MARI: I was really shocked that you were able to pull off an entire music video concept JUST from the red and blue lights I used to record my part. On top of having the lighting on hand, I thought maybe it was a cool analogy, red and blue together make one of the most beautiful colors of all. So “Can we make it rhyme” seemed like the blending of two different parts harmoniously. I think it was really clever that you moved my takes to the TV and smartphone shots. I also think its insanely cool that you could hire a company to make a music video that was so on point and beautifully shot. It seemed like a lot of planning and work so props to them and however many times they had to listen to the original track while filming.

YS: I knew you since the work of Day Twelve, which I even remixed for… I loved your voice instantly, and then I guess the first track we worked on was ‘Sacrifices’ and ‘Our Common End’. What are your memories on those, and what drew you in to collaborating with me on these tracks?

MARI: Honestly, back during that time, 2012 or so, I was just learning to record myself properly. In my surrounding area, I worked with a lot of musicians growing up who ended up finding other paths in life and abandoned their music projects. I was really having a dry spell finding committed people to work with. I knew I had to build myself on my own, with no help, which was really intimidating. So I started building this portfolio of work and just reaching out to people that I admired to see if they would be interested in working with me. I can’t remember how we connected. I was working with Aesthetische on a few tracks for their album Hybridcore and I think through the Alfa Matrix channels that’s how we started talking.

It was such a breath of fresh air to work with you on those songs and really feel what it’s like to work with other people who have committed their lives to their art and have a firm vision for the things they want to see culminate song by song. I never really had the privilege of that before in my life and I look back fondly on those times and being able to hear my voice placed in a space where it was valued and produced appropriately.

YS: You’ve been growing every year, collaborating with a lot of people – up to the point you were producing your own songs which I so love (e.g. the eat EP). Up to the point now that you are now signed on COP Int. – a huge deal, and something I was waiting for – when will she be signed somewhere as I love your productions! Can you tell us how that went, and how this feels for you?

MARI: Yeah, I mean, I think I have worked with nearly all of my heroes at this point (except for you Peter Heppner!) it’s an incredible place to be when you have broken bread with people who you intensely respect and look up to as far as work ethic and artistry. I feel really honored for the time I have gotten to spend learning from those experiences. There is really something about stepping into another person’s world and having to fit to their working style. None of the collaborators I have ever worked with, work the same and to be versatile because of that is a gift for me.

Signing with COP for my solo music is SUCH a new experience for me. I’ve worked with a lot of record labels in the past but I have never officially been on one alone. I love the fact that these releases are all me, for good or bad, if you hate it there really isn’t anyone to blame but me, but if you LOVE it, well then i’m doing my job. It’s sort of strange to think that I would ever get to this point, it’s a long way to come from 2012 in my room, figuring out how to connect an interface to a microphone and cueing up a DAW. It holds a lot of importance for me and I am so happy to have the support backing this next release up.

YS: Diving a bit deeper into the song ‘OBJECTIFIED’, I love it so much. The hypnotizing pad and arpeggio in the background, a very triphop / hiphop beat that evolves throughout the track. And behind it a very soulful voice telling a compelling story. What triggered you writing the lyrics, and how important is this one for you?”

MARI: Objectified has a pretty clear meaning. I wrote it one day when I was feeling pretty down about the state of how things are for women. Sometimes you don’t feel like you are anything but a piece of meat, and then a “better” piece of meat comes along and it’s all a very shallow state of mind. Women are held to an unfair standard, we are pinned up against one another and compared. We are told “Thats just how it is.” and “Thats just guys being guys.” but it’s exhausting, to be sexualized for everything you do. Oftentimes the sexualization takes the seriousness out of anything you are trying to put meaning into. Its soul shattering when you are trying to use your brain and your passion, knowing that there will always be an element of judgement that has to do with your level of attractiveness.

YS: Can you tell us something about your production process on your solo work, how does your studio look like, and what are your favourite tools in songwriting (both software, and techniques)?

MARI: It’s funny I always feel like my creative process is evolving but oftentimes these days its very organic, like, i’m driving in the car and I just hear this bassline or this melody, I pull out my phone and record myself humming along to whatever is happening in my brain. Then when I get home I rush to my studio desk, take out my midi keyboard and try and hash it out in my DAW. Right now I’m using Bitwig for all of my musical composition but I also love Logic when it comes to recording vocals. I wish that Bitwig and Logic could come together and tighten the audio recording aspect on the Bitwig end. Vocally, I took a course from Berklee on vocal production and now I’m all about panning my voice. It’s very normal for me to take about 5 vocal takes singing the same exact thing and panning them around the stereo field and one phantom center. It makes for a much bigger vocal sound.

Synth wise, I’ve really been focusing on writing synth parts/choosing sounds that don’t overshadow each other and that play nice on top of each other, its a really delicate balance that takes a lot of skill and time to really hear what is going on. Drum wise, it’s all about choosing interesting snares for me right now and layering foley sounds into the snare hits. As far as software goes, I’m really loving Spire and Vital right now, I just love the user interface on that. Vital wins the award for me for easy usability and for ease in tweaking sounds. As far as Plugins goes, I’m always always ALWAYS loving FreshAir for vocals, MondoMod for modulation and Wider for finding places in the mix that instruments can sit where they don’t step on each other.

YS: On the single of ‘Can We Make It Rhyme’ we decided to do a b-side as well, ‘Monoculture’. I was triggered to do this song mainly because of its lyrics and how it has a link almost to the ‘Can We Make It Rhyme’ lyrics in a sense – everyone thinking in blind vision, not open to other views and therefore getting stuck in tunnel vision. In that sense I pulled the cover version into the EP in this context – how do you feel about that, is this world to ‘monoculture’ in its thinking?

MARI: You know, being a person who is starting a new full time career, sometimes I do feel like the world is just one big hamster wheel and there is a lot of pressure to stay in line. It’s tough for creative people to live in a world like that, I often think it is a curse not to be able to do what you love all the time. We are all expected to walk the path that was laid out for us (school, 40 hour a week job, marriage, kids, retire) and you are damned if you want to walk a little different. You get up for work and you fall into bed at night with exhaustion and the days just blend. Its pretty gnarly! Keep us busy enough not to have the energy to care. I think Soft Cell was right on point and I am glad to have been a part of the cover.

YS: Can you lift the veil, give a sneak peek, or tell us something about the upcoming work you will have out on COP Int.?

MARI: My newest EP is out now on COP. It’s a two song EP with some great remixes. It is truly exciting to be showcasing my solo work again. I can’t wait for you to hear it!

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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Mari Kattman has joined COP International. “Is It Really That Bad” will be the first EP on COP International and will be released on the 13th of May and will feature remixes by Neuroticfish, Rotersand and John Fryer.

Christian Petke / Founder COP International: “Mari brings incredible talent and drive to the table. I absolutely adore the fact that she is not just the singer but the principal songwriter and visionary in this project. She is a force to be reckoned with!”

Mari Kattman has been self-recording, writing, composing, and live performing music since 2012. Currently, she operates under the Mari Kattman name as a solo artist and works with Tom Shear, of Assemblage 23, on a project called Helix. In the past she has collaborated with many artists, including Assemblage 23, Mesh, Ivardensphere, Jean-Marc Lederman, Psy’Aviah, Aesthetiche, Neuroticfish BlackCarBurning, Cassetter, This Morn Omina, Solitary Experiments, Mephisto Walz, Aiboforcen, Interface and Comaduster.

She has worked on many label releases including ones for Metropolis Records, Alfa Matrix, FiXT and now she will call COP International her new home for her solo work.

Here’s the track “Objectified”.

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

(Photo by GNY) Out on April 1st – but already available in pre-order via the Alfa Matrix label’s webshop – is the all new album from the Belgian dark trip electro pop act Psy’Aviah. “Bittersweet” is the last album in the introspective trilogy that started with the previous 2 albums “Lightflare” and “Soul Searching”.

The first disc of this 2CD set offers 13 new songs featuring several collaborators including Irina Markevich on violin and Polina Faustova on cello, and the vocalists Addie Nicole, Mari Kattman, Marieke Lightband, Saydi Drigger, Huong Su, Lumí, Tina Forlorn, Eli Rho,  Rebecca Schneider or yet the famous Belgian professor Dr. Dirk De Wachter. Next to the new songs the first disc also offers revamped versions of the classic Psy’Aviah songs “Tired” and the mega hit “OK”.

To celebrate the band’s 20th anniversary, this first edition of the album comes as a limited double-CD digipak holding the exclusive 15-track CD “Rediscovered (20th Anniversary)” plus a download link to 14 extra additional songs. These 29 tracks (!!) hold cover version of Psy’Aviah tracks by a long list of other bands including The Breath Of Life, Implant, Aesthetische, 808.DOT.POP, Leaether Strip, Your Life On Hold, Digital Factor, IC 434, Llumen, Madil Hardis and many more.

The 2CD (and the additional 12 download tracks) can be pre-ordered via the Alfa Matrix webstore, while you can get the full 42 tracks in one bundle right here from Bandcamp.

Below you can already listen to 4 tracks. Read the review of ‘Bittersweet’.

Eldrina Mich

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

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Genre/Influences: Electro-Pop, Cinematographic, Experimental.

Format: Digital, CD.

Background/Info: Jean-Marc Lederman has achieved a new work featuring guest singers. In the past few months he released similar albums like “13 Ghost Stories” and “Letters To Gods And Fallen Angels”, and also “Venus Chariot” as a collaboration between him and Emileigh Rohn. “The Raven” is driven by a new concept where Lederman asked his guests to work on old texts from poets like (Byron, Poe, Plato, Shelley, de Froidmont ao.

Content: The guest singers for this album areMari Kattman (Helix, Mari & The Ghost), Christopher Hall (Stabbing Westward), Mark Hockings (Mesh), Elena Alice Fossi (Kirlian Camera, Spectra*Paris), Azam Ali (Niyaz), Dr. Strangefryer (aka John Fryer), Jim Semonik (Red Locust), Lis Van Den Akker (Misery, Psy’Aviah), Ken Mageman, Jean-Luc De Meyer (Front 242, 32Crash), Stefan Netschio (Beborn Beton), Emileigh Rohn (Chiasm), Christina Z.

Sound-wise the work is pretty eclectic, moving in between a free interpretation of Electro-Pop compositions and more pronounced Cinematographic music. The songs feature numerous, typical Cinema music arrangements, which are sometimes bombastic, but also pretty evasive. I also noticed very Minimal-Electro driven pieces. The songs have been sung/performed in English, French and Italian.

+ + + :Each time,  Jean-Marc Lederman Experience again sounds like a new and fascinating journey. First there is always an interesting concept and I like this one for mixing old poems together with music, which as an imaginary Soundtrack has been performed by the artist. There’s once again a true symbiosis between music and vocals, seeing Jean-Marc transforming himself into a sonic chameleon. Music and performer are totally complementary, now resulting in a sensual composition like the one with Mari Kattman, then into a kind of Lounge approach with Mark Hockings, becoming totally minimal with Dr. Strangefryer, getting us into a dreamy part with Lis Van Den Akker. But the most surprising- and poignant track is the one with Jean-Luc De Meyer inspired on a poem of Hélinand de Froidmont. It’s an old and tenebrous poem, which has been masterly interpreted by the Front 242 lead singer and adapted into a horror-like music composition. There are several noticeable cuts on this album, which is more an album to listen to instead of dancing.

– – – : The album once more creates the illusion listening to a compilation instead of an album composed by one artist. That’s part of this concept and I’m sure Jean-Marc Lederman still has enough ideas and creativity to move on with it.

Conclusion: Jean-Marc Lederman Experience and his guest singers stand for a true sonic intercourse. This is a new brilliant piece of music and the perfect successor to “Letters To Gods And Fallen Angels”.

Best songs: “The Worms Of Death”, “Invocation”, Frankenstein”, “Smouldering Corpse In The Morning Sun”, “The Cold Heart Slept Below”.

Rate: 8.

Artist: www.jmlederman.com / www.facebook.com/Music-composer-Jean-Marc-Lederman-1585277635023000 / www.facebook.com/jeanmarc.lederman

Label: www.facebook.com/copint

About Jean-Marc Lederman Experience

Jean-Marc Lederman is a Brussels-based Belgian keyboard player, composer and producer. Active since the late 1970s, he worked with Fad Gadget, The The, Gene Loves Jezebel and Front 242, and co-founded projects including The Weathermen, Kid Montana, Jules et Jim with Julianne Regan, Ghost & Writer with Frank Spinath, Lederman / De Meyer with Jean-Luc De Meyer, and the Jean-Marc Lederman Experience. He also composes for film and videogames.

The Jean-Marc Lederman Experience is built around invited vocalists. “13 Ghost Stories” appeared in 2019 on Dependent and “Letters To Gods (And Fallen Angels)” in 2020 on Wool-E Discs, both with a large cast of guest singers. “Venus Chariot”, his 2021 duo album with Emileigh Rohn of Chiasm, came out on COP International, the same label releasing “The Raven”.

Lederman’s later solo work includes “The Bad-Tempered Synthesizer” in 2021, “Night Music for Seahorses and Manatees” in 2022, “Soul Music For Zombies” in 2023, “Sci-Fi Revisited” in 2024 and “Electronic Slipper Music” in 2025. The Rohn-Lederman duo continued with “RAGE!” in 2022, “Black And Bleu” in 2024 and “Forbidden Planet” in 2025. “The Raven” sits in that sequence as the third Jean-Marc Lederman Experience album built on guest performances.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Future-Pop, Electro-Pop.

Format: Digital, 2CD.

Background/Info: Twenty years ago Assemblage 23 released the successful opus “Failure”. Today this legendary album by Tom Shear got a new mix and mastering plus an extra disc featuring remixes.

Content: “Failure” has to be considered as an album that was originally released in the early years of Future-Pop. I know Tom Shear doesn’t care that much attention about the label of his music, but he was often linked with VNV Nation, Neuroticfish and co. With some recoil this album was a hard-banging Pop format, a kind of evil Electro-Pop sound infused with Industrial components, but still melodic and ultra danceable.

The second disc features exactly the same tracklist, but all of the tracks have been remixed in chronological order by DTSR, Interface, Antiscion, Mari Kattman, Rotersand, Clan Of Xymox, The Gentry, Suicide Commando, patrick codenys and Assemblage 23.

+ + + : “Failure” remains a ‘great’ piece of music. The original magic of songs like “Naked”, “House On Fire”, “Disappoint”, “Divide” and “Awake” hasn’t really changed. It’s even a wonder to see how songs of twenty years old still have this effect. It simply reveals the talent and genius of Tom Shear who’s not only a great musician, but also an artist who is writing intelligent and touching lyrics. I think a band like Assemblage 23 brought us a different kind of Electro-Pop, miles away from the established standards and Depeche Mode-clones. “Failure” can be easily seen as a true reference in this genre.

Among the remixes there’re not only great names, but also a very diversified number of artists. It’s also cool to see Tom’s wife (cf. Mari Kattman) remixing one of the songs. My personal favorite is the most unknown project from the list; UK project Antiscion boosting “House On Fire”. Tom Shear did also a great job remixing “King Of Insects”, which sounds definitely better than the original version.

– – – : I’m not sure this remixed and remastered edition will have a similar effect and impact than 20 years ago, but it’s a homage to a great artist and an essential work in his career.

Conclusion: “Failure” has been brought back to life and it still sounds up to date!

Best songs: “House On Fire”, “Naked”, “Disappoint”, “Awake” + “House On Fire – Antiscion Remix”, “King Of Insects – Assemblage 23 Remix”.

Rate: 8½.

Artist: www.assemblage23.com / www.facebook.com/profile.php?id=100044546464584

Label: www.accession-records.de / www.facebook.com/accessionrecords

About Assemblage 23

Assemblage 23 is the electronic project of Tom Shear, who began writing under the name in 1988 in Exton, Pennsylvania. The project mixes futurepop, electro-industrial, synth-pop and EBM. Early demos and compilation tracks were later gathered on “Early, Rare, and Unreleased 1988-1998”, and the debut album “Contempt” appeared in 1999 on the Canadian label Gashed!.

“Failure” followed in 2001 and opened a long partnership with Metropolis Records in North America and Accession Records in Europe. “Defiance” came in 2002 and “Storm” in 2004, followed by “Meta” in 2007, “Compass” in 2009 and “Bruise” in 2012. “Endure” was released on 28 August 2016 and “Mourn” on 11 September 2020.

Shear also records as Nerve Filter and Surveillance, and since 2017 as Helix with vocalist Mari Kattman. Side-Line reported in August 2021 that Assemblage 23 sees ‘Failure’ released as a 20th anniversary edition on 2LP and 2CD. The next full-length, “Null” on Metropolis Records, arrived on 7 November 2025.

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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On November 5th, Helix will self-release a brand new digital-only EP entitled “Bad Dream”, featuring 4 brand new tracks and remixes from Mark Hockings (Mesh) and Andrew Sega (ex-Iris, Hallowed Hearts). The EP will be available on Bandcamp and the usual digital and streaming platforms.

Helix is the brand new collaboration between Tom Shear (Assemblage 23) and vocalist Mari Kattman (known for her work with Psy’Aviah and Mari & The Ghost). The debut album for the duo was released on August 24 2018, called “Twin”.

Here’s already a trailer.

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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COP International Records has announced the signing of Blackcarburning, the latest electronic project of Mark Hockings, better known as the frontman of Mesh. Coming up is a first album, “Watching Sleepers” which will be co-produced by John Fryer.

Hockings is responsible for writing, singing and programming and describes the tracks as “electronic music written around songs, emotion and energy.” He further adds, “The album was written to see what I could achieve by working primarily on my own. It’s been a vehicle for exploring new songwriting and programming ideas and to develop some new directions.”

All songs were recorded in Hockings’ personal studio in Bristol, UK that he built right before the pandemic lockdown. For the album, Hockings also worked remotely alongside with Mari Kattman (Helix), Janne Marvannen (Lakeside X) and Howie Venton (newwt), who provided vocals and piano accompaniment, respectively.

A first self-released 3-track single, “The Mirror”, can be heard below.

COP International Records founder Christian Petke says this about his latest signing: “Mark Hockings performed with his band Mesh at a festival that I was attending years ago. He walked onto the stage and, 30 seconds later, I was utterly impressed. His voice has that special something that immediately captures your undivided attention. What I didn’t realize at the time is the fact that he is also an incredibly accomplished songwriter and musician. So, when Jean-Marc Lederman introduced me to Mark’s Blackcarburning project I was immediately interested. He brings an unbelievable amount of talent, passion and experience to the table. Mark is exactly the kind of artist we are trying to have in the COP family.”

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: Techno-body, trance.

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Format: Digital.

Background/Info: The current Covid 19 pandemic forced artists to do things in a different way. The Aesthetische duo Fabricio Viscardi – Guilherme Peres decided to revisit some of their songs while inviting their old Aghast View mate, Denis Rudge, to take part on this EP.

Content: “MMXX” features 8 different songs; tracks that have been reworked or remixed. It’s a question of perception. But the songs are revealing diversity. From the opening song “One In This World featuring Mari Kattman to the darker and definitely Aghast View reminiscent of “Byprodukt” to the dark-dance driven “Red Trackers” and “Ascension” to the new version of “Barking At The Wrong Tree” featuring Sascha Klein (Neuroticfish) this EP has a lot to offer. Notice by the way the song “Brennbar” has been remixed by Civilian Reich.

+ + + : When you make a nice selection of some of your best songs and you rework/remix them you for sure will get some nice surprises. Aesthetische has always revealed to be great remixers, but revisiting your own stuff is something completely different. I especially like the darker edits like “Byprodukt” carried by a bass line reminding me of Frontline Assembly (and Aghast View). Other attention grabbers are the dark-sounding, but more technoid orientated “Red Trackers” and “Ascension”. “Barking At The wrong Tree” featuring Sascha Klein is a perfect last song for an entertaining and ultra-danceable EP.

– – – : We all hope this pandemic will soon be under control; we’re all missing artistic life and artists composing totally new songs –instead of remixes, and playing live on stage –instead of live streams!

Conclusion: This EP is a cool alternative edit on which Aesthetische revisited some of their hottest cuts.

Best songs: “Byprodukt MMXX”, “Red Trackers MMXX”, “Ascension”.

Rate: (8).

Artist: www.facebook.com/aesthetische

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

About Aesthetische

Aesthetische is a Brazilian duo of Fabrício Viscardi and Guilherme Pires, both previously involved in Aghast View and Biopsy, active since 2012 with at least one release a year. The project mixes EBM with Techno influences, reaching its fourth full length album, “RVPRTY”, earlier in 2020 via Alfa Matrix. Viscardi discussed the ten-year milestone and the pandemic-era themes behind “RVPRTY” in an April 2022 Click Interview.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Experimental-pop, industrial.

Format: Digital, CD.

Background/Info: And Void is a new project featuring some very famous names from the industrial scene. This is the meeting between Scott Fox (iVardensphere, This Morn ‘Omina), Mika Goedrijk (This’Morn Omina, Pow[d]er Pussy, Sygo Cries, Nebula-H…) and singer Mari Kattman (Helix, Mari And The Ghost).

Content: This self-titled album is characterized by the grace of Mari Katmann’s vocals, now injecting sensuality and later on an ethereal touch to the work. Sound-wise the tracks have been mainly written by Scott Fox, but Mika Goedrijk wrote a few songs as well. You can’t really recognize both artist’s trademarks on this album, which has something pretty experimental, driven by down tempo and sometimes moving on the path of cinematographic music. But there also is something pop-like supporting the production, becoming a sort of industrial- or experimental-pop music. Notice that Jamie Blacker (iVardensphere) and Andy Deane have been invited to do some guest vocals on one song each.

+ + + : And Void appears to be a truly challenge! The songs have something avant-garde like, mixing different elements and styles together with on top the graceful vocals of Mari Kattman. The song “Ideal Prey” appears to be the most accessible one and eventually a kind of potential hit. I especially like the slow rhythm mixed with the sensual, somewhat whispering vocals. Mari Kattman definitely remains a great singer, but the duo Scott Fox – Mika Goedrijk has something visionary like. You don’t exactly expect both artists composing this kind of stuff, but they did it!

– – – : The experimental approach of the album is for sure the biggest challenge to catch the attention of a wider audience. This is not the most accessible production and is not something for ‘classical’ electro-pop lovers.

Conclusion: I’ve always liked bands thinking out of the box and this trio definitely belongs to that category; this could be the future sound of electro-pop music!

Best songs: “Ideal Prey”, “Midnight Blac”, “October Lullaby”, “Unsung”.

Rate: (7½).

Artist: www.facebook.com/andvoid

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

About And Void

And Void pairs Scott Fox (iVardensphere, This Morn Omina) and Mika Goedrijk (This’Morn Omina, Pow[d]er Pussy, Sygo Cries, Nebula-H) with singer Mari Kattman (Helix, Mari And The Ghost), released via Distortion Productions. The self-titled debut album, a ten-track release issued as a digipak CD in 2020, features guest vocals from Jamie Blacker (iVardensphere) and Andy Deane, with “Ideal Prey” among its key tracks.

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: Cinematographic, electro, wave-pop, experimental.

Format: Digital, 2CD.

Background/Info: After his last year released album “13 Ghost Stories” Jean-Marc Lederman strikes back with a somewhat similar concept album. He asked an impressive number of guest singers to write lyrics about the theme ‘letters to gods and fallen angels’. The ‘old’ Weathermen protagonist took care of the music composition and he also wrote a few lyrical parts. The double CD features twenty four songs while twenty two singers contributed to the album plus Jo Quail playing cello on one song.

Content: This album is quite diversified, mixing very different genres. Jean-Marc Lederman transforms himself into a sonic chameleon who now moved back to the 80s and next experimenting pure soundtrack music. But I also noticed a song with a jazzy-like atmosphere while others are more into a kind of dreamy pop music. I also noticed some electronic minimalism and even a very personal cover version of Nick Cave’s “Into My Arms”.

The real tour de force is the impressive list of singers featuring names such as Tom Shear, Mark Hockings, Rodney Orpheus, Elena Alice Fossi, Frank M. Spinath, Stefan Netschio, Claus Larsen, Mari Kattman ao. Most of the singers also wrote the lyrics for their song.

+ + + : I like conceptual albums, but I have to admit, this one by Jean-Marc Lederman is a true original idea. He once again brought an impressive number of great names together, and also a few unknown names. The album sounds as a compilation, but it first of all reveals a musician who feels comfortable dealing with very different music genres. I noticed several jazzy-driven cuts, but also cool ‘film-noir’ compositions. It’s hard to give a favorite song, but I’ll go for “Heaven” featuring Scottish artist Lucia Fairfull on vocals. It’s also quite surprising to hear Tom Shear (Assemblage 23) singing on “Answer Me” in a different way we’re used to hearing from this artist. By the way, this song could be the perfect EP-title track. The very personal interpretation of Nick Cave’s “Into My Arms” sung by American singer Jenna Fearon is also worthy of examination for its intimate mood. 

– – – : If there’s one single point you can discuss about is the feeling you might be listening to a compilation.

Conclusion: This album even touches me deeper than “13 Ghost Stories”; it’s not an album with ‘hits’, but simply a genius concept featuring a great and renowned musician joined by a great selection of singers. Respect for this work Mr. Lederman!

Best songs: “Letter from Lucia Fairfull: Heaven”, “Letter from Tom Shear: Answer Me”, “Letter From Mark Hockings: Don’t Collect Me”, “Letter from Emma Barson: Under A Glass Sky”, “Letter from Rodney Orpheus: Sophisiticated Evening”.

Rate: (9).

Artist: www.facebook.com/jeanmarc.lederman

Label: www.wool-e-discs.be / www.facebook.com/woolediscs Read the news on ‘Letters To Gods [And Fallen Angels]’.

About Jean-Marc Lederman Experience

The Jean-Marc Lederman Experience is the vehicle of Belgian musician and former Weathermen member Jean-Marc Lederman, built around rotating guest vocalists. The concept album “13 Ghost Stories” preceded “Letters To Gods [And Fallen Angels]” by a year; the newer double-CD again pairs Lederman’s own music and lyrics with contributions from twenty-two singers, including Tom Shear of Assemblage 23, plus cello from Jo Quail. Lederman signed to COP International later in 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

Jean-Marc Lederman (The Weathermen, Fad Gadget, The The, Ghost & Writer, Lederman-Demeyer) has released a new release under the Jean-Marc Lederman Experience moniker. With this project he calls up singers from different niches and countries to write lyrics and sing them on a common theme. The end result is then being packaged in a 2CD 36 pages hardcover art book with artwork and pictures by Erica Hinyot.

2019 saw the release of “13 Ghost Stories”, and now he offers “Letters To Gods (and fallen angels)” including performances from 21 different singers, from the USA to Italy, Mexico or Wales. The concept this time is very topical in this strange reset time: “You can write a letter to a God, or a fallen angel. What do you say?”

This time, the artists are:

• Agi Taralas (Our Banshee, Greece)
• Emma Barson (Promenade Cinema, UK)
• Ghost & Writer with cello by Jo Quail (Germany/Belgium UK)
• Mari Kattman (Helix, USA)
• JP Aston with backing vocals by Julianne Regan (Gene Loves Jezebel/Wales All About Eve/UK
• Coline Wauters (Atome, Belgium)
• Christina Z (comics Witchblade writer, Magnesium Burn/USA)
• Das Vintage (Mexico)
• Lucia Fairfull (Lusca And The Best Boys/ Scotland)
• Stefan Netschio (Beborn Beton/Germany)
• Hunter S. Thompson (Writer, USA)
• Elena Alice Fossi (Kirlian Camera/Stalingrad Valkyrie Italy)
• Tom Shear (Assemblage 23/ Helix USA)
• Mark Hockings (MESH/ UK)
• Jenna Fearon (USA)
• Emileigh Rohn (Chiasm/USA)
• Miriam Christina (The Other Side Of Who, 580 Miles/ Germany)
• Haydn Park-Patterson (The Ninth Wave/ Scotland)
• Rodney Orpheus (The Cassandra Complex/ EU)
• Louise Fraser (USA)
• Lis van den Akker (Holland)
• Claus Larsen (Leaether Strip/ Denmark)
• Friedrich Nietzsche (Patrimonia Universal de la Humanidad)
• With 3 novels by:
• Christina Z. (comics Witchblade writer, Magnesium Burn/USA)
• Ceratomia (USA)
• Philippe Genion (à;GRUMH /Belgium)

Check the previews below. Read the review of ‘Letters To Gods [And Fallen Angels]’.

For more on Jean-Marc Lederman, see COP International has announced the signing to their artist roster of… on Side-Line.

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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Dark electro singer Mari Kattman is back with a brand new single, “Drink”. The 2-track single holds the tracks “Drip-feed” and “Gush”. The single itself has elements from wave, trap and future bass as you can hear below. This is only one of the first of singles for Mari, as another one is being planned for later this year.

Mari Kattman, an electronic musician from the Providence, Rhode Island area, started in 2012 and has since then compiled a long list of collaborative projects with many artists in the Goth/EBM/Industrial scene.

Enjoy the single!

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

The year 2020 will forever be marked by the global Covid19 pandemic and its related unprecedented health and economic crisis and the mandatory home confinement for many of us. The Brazilian duo Aesthetische decided to grab the lock-down situation by the horns and give a positive twist to that historic catastrophe for mankind.

Unable to meet in studio to produce new songs, Fab and Gui decided to revisit classic Aesthetische songs under quarantine, sharing files, sounds and sequences back and forth from distance and even went the extra mile by involving good old friend and former Aghast View member Denis Rudge. The result can be found on the 8-track EP “MMXX”.

Included are 6 of their most famous songs fully recreated starting from the vocal lines. You’ll find new versions of “One In This World” (featuring Mari Kattman on vocals), “Les But More”, “Byprodukt”, “Brennbar”, “Cold Bliss” and “Red Trackers”. Icing on the cake, the duo added a new version of their recent club hit “Barking Up The Wrong Tree” (featuring Sascha Klein of Neuroticfish on vocals) plus the exclusive instrumental track “Ascension”.

You cand ownload the EP right here on Bandcamp. Read the review of ‘MMXX’.

Side-Line also covered Aesthetische’s ‘Overflow’.

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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Alfa Matrix continues the ‘Matrix:Reb00ted’ series, this time with 2 remix albums by Belgian artist Psy’Aviah displaying his electro dance trip pop remixes cruising through the Alfa Matrix band catalogue. The releases are first released via Bandcamp and will follow on all other platforms in the next weeks.

Here’s what is available on both volumes plus also a preview of what to expect.

Matrix:Reb00ted – The Psy’Aviah Guerrilla – Zion [Electro Dance] Warfare [07]

This volume holds 15 songs from Alfa Matrix’s massive music repertoire remixed by Psy’Aviah. Offering the electro dance side of the Belgian band you can expect a harder selection of modern dancefloor assaults with these bands: Ayria, Suicidal Romance, Zombie Girl, Junksista, Leaether Strip, Essence Of Mind, Nebula-H, Diffuzion, Schwarzblut, Diskonnekted, Krystal System and Psy’Aviah. You can check all the songs below and download it from Bandcamp directly.

Matrix:Reb00ted – The Psy’Aviah Guerrilla – Zion [Trip Pop Electro] Warfare [06]

This volume also holds 15 songs from Alfa Matrix’s massive music repertoire remixed by Psy’Aviah. The “trip pop electro” edition reveals a selection of more moody and catchy synth electro songs thanks to bands like Mondträume, Metroland, Aiboforcen, Helalyn Flowers, Acylum, Junksista, Entrzelle, Llumen, Virgins O.R Pigeons, Halo In Reverse, Schwarzblut, Mildreda, Totem Obscura and Psy’Aviah, also including guest vocals by Kyoko Baertsoen, Mari Kattman and Fallon Nieves. You can check all the songs below and download it from Bandcamp directly.

Previous volumes

Here’s a list of the 5 previous volumes which Alfa Matrix released in the past with remixes executed by Kant Kino, Simon Carter, Acylum and Aesthetische !

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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Belgian Psy’Aviah is driven by the creative spirit of Yves Schelpe. The project is already busy for several years now and this year unleashed its seventh full length album. “Soul Searching” –released on Alfa Matrix, can be easily considered as a conceptual album for its lyrical content, but still for the renewed experience with multiple guest singers. Sound-wise the work remains a truly sonic enigma, which might be simply called ‘electro-pop’, but when you listen more carefully you’ll notice an amazing amount of influences. But more than the result of multiple influences, Yves Schelpe has for sure released his most mature work to date, which might appeal for lovers of Delerium, Conjure One, Lunascape and related bands. On stage Yves Schelpe (electronics) has been joined by singer Marieke Lighband  and guitarist Ben Van de Cruys. (Courtesy by Inferno Sound Diaries)

Q: When you’ve a new album out, do you consider it as the best one you’ve ever released? Where do you place “Soul Searching” in your growing discography?

Yves: Honestly rating your own work, I think most musicians will tell their latest is the best as it sounds fresher to their ears, because as a musician you grow in technique, songwriting and taste. Hence why most musicians would rate their latest work as either their best or among the best if they’d had to choose. But in the end it comes down to the listener, I do my thing in my small bedroom studio, try to learn every day, try to bring new ideas, fuse genres and create stories.

As for where I place it in my discography, that’s an interesting one. I think it’s on the list of albums between 2013-present vs 2007-2012. As of 2013 with “Future Past” I radically changed in both style and wanted to bring the EBM and electro into different genres from jazz, to trip-hop, to classical, to pop.. Always with a dark hint and with a wink to the past. And that’s why I split my discography in those two ‘eras’ internally in my head. Since 2013 it’s also more focused in stories per album, as well as inviting guests to sing instead of just one lead vocalist.

Honestly maybe this could be the start of a third era in Psy’Aviah’s discography, where I go even further and incorporate even more other sounds and songwriting styles. Who knows, an artist always evolves… That’s so fascinating about music.

Q: What have been the influences and challenges to write and accomplish “Soul Searching”?

Yves: Writing the basic songs wasn’t the biggest challenge -as I always write the basic chords and melodies on piano first. You have to know that with “Soul Searching” it was the intention to create a soundscape that is radically different and alienates the listener from the daily Western sounds they hear -both so the sound from song to song is coherent, even if ‘styles’ change, and as well to transport the listener in a different ‘space’. Pull them out of the traditional Western sounds they’re so familiar with, I wanted to introduce something fresh. So finding those right instruments to tell the story was a big challenge. We have all the tools available: samplers, effects, digital instruments…

But I went for a radical approach to use real instruments, either pre-recorded or played by real people.

Q: I can imagine finding the right match between the songs and guest singers must be one of these challenges, but how did the final selection happened? Is there something like a cast? Are there specific criteria to choose a singer? What about the lyrics and how did the recording with The guests happened?

Yves: I always write the songs first on piano sounds, then the search for the ‘sound’ begins. Once I have a rough demo then I send either one or more demos to the singer I think they match with. About 90% of the time I have a strong feeling of how the melody of the lead vocals and backings should sound and I prerecord those with my own voice. But some guests do write their own lyrics -I do always give them pointers how I want it to sound or what lyrics need to deal with to match the story and to inject my ideas as well. But for Mark Bebb and Lis van den Akker they wrote their lyrics, vocal melodies and harmonies. Sometimes I co-write, as with Roeland van der Velde and Ellia Bisker -exchanging lyrical notes and adapting them.

The fact is that for each song I know the tone of the vocalist, and know what they can bring to the table by listening to their work and -with most of them -knowing them already for a long time. It’s a collaboration in the end, of course I do have my veto, as do they if they’re not happy. I always brief them of the concept of the album, the intent of the song -it’s maybe very over the top micromanagement sometimes, and maybe taken too seriously, but when you’re that passionate about what you do, you can’t help it (lol).

As for recording, most people record at their own home studio, or the studio of the band they play in. We exchange via the internet, and I give my feedback whether I want some extra adlibs, or extra shouts or harmonies… I once did a video with Mari Kattman on how we collaborate: [ https://www.youtube.com/watch?v=8_NMFZZ9a-A ] -it’s explained how she works, and how I work -it’s generally 95% the same for each song…

Q: Sound-wise, I don’t know if “Soul Searching” is my favorite Psy’Aviah album, but it for sure sounds as the most mature one! I get the feeling you’ve found ‘your’; sound while other albums were more like the exorcism of ideas and influences. How does it feel at your side and what did you finally try to achieve with this work?

Yves: Every album has a different sound, but it always has the ‘Psy’Aviah’ stamp on it. Maybe the reason why it sounds more mature is the fact that I wanted to draw people out of this world and this gave every song the alienated Eastern vibe -and that gives an extra layer of coherency. As for an eclectic approach on other albums, that’s part of the deal with Psy’Aviah. And I’m not alone -check for example the mélange of trip-hop to ambient to ballads to electroclash and to pure dancefloor driven tracks to even rock tracks by Moby, Praga Khan, Bowie, Die Antwoord, Junksista or Faithless on a single album, that mix given with their own take on it and their own sound, as I do as well, is not so weird in my mind… So I don’t get why people are so hung up on the fact a band has to stick to one genre, for me that is boring and hence why the bands listed before are prime examples why I’m a big fan of their albums, they can be on repeat for days because of the diverse take rather than a rehash of 12 tracks in the same genre with the same sounds being reused over and over again… 

Q: The opening song “Becoming Human” is for sure an essential track from the album. I get the impression this song with spoken words by the famous and mediatized Flemish psychiatrist Dirk De Wachter is the heart from the album to understand the concept, right? Tell us a bit more about this surprising guest vocalist and how did you get in touch with him and finally convinced him to contribute?

Yves: I saw some of his lectures online, then started reading his books “Borderline Times” and “De Wereld van De Wachter”, as well as his newest work “De Kunst Van Het Ongelukkig Zijn”. There were so many ideas in there that it already inspired my work on “Lightflare”, when writing songs for the EP “Looking For The Sun” I wrote a mini essay in the booklet (PDF in bandcamp release) on how these ideas are reflected in the songs on the EP, and by then I did contact Dirk to get his approval, because when you mention someone -I feel it’s only appropriate to ask for advice and approval. Later that year I met him at a lecture he gave at the University of Antwerp, and by then I had already written half of the songs for “Soul Searching”. We talked about the ideas, and then set a date via mail to meet & record -he lives just two blocks away so that was easy. We talked about the concept of the album, the reason behind those words, not a lot of convincing was needed -you have to know Dirk is a really nice and warm person.

The poem I wrote as an introduction to the rest of the album’s lyrical content as you understood correctly, but his deep voice as well as his attachment to the lyrical content, for me was a trigger to ask and include him. Recording was fun though, at his cabinet, cosy, greeted with a smile and coffee. Talking about each other’s interests, and then record. I’m grateful to have him included in this concept album as it really makes the journey complete from start to finish. But that fact is essential for each vocalist, the match in voice and passion for the lyrics has to be there -otherwise it does not work.

Q: You mentioned Dirk De Wachter’s book “Borderline Times” where he makes an interesting link between BPS (Borderline Personality Disorder) and the Western World we’re living in. I realized there also is a possible link between this psychiatric disorder and the music business from today. What does it inspire to you as an artist?

Yves: You are correct, he essentially goes through each of the symptoms of BPS and then diagnoses our Western lifestyle to come to the conclusion that we live in ‘borderline times’. Every part of it, from medical institutions, business world, politics – and of course the music business. It is the whole of our Western world that is affected by these symptoms, and especially when it comes to the ego: everything revolves around the ‘I’, the ‘Me, Me, Me’ culture. I see it a lot in this music business from small to big; it hurts the way we interact with each other unfortunately.

As an artist I try to break that cycle by not making this project about me alone, although I do have ambitions and try to put ‘myself’ into each and everything of what Psy’Aviah is -that in essence is no problem. But you should never ever forget the people around you that are helping you around the way, I guess that’s what I try to hold in higher regard after reading his books. Being a lot humbler towards achievements, because what are you with achieving something when you can’t share it but yourself. At the end a good relationship with the musicians I work with, the artwork artist, the live band Marieke & Ben, the fans… that relationship is important. Not for sales, but to stay grounded. And if you can help out other bands, then why not. I have no interest in beef or drama, so that’s how I try to act in this business as an artist. To give a concrete example, we played a benefit concert at the British American Theatrical Society (or BATS in short, yeah, they’re a bit gothic too then ;-)), as the theatre is in need of funds to move location (as their rent is being raised). We played there for free, [ https://www.youtube.com/watch?v=4ROR9lWOCXo ], we helped them out, they helped us out reaching a new audience. We had fun, it was a concert that’s on my high all-time list because of this fact. There is a ‘Great Disconnect’ in this society at the moment, and not only in the music scene. So looking out for each other is something that I take away from it, without devaluing/patronizing the person or organization you’re helping or listening to. Doing small good things should become a natural habit again instead of the ‘bol.com’ instant delivery for the ‘me me me’ society we are creating.

In that sense you could say that Psy’Aviah lyrics are of great importance to highlight these issues as well: “Voodoo Love”, “Becoming Human”, “Hold On” (as written by Mark Bebb) or even “City In Flames” are prime examples of that.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro-pop, ambient-pop.

Background/Info: “Soul Searching” is the seventh official album for Belgian Yves Schelpe aka Psy’Aviah. The composer again invited an impressive list of ‘guest singers’ to put their voice on his compositions.

Content: Psy’Aviah is a project in constant move. “Soul Searching” features typical influences and arrangements, which are into the Psy’Aviah sound, but compared to the previous album –which was more into some dance-electronics, this work reflects maturity and impressive vocal performances. The opening cut featuring one of the most famous and ‘popular’ psychiatrists from the Flemish part of Belgium (aka Dirk De Wachter) you’ll also get songs with Roeland van der Velde, Mari Kattman, Mark Bebb, Alicia May, Kyoko Baertsoen, Saydi Driggers, Marieke Lightband, Addie Nicole, Lis van den Akker and Ellia Bisker.

Sound-wise Yves Schelpe has achieved a work, which sounds like a sonic bridge between electro-pop and ambient-electronics. It might appeal for lovers of Delerium, Conjure One, Lunascape and related bands.

The limited edition features an extra disc with remixes by SD-KRTR, Metroland, Rob Dust, 11 Grams, Mind.Divided, SNVFF, J. Wolf, The Gothsicles, Studio-X, Cosmic Armchair, Noire Antidote, Maarten Pels, Tom Bro, People Theatre, KGProject and French Skies. 

+ + + : Psy’Aviah is back with great stuff and has probably accomplished his most achieved work to date. After a rather disappointing “Lightflare”-album on which Yves Schelpe fall in the trap of easy electro-dance music, this work reflects a more intelligent approach and still a challenge in the fusion between electro-pop and atmospheric passages. The songs have been accomplished by alluring, deep sounding bass lines, elevating leads, down-tempo rhythms and a few Eastern sound treatments on a couple of songs. Yves Schelpe also selected an impressive list of talented singers (featuring some familiar Psy’Aviah guests next to newcomers).

One of my favorite cuts is the more club-friendly “New Times” feat. Alicia May (who already sang on a song of Benjamin’s Plague) while the already familiar “Voodoo Love” feat. Roeland van der Velde is a dreamy, beautiful piece of music. Among the vocalists I also want to mention Kyoko Baertsoen, Saydi Driggers and Ellia Bisker (reminding me of Lana Del Rey).

Among the remixes I recommend the 80s driven “Hold On” remixed by Metroland, “New Times” remixed by SNVFF, the wafting “Dream Fever” remixed by Tom Bro and the trance-orientated “Searching” remixed by French Skies.

– – – : The main difficulty for Psy’Aviah remains the style, which is hard to define for mixing different influences; it remains often too ‘indie’-like for underground music and too ‘dark’ for the indie-stream. It’s not exactly an album for the clubs although it sounds danceable!

Conclusion: Psy’Aviah has accomplished its opus magnum, which however remains an album hard to label and a pure challenge when it comes to ‘sales’.

Best songs: “New Times”, “Voodoo Love”, “Dream Fever”, “Searching”, “City In Flames” + “Hold On – Metroland 7” Remix”, “News Times – SNVFF Remix”, “Dream Fever – Tom Bro After Club Remix”, “Searching – French Skies Club Remix”.

Rate: (8½).

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

Label: www.alfa–matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Soul Searching’.

About Psy’Aviah

Psy’Aviah is an industrial rock, electroclash and dark EBM project driven by Belgian musician Yves Schelpe, formed in Antwerp in 2004 and initially focused on live performances. The project won the Studio Brussel Demopoll that same year with “The Future Of The Sun”, then teamed up with Len Lemeire (Implant, 32Crash) in 2007 to record its first album. On stage, Schelpe has been joined by singer Marieke Lightband and guitarist Ben Van de Cruys. “Soul Searching”, the seventh full-length Psy’Aviah album, continues the project’s practice of working with a rotating cast of guest vocalists and remixers.

Inferno Sound Diaries

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

www.side-line.com

The 4th track on our free (or pay-what-you-want to support our charity work) download compilation “Face The Beat: Session 5” is by the Belgian darkwave act Aiboforcen.

“In My Arms” was originally released on the “Sense & Nonsense” album while the Ocean Mix of the track followed on the “In My Arms” EP which came out earlier this year. We picked it as it brings a very moody atmosphere which perfectly fits the feeling we had when creating this compilation. The track features the lush vocals of Mari Kattman who has been working extensively with the with the band in the past.

Aiboforcen was founded by the duo Benoit Blanchart and Seba Dolimont, but is nowadays mainly Benoit Blanchart who works with guest vocalists. After the release of two CD albums (“Elixir Lytique” & “Face (of) Death”), the band disappeared from the scene to work on various other projects. They returned with a more mature and better mastered type of sound on the “Sons Palliatifs” album which closed their trilogy around the “near death experience” theme.

Released in June 2004, their 4th album “Kafarnaüm” offers a complex and modern mixture of eclectic electronic styles ranging from harsh EBM to crunching power industrial through dark trip hop with a certain future pop touch and their trademark combination of harsh male growls and sensual female vocals. The next album was released in 2011, “Dédaleé” and in 2018 Aiboforcen released the extremely dark “Sense & Nonsense” featuring amongst others Jean-Luc Demeyer (Front 242), Damasius (Mondträume) , Lars Bass (Kant Kino) and many more guest singers.

The complete backcatalogue by Aiboforcen is available here.

Check “Face The Beat: Session 5” on Bandcamp to discover the other bands. All donations will go to charity.

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

One of Belgium’s finest electronica trademarks over the last decade, Antwerp-based Psy’Aviah aka Yves Schelpe returns with “Soul Searching”. The new album, expected for a November 1st release, was preceded by the “Dream Fever” download EP released in March this year.

The basic album (available here) will hold 12 tracks while there is also a limited 2CD set (available here) holding a 16-track bonus CD. And for the remixers amongst you all, there are 2 remix kits waiting for you as well once the album is released on Bandcamp.

Guest vocalists

The album itself features guest vocalists in the likes of Mari Kattman, Kyoko Baertsoen (ex-Hooverphonic and Lunascape), Lis van den Akker, Ellia Bisker, Addie Nicole, Saydi Driggers, Alicia May, Roeland van der Velde, Marieke Lightband, Mark Bebb as well as psychiatrist Prof Dr. Dirk De Wachter speaking on the intro track “Becoming Human”.

First 2 tracks available

You can now listen to the first 2 tracks which have been made available from the album.

In case you missed the “Dream Fever” EP, as released in March, check it out below. Read the review of ‘Soul Searching’.

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: Techno-body music, IDM.

Background/Info: Brazilian duo Guilherme Pires –  Fabricio Viscardi were known in a previous sonic life as Aghast View. They next moved on under the Aesthetische moniker, which saw the early dark-EBM of Aghast View being transposed into a more progressive tech no-body sound. This new work is their first album since “HybridCore” (2014).

Content: The regular album features 10 songs, which are mixing intelligent techno music –as main basis of the composition, with EBM and IDM. The result is an up-tempo work with sophisticated composition featuring an interesting guest on the song “Barking Up The Wrong Tree”. Sascha Klein (Neuroticfish) was asked to contribute and he did with a surprising ghost-like way of singing. This album features 6 songs plus 4 remixes. Among the remixers you’ll find label mates Psychic Force and AD:Key.

The second disc brings us 10 more songs. It’s an interesting disc as all songs were previously released on digital format and are now on CD for the very first time. There’s an interesting selection of extra songs featuring interesting guest singers such as Mari Kattman, Diana S (Junksista) and Simon Carter. Neuroticfish is also featured with a remix of “We Follow Blindly” (previously released on EP). The songs are once again mixing technoid influences, but still some dance-pop passages. The song featuring Simon Carter is for sure one of the hardest ones from the album.

+ + + : Aesthetische stands for ‘modernism’; a sonic exorcism of techno, EBM, electro-pop and IDM. The sound formula reveals a well-crafted and styled composition, which most of the time is driven by hard, danceable beats. The Brazilian duo were one of the most talented EBM formations from Brazil (as Aghast View) and now became real sonic architects transposing techno music towards a higher dimension. Just pay attention to “What Year This Is?”, which is a brilliant exposure to their writing skills. The presence of Sascha Klein is another noticeable element, but the guest singer who real had the greatest impact on me is the unavoidable Mari Kattman singing on 2 songs. I also recommend “Dirt”, which has been remixed by Simon Carter in a harsh and violent edit.

– – – : If you want to discover new stuff by Aesthetische, you’ll maybe be a bit disappointed. The main album only features 6 new songs and that’s not enough for a so-called ‘new’ album. The album also appears to be a real challenge, the techno element being very explicit.

Conclusion: Aesthetische is a band breaking the codes; they simply make the music they like without following trends!

Best songs: “What Year Is This?”, “Barking Up The Wrong Tree featuring Sascha Klein – Clubmix”, “Berlin” + “We Follow Blindly featuring Mari Kattman”, “Blue Print featuring Mari Kattman”, “Dirt – Simon Carter’s Club Edit”, “An End In Itself”.  

Rate: (8).

Artist: www.facebook.com/aesthetische

Label: www.alfa–matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Co3xist3ns3’.

About Aesthetische

Aesthetische is the Brazilian duo of Guilherme Pires and Fabricio Viscardi, who recorded together since 2012 after an earlier run as Aghast View. “Co3xist3ns3” is the project’s first album since 2014’s “HybridCore” and features a guest appearance by Mari Kattman alongside remixes from label mates Psychic Force and AD:Key. Aesthetische later released the EP “Confidence Is Silent” and the 2025 EPCD “Selling Fear”, with Viscardi detailing the duo’s sound-design process in a Side-Line interview.

Inferno Sound Diaries

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

www.side-line.com

Out now is the all new album by the Brazilian dance electro duo Aesthetische. CD1 of “Co3xist3ns3” holds 10 new tracks, including a track featuring nobody else but Sascha Mario Klein from German electro stars Neuroticfish. This song is also featured here as a club mix and as a remake by label mates Psychic Force.

The bonus disc offers a selection of 10 more songs which were featured on previous digital-only releases. You can order this limited 2CD set right here.

On this club oriented bonus disc you’ll get remixes by Neuroticfish, DK Simon Carter and the duo itself. You can also expect collaborations and featurings with singers in the likes of Mari Kattman, Noemi Aurora (Helalyn Flowers), Diana S. (Junksista) and Xev (Diffuzion).

You can already listen to the album below (the bonus disc is ONLY available on CD and not as download). Read the review of ‘Co3xist3ns3’.

Side-Line also covered Aesthetische’s ‘s track ’.

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

Belgium’s cult dark electro act Aiboforcen is back among the living. A teaser was already released online a few days ago, but it’s now official, there is a brand new Aiboforcen EP out via Bandcamp: “In My Arms”.

The 13-track (!!) extended EP focuses on Benoit Blanchart’s collaboration with Mari Kattman. Both “In My Arms” and “Tears” are taken from the band’s recent 6th full length album “Sense & Nonsense”. The title track also got the remix treatment by label mates Mondträume, Mental Exile and Jean-Marc Lederman who each plunged the song in totally different moods. “Tears” on the other hand got re-discovered by the other Alfa Matrix companions Aesthetische, SD-KRTR and Psy’Aviah.

This new 13-track EP (available now from Bandcamp) also reveals some 4 new exclusive songs: “Therapy Through Violence”, “Abysses” (featuring Patrice Synthea of Regenerator fame) and 2 radically different cover versions of New Order’s “True Faith” and DAF’s “Als Wars Das Letzte Mal” (featuring Uwe Kanka of Armageddon Dildos on vocals).

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

Background/Info:

About Helix

Helix paired Tom Shear of Assemblage 23 on music and production with vocalist and lyricist Mari Kattman for “Twin”, the duo’s ten-track debut album on Metropolis 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

The album “Sense & Nonsense” marks the return of the Belgian formation Aiboforcen. Behind the band is hiding Benoît Blanchart, who’s still one of the Alfa Matrix label owners. He again worked with multiple ( and some famous) guest singers to achieve this opus. This studio-project remains a somewhat enigmatic electronic entity because of the sound, which is hard to define. Aiboforcen mixes EBM together with electro-pop and industrial sound treatments. Some songs are catchy while others are definitely experimental. “Sense & Nonsense” is the first new work in seven years, but you clearly will recognize the typical and sophisticated sound DNA this band is dealing with.

(Courtesy by Inferno Sound Diaries)

Q: Aiboforcen is back again and this after a hiatus of 7 years! What does Aiboforcen means ano 2018 and tell us a bit more about the core members and multiple guest artists?

Benoît: Well, the line-up is mainly the same as for the “Dédale”-album; this means myself taking care of the music/programs and Patrice taking care of the vocals for most of the tracks (helped by Wrex on lyrics and vocal recording). Then there are the numerous guests (maybe a bit more than usual) adding a special flavor or atmosphere on several tracks. I like working with guest vocalists because it breaks the monotony and help me develop different styles. The last track that was recorded/finished is “In My Arms” with Mari Kattman because she gave me the vocals a few months ago. But this track is also one of the first that I wrote just after ”Dédale”. It took a few years to find the right vocalist and moment to do it, and it was worth the wait! Normally there should be an EP rather soon with a few remixes of this one among others.

Q: When did you start writing the songs for the new album and is there something like a concept, lyrical themes and a kind of sound you tried to accomplish?

Benoît: I started working immediately after the “Dédale”-album, but the recording and writing process was interrupted a lot of time because of my other activities (mainly working on Alfa-Matrix which takes most of my free time). There were periods of 2 or 3 months without any music at all… there is no real concept behind the album, just a collection of songs that represent the different styles I like in electronic music: from softer almost poppy cuts to harsher EBM or industrial. I try not to repeat myself although I think I have some gimmicks or way of doing things that makes it sound like ‘Aiboforcen’ in the end. When I think it’s too poppy I add some harder sequences and when it’s too harsh I try to inject a few melodies! (lol)

Also the fact of waiting almost 7 years before the release of the album enabled me to select the best songs/tracks and also to work and improve each of them, working on little details, effects, structures.

Q: It has been always difficult defining the sound of Aiboforcen, but one thing is for sure, I experienced “Sense & Nonsense” as the most ‘pop’-driven work so far. What is it all about and how do you perceive the band’s evolution throughout the years?

Benoît: Yes, I always try to have it sounding melodious or catchy at first. When I start on a new track, most of the time I start with the melody and then I add the drums and so on…  when “Sense And Nonsense” started to take shape it was indeed mostly a ‘pop’ or ‘danceable EBM’ kind of release except for a few cuts. Then at the end and as the release date was approaching we started adding the darker or more aggressive tracks. While working on the tracklist we added some of these tracks on the regular version of the album to keep it more varied.  But indeed the aim was to have a poppier album than “Dédale”, and it’s a bit the case.

Q: You once more worked with an impressive list of guest singers. How do you chose them? Do you’ve personal criteria and/or references and how did it work? Don’t you think it’s easier to work with a vocalist side by side in the studio instead of working over the net?

Benoît: Yes it’s indeed easier to work in a studio directly with the vocalist, but with Patrice living so far away it wouldn’t be possible. The same counts for most guest vocalists. When I finish the demo of a track, I start thinking about the right person for doing the vocals, either male or female, harsher or softer. Then I look firstly in the Alfa-Matrix bands which are easier to contact. Generally the first impression is working well and the result is most of the time surprising and satisfying. As far as working with Jean-Luc from 242, it’s a long story. We actually already worked on a track for the “Dédale”-album, but weren’t totally satisfied with the result. We decided not to use the track and agreed we could maybe work later for another album. A few years later (2 or 3), I wrote the track “We Woke Up The Dragon” and immediately felt that it would be the right track for him. And he recorded it rather fast and the final version is also very close to the original demo. It was a pleasure working with such a professional guy and also a legend in the Belgian EBM scene.

Q: Talking about Jean-Luc De Meyer you also did a real unexpected thing asking him to sing on “Loud”, which is a cover version of Front 242! How did that happened and how did he react when he heard the song?

Benoît: Well, I had started working on the cover of “Loud” for the Alfa-Matrix tribute sampler to 242, but another band had already recorded it and finished it so I kind of dropped it. Then a few months ago, I decided to let him hear it to have his opinion and it seems that he liked it because the next day he had sent me a version with vocals. Then we thought that it was kind of schizophrenic of having a cover, but with vocals done by the original singer.  In the end I talked a bit with him and Séba (Alfa-Matrix) and we thought that it would be a good addition to the album and we kept it. I like this version which is not the typical EBM kind of track, but his vocals are highly recognizable. I had no feedback on this by the other members of 242 though.. (lol).

Q: I often hear artists affirming that playing live is one of the most important things today to reach a wider audience. Why playing live has been never your cup of tea and why not setting up a live band with a singer and you behind the mixing desk (like Daniel B is doing)?  

Benoît: Yes indeed playing live is an asset and enables you to reach new and younger listeners. But we have never been a live band and only played a few times and this happened a very long time ago. Nowadays it’s even more difficult because Patrice is living in California and hiring a vocalist just for concerts wouldn’t be fair because it wouldn’t be the real ‘Aiboforcen’. Furthermore I don’t have much time to spend working on a decent live show and it needs to be a bit more than just an industrial karaoke. It needs a bit more visuals and that costs time and money of course which is not possible to do for just two or three concerts. I had the idea of doing a kind of live with just the harsher and instrumental tracks, but It would need lots of efforts anyway. So at the moment live gigs are not an option though it could help us selling CD’s, t-shirts and so on. Fortunately we have a certain fan-base still buying CD’s and supporting us! Thanx a lot to them!! And also a big thank you to all the guest vocalists and artists who remixed us on this 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: Industrial-pop, dark-pop, EBM.

Background/Info: Belgian project Aiboforcen is back on track with a new work, which has been released 7 years after the “Dédale”-album. “Dédale” also saw the daylight 7 years after the previous full length (cf. “Kafarnäum”). Benoit Blanchard remains the single operator when it comes to music, but he again was joined by several guest singers. Patrice Synthea (Regenerator) is somewhat presented as the band’s singer although she only sings a few songs. Other vocalists are Jean-Luc De Meyer (Front 242, 32 crash, UnderViewer), Mari Kattman, Damasius (Mondträume), Jan Dewulf (Mildreda, Diskonnekted), Lars Bass (Kant Kino) and Dan Barrett (Venal Flesh).

Content: Globally speaking “Sense & Nonsense” remains in the purest tradition of Aiboforcen. This band always has composed a very personal sound, which is dark, sophisticated and covering different influences. I can easily affirm that the new songs are more ‘pop’ than ever before, but don’t expect to hear traditional electro-pop. “Sense & Nonsense” features many melodic passages and catchy arrangements, but the sound is also dark and has something vicious. A few other cuts are a little bit harder and walking on EBM paths.

Patrice Synthea might be considered as the main vocalist although Jean-Luc De Meyer sings on 3 songs. One of these cuts entitled “Loud” is a real special one as it’s a cover version of Front 242!

The limited edition features a bonus disc with a few new songs (featuring the title cut), and also songs featuring a few extra singers such as Diana (Junksista) and LadyHell (Lovelorn Dolls)  plus the usual load of remixes by Diffuzion, Aesthetische, Neikka RPM, Daniel B/Prothèse, Implant, Psy’Aviah and Kilmarth.

+ + + : Aiboforcen remains a unique sound project, with an intelligent electronic approach. It has something pop-like, but definitely an antidote to the classical electro-pop standards. This is darker, even somewhat tormented, but still EBM-driven. The songs are featuring great strings and the usual amount of endless bleeps and filtered sound sequences. The female singers inject fragility (Patrice Synthea) and grace (Mari Kattman) creating a delicious contrast with some orchestral arrangements. Jean-Luc De Meyer stands for the harder (male)  vocal touch while Damasius is probably one of the most talented vocalists featured. The cover of Front 242’s “Loud” (“Pulse”-album) sung by Jean-Luc De Meyer is one of the most surprising songs, but it simply confirms Belgium remains the country of surrealism. I like this pop approach running through different songs and reminding some of the band’s most legendary cuts.

Last, but not least the bonus disc features multiple noticeable remixes. Daniel B/Prothèse did an amazing job remixing “We Woke Up The dragon” sung by his old band mate Jean-Luc De Meyer. I also want to mention the remixes by Implant, Psy’Aviah and Aesthetische.

– – – : The songs featuring the most legendary singer of the EBM scene (cf. J-L De Meyer) aren’t exactly the best songs from the album and that’s a pity. The main point about this album is probably its eclectic aspect. Some songs are really too different from each other so you sometimes get the impression two hear different bands on the same disc. That’s only accentuated by the different guest singers.

Conclusion: Aiboforcen is back on track, but feels like the band has never been away. It gets you a feeling of ‘coming home’ revealing multiple brilliant songs. Let’s no hope we’ll not have to wait 7 more years to get a new album.

Best songs: “In My Arms feat. Mari Kattman”, “Etching Herself In acid feat. Lars Bass/Kant Kino”, “Ritual Control”, “Life In The Valley Of Death”, “Caresse”, “Ablation A Vif feat. Dan Barrett/Venal Flesh” + “We Woke Up The dragon feat. Jean-Luc De Meyer – Daniel B/Prothèse Remix”, “Come Clean – Implant Never Comes Clean Remix”, “Lost In Translation feat. LadyHell/Lovelorn Dolls”, “Sense & Nonsense”.

Rate: (8½).

Artist: www.facebook.com/Aiboforcen

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

About Aiboforcen

Aiboforcen is the project of Belgian producer Benoît Blanchart, also a co-owner of the Brussels label Alfa Matrix; Discogs lists the project’s discography back to 1995. “Sense & Nonsense” arrived seven years after the “Dédale” album and features Jean-Luc De Meyer (Front 242) and Mari Kattman among its guest vocalists. Blanchart discussed the writing process and the guest line-up in a Click Interview published the following month.

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

Helix is the brand new collaboration between Tom Shear (Assemblage 23) and vocalist Mari Kattman (known for her work with Psy’Aviah and Mari & The Ghost). You can expect tracks featuring trip-hop, dub, dream pop, synth-pop, and lo-fi.

The debut album “Twin” will be released on August 24 and is available now for pre-order. The album will have 10 tracks.

Here’s the preview trailer for the album.

Bernard - Side-Line Staff

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

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Out now is the newest Aiboforcen album, “Sense & Nonsense”. You can order the CD, 2CD right here or you can go to Bandcamp to download the bonus tracks version as well. Enjoy the full album below.

For this release Blanchart has once again collaborated with a rather promising list of special guests. The first one is Jean-Luc De Meyer (Front 242, 32CRASH, Underviewer, …) who lends his unique voice on not less than 3 songs on this album, including an upbeat EBM cover version of Front 242’s very own “Loud” and the more atmospheric and darkish “The Arrival”.

Other noticeable appearance comes from Damasius of label mates Mondträume, Mari Kattman, Mildreda, Venal Flesh and Kant Kino.

Next to the normal CD version there is also a limited edition of the album which will hold a 13-track bonus disc entitled “An End Unto Itself” revealing some 3 exclusive non-album tracks including guest vocals by Junksista and Lovelorn Dolls plus own reinterpretations of 3 other album songs. Add to this a bunch of remixes.

Bernard - Side-Line Staff

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

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A special fan-pack has been prepared for the new Aiboforcen album. The 2CD box comes augmented with 4 signed exclusive cards inserted in a special black envelope. This unique Aiboforcen gem is retracing the band’s last 4 albums on Alfa Matrix and will be included in the first 50 orders of the new “Sense & Nonsense” album placed via the official Alfa Matrix webstore.

Still mostly centered today around mastermind Benoit Blanchart and female singer Patrice Synthea (Regenerator lead singer), Aiboforcen strikes back. The return was already hinted at on the Aiboforcen Facebook page a few weeks ago, but today the Belgian industrial label Alfa Matrix has announced more details about the upcoming album “Sense & Nonsense”.

You can already pre-order the CD, 2CD (including the special funpack for the first 50 orders) and via Bandcamp the download version of the limited edition set. Here are already 2 songs to enjoy.

For this release Blanchart has once again collaborated with a rather promising list of special guests. The first one is Jean-Luc De Meyer (Front 242, 32CRASH, Underviewer, …) who lends his unique voice on not less than 3 songs on this album, including an upbeat EBM cover version of Front 242’s very own “Loud” and the more atmospheric and darkish “The Arrival”.

Other noticeable appearance comes from Damasius of label mates Mondträume, Mari Kattman, Mildreda, Venal Flesh and Kant Kino.

Next to the normal CD version there is also a limited edition of the album which will hold a 13-track bonus disc entitled “An End Unto Itself” revealing some 3 exclusive non-album tracks including guest vocals by Junksista and Lovelorn Dolls plus own reinterpretations of 3 other album songs. Add to this a bunch of remixes.

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

Still mostly centered today around mastermind Benoit Blanchart and female singer Patrice Synthea (Regenerator lead singer), Aiboforcen strikes back. The return was already hinted at on the Aiboforcen Facebook page a few weeks ago, but today the Belgian industrial label Alfa Matrix has announced more details about the upcoming album “Sense & Nonsense”.

You can already pre-order the CD, 2CD and via Bandcamp the download version of the limited edition set. Here are already 2 songs to enjoy.

For this release Blanchart has once again collaborated with a rather promising list of special guests. The first one is Jean-Luc De Meyer (Front 242, 32CRASH, Underviewer, …) who lends his unique voice on not less than 3 songs on this album, including an upbeat EBM cover version of Front 242’s very own “Loud” and the more atmospheric and darkish “The Arrival”.

Other noticeable appearance comes from Damasius of label mates Mondträume, Mari Kattman, Mildreda, Venal Flesh and Kant Kino.

Next to the normal CD version there is also a limited edition of the album which will hold a 13-track bonus disc entitled “An End Unto Itself” revealing some 3 exclusive non-album tracks including guest vocals by Junksista and Lovelorn Dolls plus own reinterpretations of 3 other album songs. Add to this a bunch of remixes.

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-pop, dance-pop.

Background/Info: The sixth official studio album by Belgian Yves Schelpe aka Psy’Aviah appears to be a               very particular work for the artist. The writing of “Lightflare” helped him to exorcise personal demons, which are commonly known as ‘depression’ and ‘burn-out’. Just like on previous releases Schelpe joined hands with an army of female- and male singers.

Content: The singers who have contributed to this new work are Mari Kattman, Ellia Bisker, Marieke Lightband, Addie Nicole, MiXe1, Lofthill, Fallon Nieves, David Chamberlin, Phoebe Stone, Kyoko Baertsoen and Koner. The sound of Psy’Aviah has progressively evolved from underground electronics in the early beginning to electro-pop & dance eclecticism during the recent albums. It becomes rapidly clear that Yves Schelpe is more and more exploring the dance-pop style. Most of the singers are very talented artists that inject a sensual touch to the work while others bring a darker touch to the work.

The limited edition reveals a bonus disc with some extra songs and mainly remixes made by Rool, Sd-Krtr, People Theatre, Alter Future, Assemblage 23, Chaos All Stars, Cyborgdrive, Isserley and Jean-Marc Lederman.

+ + + : Diversity remains one of the main characteristics of this new work. It can be heard in the songs and of course the different vocalists. Yves Schelpe has a real nose to find the right singer for each of his songs. Sound-wise this album is the most ‘commercial’ one or should I say the most ‘dance-pop’ like. It sometimes reminds me a bit of Delerium, but my favorite cuts remain the darkest ones. The song “Reboot Reset Relay” sounds more in the continuation of earlier Psy’Aviah stuff reminding me the albums with singer Emélie Nicolaï. The sound production is absolutely impressive, which more than ever makes me say that Yves Schelpe is ready to switch from a mainly underground scene towards a more indie and commercial scene.

– – – : “Lightflare” is a technically overwhelming album coming from an artist who has lost ground with this scene. Psy’Aviah always has been a kind of antidote to dark-electronics, but he now become a true ‘alien’.

Conclusion: Yves Schelpe can be seen as a visionary artist of this scene; a kind of producer working with guest singers and exploring the most dance-like fields of electro-pop music. The question is if he still belongs to this scene? I’m rather skeptical about the answer however he released a cool work.

Best songs: “Reboot Reset Relay feat. Fallon Nieves”, “In The Sound feat. MiXe1”, “Ghost feat. David Chamberlin” + “Aftermath feat. Ellia Bisker – People Theatre Remix”, “Sound Of New feat. Addie Nicole – Sd-Krtr Remix”.

Rate: (7).

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

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

Read the news on ‘Lightflare’.

About Psy’Aviah

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

Psy’Aviah initially featured vocalist Emélie Nicolaï and guitarist Kristof De Clerck. In 2008, the project signed to Alfa Matrix and released its second album, “Entertainment Industries.” The single “Moments,” featuring Suzi Q. Smith, was selected among the 20 best submissions in the BBC Next Big Thing 2007 contest.

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

Alfa Matrix released “Lightflare,” Psy’Aviah’s sixth studio album, in 2018, with guest vocals from Kyoko Baertsoen among eleven singers and remixes including one by Assemblage 23.

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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Coming out this Friday is the brand new Psy’Aviah album “Lightflare”, and as announced a while back, we are today offering you an exclusive insight in the deluxe version of the album itself (with the exception of 3 tracks thanks to SABAM). The album is available on CD, 2CD (order right here via the Alfa Matrix webstore) and as download on Bandcamp.

Attention when you buy via Bandcamp, don’t forget to use the special code sideline2518 and you’ll get an immediate discount of 25%.

We contacted the Belgian artist behind this international project, the Antwerp based Yves Schelpe. You can preview the album here (the interview is right after this embedded player):

SL: Yves, your new album has been a personal journey through the ups and downs you experienced. How has life been treating you the past few years?

YVES: Life throws all kind of unexpected situations at you, and the older you get the more frustration creeps in, or the more you look at things from a different perspective. I can’t complain, I think I did get bored with certain situations and that I grew frustrated with stale situations. My albums have always included personal stories – whether autobiographical stories or things I’ve seen from friends & family in daily life. But “Lightflare” is a more in depth look where I take the listener through the emotions of “feeling lost” towards strategies one evolves to “cope with life” to end with “happiness and joy”.

SL: Was this something you also transmitted to the guest singers? How did they react?

YVES: For sure, almost all the lyrics and vocal guides are written by me, and I explain the meaning behind my intent with some words in details to the vocalists. Mari Kattman & I did a video to explain the process, where she talks about those vocal guides & the explenations I give her (she starts talking at 104sec).

When the lyrics are written by the guests themselves (such as Ellia Bisker of Sweet Soubrette or Michael of MiXE1) – I do give them artwork snippets, reference to other lyrics on the album I wrote and a vision I have for the lyrical content I’d like to have on the album. So it’s an intense journey working with them, and as far as I know they all appreciate that way of working, being part of telling a story.

SL: The album has been receiving raving reviews the past few weeks from all kinds of press. Was that something you had expected or was it rather the result of hard work?

YVES: This album is far more delicate than the previous two, it touches upon personal topics and while it’s still “dark pop music with an adge” and rooted in EBM, there’s also triphop, pure pop and electronic rap on there. Which made it again an evolution in my exploration of boundaries in sound. But to be able to tell a story like I wanted on Lightflare I had to seek out those genres, as they convey the emotions – it was this a lot of hard work: two years went into the album, from recording, writing, sepending time on the artwork to have a visual image for the vision & story. So when I first sent out the album and received the reviews I was very nervous – but I am so happy things are positive and that Lightflare is being appreciated a lot – both on radio, podcasts and reviews! It’s strange to think of it as the songs I made in my “bedroom studio” are being played in clubs all over the world, and listened to people from all over the world – I couldn’t be happier to with the reaction I receive from those listeners and DJs as well.

SL: What kind of influences have played a role for creating the songs for this album?

YVES: Musically I drew inspiration from Moby’s & Faithless’ triphop sounding songs, as well as Röyksopp, Tove Lo and the classics as always such as Praga Khan & Lords Of Acid which triggered me to write my own music as a yound kid. Fun fact is that I always send off songs to Ludo Camberlin (aka CS Johansen), producer on PK & LOA as well as Poésie Noire and The Neon Judgement – a very influencial person for me, but for a lot of others too I guess. Ludo always gives me very good feedback and thus is a big influence for me.

But I guess the main influence of course is the story, and for each chapter in this Lightflare story I make a song, with the lyrics in mind shaping those sounds & hits and build ups to match the mood. Not always with a vocalist in mind directly – but when I have a demo finished I usually know immediately who to ask. David from Entrzelle was perfect for Ghost, I know that there I can create an electro track with a lot of ambience, and a riff but rely on his vocal performance a lot – the emotions. Same with Mari Kattman’s “Lost At Sea”, when getting back those vocals I usually change and shape the demo around their vocals so they fit perfectly.

The vocalist that pushed me most this album for sure was with my live vocalist Marieke Lightband, we had multiple sessions and recordings at her studio in Antwerp, trying to figure out together what would be the best – giving feedback to each other and coming to a song that is very much full of soul, triphop and influences of jazz. The same happened with Michael of MiXE1 – bouncing off ideas back and forth and the song was then shaped more and more tightly around his vocals – but in stead of doing it in person like with Marieke, the process with Michael was done online: Facebook is dead – long live facebook messenger ?.

SL: You’re very active on social media, with the recent ‘reach crash’ it seems that personal contact via the profiles is back. How do you look at the way all these platforms change the rules all the time from an artist’s point of view?

YVES: It’s frustrating indeed, but I’ve always been active on all kinds of social media. Instagram & my personal profile now play a more crucial role – as well as our own website. Most people forget they signed a contract when they register to a social media platform, it’s their right to change the algorithm. So be it, but I’ll abuse the system and use the medium the way I want it – game the system, and be honest. I love it that this time around a lot of people have more immediate contact with me through facebook (facebook.com/yves.schelpe) and instragram (instagram.com/psyaviah) – sending me pictures, their personal stories on how they interpret and experience the songs and lyrics. I don’t mind adapting thus, I still think social media is a cool medium.

SL: When and where can we see Psy’Aviah live again?

YVES: We will do some shows in Belgium being booked by private companies (so sadly those are private shows) and we’re in talks to visit Germany. But we’re always open for opportunies and kick some ass on stage with our dedicated live band: Marieke, Ben and me.

You can also check out the following videos on YouTube:

“Reboot Reset Relay ft. Fallon Nieves”

“Lost At Sea ft. Mari Kattman”

“Aftermath ft. Ellia Bisker”

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