Athens, GA post-punk outfit Vision Video has launched the video for “Let Go of Time”, showcasing their “Modern Horror” album. The album was produced by Ben Allen (Erasure, Animal Collective, Washed Out, Deerhunter) and mastered at Abbey Road Studios by Frank Arkwright (The Smiths, New Order, Joy Division, Primal Scream, Blur, Mogwai).

Gannon shares, “I wrote ‘Let Go of Time’ not long after I was diagnosed with PTSD. I was watching my favorite vampire film (Jim Jarmusch’s ‘Only Lovers Left Alive’) and I found myself feeling a lot of parallels to how the character Adam felt about the world – having to endure for so long, but always feeling less and less purpose because of this diminishing luster of things. I think that film, and ultimately this song is about finding purpose, joy and love when it is most difficult to find those things in life.”

Vision Video was formed in 2020 by Dusty Gannon (aka Goth Dad) and Emily Fredock. You can order the full album below.

Bernard - Side-Line Staff

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

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(Photo by Emilie Elizabeth) Italian musician Alessandro Cortini has released his latest work, “Nati Infiniti”. This 40-minute piece, divided into five movements, is based on an immersive audio installation that took place across four floors of the Museu de Lisboa’s Fábrica da Moagem, a disused flour mill.

Commissioned by Sónar Lisboa 2022, “Nati Infiniti” captures the ambiance of the original installation. Each floor of the mill evoked different states through Cortini’s sound design, creating a different experience as listeners moved through the building. The album tries to reflects this movement.

Using the Strega instrument, co-designed by Cortini with Make Noise, the piece evolves across 40 minutes. Marta Salogni, known for her work with Björk and Depeche Mode, mixed and mastered the album into five movements. “Nati Infiniti” is available now, in various formats including vinyl, CD, and digital.

Cortini debuted the live audio-visual performance of “Nati Infiniti” at Berlin’s Atonal Festival. After a series of sold-out shows, he will tour North America and Europe throughout 2024 and 2025, with additional dates to be announced.

Cortini, a longstanding member of Nine Inch Nails, has released a steady stream of his own music on labels such as Mute, Hospital, and Important Records. His collaborations include work with Lawrence English, Daniel Avery, and Merzbow. He is also the only Italian musician inducted into the Rock and Roll Hall of Fame. His creations, like the Strega and the forthcoming Bruxa module, kinda show his innovative approach to music. He has composed for fashion shows by Alexander McQueen, Dior, and Fendi, and soundtracked Disney/Hulu’s hit show “The Bear”. His remixes include tracks for Depeche Mode, Mogwai, Death Cab for Cutie, Yann Tiersen, and Vatican Shadow.

Here’s a live impression of Cortini.

Alessandro Cortini tour dates

• 10/11/2024 – Seattle, WA, Age Of Reflections at Seattle First Baptist, US
• 10/12/2024 – Portland, OR, Age Of Reflections at Trinity Cathedral, US
• 10/13/2024 – Los Angeles, CA, Teragram Ballroom, US
• 11/20/2024 – Brussels, Bozar, BE
• 12/6/2024 – Berlin, Silent Green, DE
• 1/17/2025 – Paris, Trabendo, FR

Bernard - Side-Line Staff

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

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(Photo by Emilie Elizabeth) Out 4 October on Mute, followed by UK, European and American tour dates, is the brand new album from Nine Inch Nails member Alessandro Cortini, “Nati Infiniti”. Today the Italian musician releases a first track, “IV”.

Watch the video for “‘”IV” with imagery by Marco Ciceri.

The 40-minutes album “Nati Infiniti” is composed of five movements and debuted as an audio installation commissioned by Sónar Lisboa 2022 that ran across four floors of the Museu de Lisboa’s Fábrica da Moagem, a disused flour mill.

The work – which utilises the Strega instrument that Cortini co-designed with Make Noise – was mixed and mastered by Marta Salogni (Björk, Depeche Mode, Lucrecia Dalt). The album will be out on vinyl (featuring an embossed silver mirror board sleeve), CD (with a clear varnished gatefold mirror board sleeve), and digitally.

About Alessandro Cortini

Alessandro Cortini is best known as a longstanding member of Nine Inch Nails (from 2005 to the present day), He has been releasing a steady stream of his own music on labels including Mute, Hospital, and Important Records for the past decade.

Throughout his career he has collaborated with the likes of Lawrence English, Daniel Avery, and Merzbow and found time to create the Strega (used on his previous album, “Scuro Chiaro”) and the forthcoming module, Bruxa, with Make Noise.

Additionally, he has remixed tracks for Depeche Mode, Mogwai, Death Cab For Cutie, Yann Tiersen, and Vatican Shadow.

Alessandro Cortini on tour

Cortini will embark on a tour of North America and Europe throughout ’24 and into ‘25 – with more dates to be added.

• 5 Sept 2024 – Reykjavik, Extreme Chill IS
• 19 Sept 2024 – Glasgow, Sonica Festival UK
• 3 Oct 2024 – Albany, NY, Empire State Plaza Performing Arts Center, “The Egg” US
• 4 Oct 2024 – Queens, NY, Knockdown Center US
• 6 Oct 2024 – Boston, MA, Sonia US
• 7 Oct 2024 – Minneapolis, MN, The Cedar US
• 9 Oct 2024 – Chicago, IL, Empty Bottle US
• 10 Oct 2024 – Austin, TX, Central Presbyterian Church US
• 11 Oct 2024 – Seattle, WA, Age of Reflections at Seattle First Baptist US
• 12 Oct 2024 – Portland, OR, Age of Reflections at Trinity Cathedral US
• 13 Oct 2024 – Los Angeles, CA, Teragram Ballroom US
• 20 Nov 2024 – Brussels, Bozar BE
• 6 Dec 2024 – Berlin, Silent Green DE
• 17 Jan 2025 – Paris, Trabendo FR

Bernard - Side-Line Staff

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

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(Photo by Mel Butler) After teasing the release of their new album “Glasgow Eyes” with the singles “jamcod” and “Chemical Animal”, The Jesus and Mary Chain now unveil their latest track “Girl 71”, out via Fuzz Club. Note that the album release has moved back slightly to March 22nd due to a delay in vinyl production.

“Girl 71” is about redemption from self-loathing through others and features Jim Reid on lead vocal with backing harmonies courtesy of Rachel Conte. As with the rest of the Glasgow Eyes album, “Girl 71” was produced by brothers Jim and William Reid at Mogwai’s Castle of Doom studio.

The Jesus and Mary Chain’s extensive 40th anniversary headline tour of the UK, Ireland and Europe has just been boosted with confirmation of special guests Aircooled (featuring JAMC drummer Justin Welch).

Here are the two previous singles.

Bernard - Side-Line Staff

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

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(Photo by Mel Butler) The Jesus and Mary Chain today announced the March 8th release of their new album “Glasgow Eyes” via Fuzz Club. Out now is its lead single “jamcod”. The album’s first single, “jamcod,” welds dark electronica with the guitar sound of William Reid. You can check out the video here.

“Glasgow Eyes” was recorded at Mogwai’s Castle of Doom studio in Glasgow, where the brothers Jim and William Reid continued the creative process that resulted in their previous album, 2017’s “Damage and Joy”. The duo incorporated their love for Suicide and Kraftwerk and – surprise – jazz. Jim Reid elaborates, “But don’t expect ‘the Mary Chain goes jazz.’ People should expect a Jesus and Mary Chain record, and that’s certainly what Glasgow Eyes is. Our creative approach is remarkably the same as it was in 1984, just hit the studio and see what happens. We went in with a bunch of songs and let it take its course. There are no rules, you just do whatever it takes. And there’s a telepathy there – we are those weird not-quite twins that finish each other’s sentences.”

“Glasgow Eyes” will be available on CD and on single vinyl. For those who love the sound of vinyl at its purest, there will be a limited edition 45 rpm double-vinyl packaged with artwork by William Reid.

The Jesus And Mary Chain UK and European tour 2024

The duo will further mark their 40th year in 2024 with an autobiography (published by Orion/White Rabbit) and a major UK and European tour.

• March 22 – Manchester, UK – Albert Hall
• March 25 – Dublin, IE – Olympia
• March 26 – Belfast, UK – Limelight 1
• March 27 – Edinburgh, UK – Usher Hall
• March 30 – London, UK – Roundhouse
• April 2 – Copenhagen, DK – Amager Bio
• April 3 – Gothenburg, SE – Pustervik
• April 5 – Oslo, NO – Rockefeller
• April 6 – Stockholm, SE – Munich Brewery
• April 7 – Malmo, SE – Plan B
• April 9 – Hamburg, DE – Markthalle
• April 11 – Berlin, DE – Huxleys
• April 12 – Cologne, DE – Live Music Hall
• April 13 – Paris, FR – Elysée Montmartre
• April 15 – Geneva, CH – L’Usine
• April 16 – Winterthur, CH – Salzhaus
• April 17 – Milan, IT – Alcatraz
• April 19 – Krems, AT – Donaufestival
• April 20 – Heidelberg, DE – Halle O2
• April 21 – Tilburg, NL – Roadburn Festival
• April 23 – Brussels, BE – AB
• April 24 – The Hague, NL – Paard

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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Korinthians is a Belgian formation from Ghent. The band name refers to the Corinthian people in antiquity. The band comments: ‘They were called barbarians by the Athenian elite, but actually they had a very egalitarian society. They tossed out their kings and ruled as a group. They gave women a prominent role in decision-making. And then you have the Letter to the Corinthians in the Bible, which many know as an ode to love. But it also contains a series of guidelines to the women in Corinth. That they should wear a veil, and pray, and are not allowed to speak up. Isn’t that ironic?’ In that case, Korinthians prefer to be barbarians of Corinth. After having released a promising debut album “Chaos Control” in 2020 they this year stroke back unleashing “A Major Walk”. This self-released new opus sounds as an offspring between different music genres like Post-Punk, Electronics, Indie-Pop/Rock, Cold-Wave… but as Mattias (vocals & guitar) and Kenny (drums) say:

(Courtesy by Inferno Sound Diaries)

Q: Who’s hiding behind Korinthians and what’s your musical background and eventually references when it comes to song writing?

Kenny: I was always a rock drummer. I had no background in the genre whatsoever. To not mess things up, I try to play as little as possible, which is always a good thing in the end. Plus, when I’m with other drummers discussing their gear and chops and shit, I honestly think I’m not a real drummer. When you add those things up, I get something that seems to work just fine for the band. When it comes to songwriting, I stay away from the lyrics as far as a can, but do my part when it comes to the arrangements. I know a good synth hook when I hear or play it, and I’ve been known for throwing out a verse or two to keep the song short and sweet, or, in case of the previous record, making Mattias play five-minute guitar solos.

Mattias: I suppose I am the songwriter of the band. As all four of us, I wasn’t ‘born’ into 80s music. I think we’re all kids of the 90s, really, which meant that we grew up with the sound of overdriven guitars, rather than analogue synths. I got into the music much later, when I discovered bands like The Soft Moon, Agent Side Grinder, Linea Aspera And Boy Harsher. Also acts outside of the genre are an inspiration, such as Mogwai, Goose, Kite and M83. In terms of song writing, I went from doing straightforward hardcore riffs in the 90s, to being in awe of compositions with many layers –Electric Light Orchestra, was an example for some time.

Q: Interesting to read you claim to be ‘children of the 90s’ as your music still sounds 80s Post-Punk-like with a catchy Electronic touch on top. What is it really all about?

Mattias: We definitely do not confine ourselves to the genres of Wave or Post-Punk. I spoke to a music journalist recently who declared himself a ‘fake goth’, since he liked so much music outside of the genre. To some extent, I identify with that term. Personally, I’ve never liked being put in one category. And I think that for the Post-Punk and Goth scene, which distances itself from the dominant Pop culture, it really makes no sense to put people in boxes.

Q: What’s the usual procedure to write a song?

Kenny:In terms of songwriting, the procedure has changed dramatically during the pandemic. Nowadays, Mattias brings his Ableton creations to the rehearsal, and then there’s three scenarios. One, we think it’s crap, don’t say it out loud, but waste a rehearsal to let Mattias notice for himself. Two, the composition is totally perfect and we have a new song within minutes. Three, I or someone else ends up re-arranging the song in Cubase or something, and Mattias approves, or not. Then of course, when we play through the song during rehearsals and each band member cleans up their parts. We also try to take the songs to the stage asap, to see how the audience responds.

Q: How do you perceive the evolution from your debut album “Chaos Control” towards “A Major Walk”? Did you want to improve and/or change certain elements of the production? 

Mattias:I think it’s very clear that this is a much more synth-driven album. Contrary to our debut album, on “A Major Walk” the guitar is subservient to the overall sound. Often guitar play is limited to an eerie Post-Rock tune.

Overall, the album also sounds a bit more Electronic, something we’ve trying to do from the start; play music with a classic trio of instruments (acoustic drums, bass, guitar) and then add synths and samples, so it starts to sound more Electronic. I didn’t realize until after the record was finished, but it also contains a lot of straightforward, punchy songs. Dance music, really.

Q: The lyrical content of your work clearly reflects a darker side and/or -perception of our society. Where does it come from and what did you try to express and maybe exorcize? 

Mattias:I don’t necessarily intend to write dark and brooding lyrics. I guess that is what happens spontaneously when I write. What I usually do is writing one specific scene and develop lyrics from that. For instance, for a new song we’re working on, I use a snippet of a newspaper article I found a while back, talking of a newborn baby found dead in the dunes of the Belgian coast. I imagine what it must be like to give birth to a baby, all alone, crying, bleeding. And leave it behind. In “No Future”, our latest single, I describe the scene of a guy sitting in his house, smoking cigarette after cigarette, watching the news, while the ground floor is on fire. And he stays where he is. Sometimes I write something which comments on broader social issues, but usually it’s just about a compelling story.

Q: How would you define Korinthians as a live band and how do you transpose the songs from the studio to the stage? 

Kenny:I would certainly define Korinthians as a live band. The songs are created during rehearsal with the instruments we have, and all of the songs have been played live many, many times before we end up recording them. And during recording, we try not to go overboard with overdubs and stuff. Firstly, because we cannot afford to go overboard with anything during expensive studio time, and secondly, we also can’t afford to hire additional musicians.

Q: Korinthians clearly seem to be a ‘Do It Yourself’ band. Is it a deliberate choice you made or just because there has been no interesting label deal so far? How do you manage all different aspects of being ‘independent’?

Mattias:Well, it’s not that we oppose the idea of having a label. But I’ve come to realize that I like to control as much as I can the artistic and commercial process. That means, indeed, that you’re keeping a lot of balls in the air. You write songs, you record them, you make art work, you make music videos, you launch online promotion campaigns, you release albums and singles, you write press sheets and send them to journalists, online magazines, labels and whatnot, you reach out to other bands, venues and promoters, you make dedicated merchandise and offer it to your audience, you send parcels all over the world from sales on the band website.

Running a band is hard work. On the other hand, it’s wonderful to have gathered around us a group of people who believe in us; our sound guys Björn and Bart, William at Sonic Rendezvous, our distributor, Malcolm Nix our booker and tour manager, Klaas at RUZD who has been doing a lot of our artwork and design lately. We couldn’t do what we do without their quality work and their dedication.

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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(Photo by Jon DeRosa) Projekt Records has announced the September 15 release of the remastered and expanded edition of Aarktica’s “Morning One” album, which was originally released in 2001. For the first time, the album will be available digitally. “Morning One” was released shortly after Aarktica’s debut “No Solace in Sleep” (2000) and marks a transition from pure guitar ambient to the atmospheric drone pop hybrid sound that has since become the project’s trademark.

In addition to the original 2001 release, Aarktica (aka Jon DeRosa) has added three previously unreleased tracks. Included among these is a 2002 remix by Aaron Spectre (also known as electronic artist Drumcorps), who offers a downtempo version with danceable beats.

“In many ways, ‘Morning One’ is the ‘missing link’ in the catalogue,” says DeRosa. “This album is an important release for me; it represents a transitional phase, from a time when I was really feeling out what I wanted Aarktica to become. I was influenced by bands like Flying Saucer Attack, Slowdive, and Mogwai. Simultaneously, I was a composition student studying Indian classical music with La Monte Young, becoming increasingly interested in creating ambient textures in a compositional way. I was listening to composers like Ingram Marshall, and I was in awe of his ability to bridge the ambient/electronic world with that of modern classical music. In much the same way, I was listening to bands like Godspeed You! Black Emperor, who were achieving very much the same effect, but in reverse.”

Jon DeRosa is an American musician and singer-songwriter. He has been involved with several acts, including Dead Leaves Rising, Pale Horse and Rider, as well as his solo project known as Aarktica.

Here’s an idea how this project sounds like.

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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White Rabbit, a UK-based music book imprint, will release a book titled “Curepedia: An A-Z of The Cure” on November 9th. The book is a comprehensive biography of The Cure, written by music writer Simon Price, with a foreword by Stuart Braithwaite of Mogwai and illustrations by Andy Vella, the designer behind The Cure’s visual identity for the past three decades.

The Curepedia offers an extensive portrayal of their legacy, politics, image, and cultural influences. These influences range from existentialist writers like Albert Camus to Mervyn Peake’s decaying Gothic castle in the Gormenghast series, as well as exploring the profound literary, musical, and cinematic connotations behind their single “A Forest.”

Curepedia provides a complete overview of The Cure’s body of work, delving into miscellaneous trivia, detailed analysis of their discography, films, concerts, and appearances, as well as biographies of both current and former band members.

Presented in an A-to-Z format, Curepedia covers everything from the band’s albums like “Pornography,” “Disintegration”, and “Wish”, to lesser-known releases like “Blue Sunshine” by Robert Smith and “Glove”, the group featuring Steve Severin of Siouxsie and The Banshees.

Simon Price is a British music journalist known for his work at Melody Maker and the Independent on Sunday. He expresses his admiration for The Cure, stating, “The Cure are the biggest alternative rock band on the planet, and their magnificent body of work continues to inspire successive generations of musicians and music lovers. Writing a book about them is an honor.”

Foreign rights for Curepedia have already been sold to Dey Street Books (USA), Sexto Piso (Spain), and Heyne Hardcore (Germany).

The book will be available in different editions, including a hardback, a paperback, and audio. A special deluxe edition limited to one thousand copies will feature alternative cover artwork, a bespoke slipcase, ribbon marker, and integrated full-color A-to-Z chapter headings. This edition also includes additional prints and a signed bookplate insert.

You can expect this:

• Alternative original cover artwork
• Housed in a bespoke slipcase
• With a ribbon marker and 26 integrated full colour A-Z chapter headings
• Complete with interior pages printed in red and black ink and bespoke C-U-R-E lettered endpapers
• This edition also comes with four additional prints (C-U-R-E) from original mixed media print in an envelope
• Plus a bookplate insert signed by Simon Price and Andy Vella
• All artwork, design and packaging is by Andy Vella, celebrated artist and longtime Cure collaborator (as part of Parched Art)

Side-Line also covered The Cure’s ‘A Strange Play (Vol. 2) – Tribute to The Cure’.

Bernard - Side-Line Staff

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

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(Photo by Agnes Haus) Out on April 14th is the new album from UK based Australian born dark ambient musician Penelope Trappes titled “Heavenly Spheres”.

The 8-track album will be released on the artist’s own label Nite Hive and will also be the label’s first release. All of the releases on the label will be released digitally and on limited-edition cassette tape accompanied by a podcast interview with each artist about their creative process. The first releases will include Patricia Wolf, Pefkin, Karen Vogt, and Madeliene Cocolas.

The label will launch on 14 April 2023 with Heavenly Spheres, an 8-piece album recorded during a two-week residency for Britten Pears Arts at the house where the composer, teacher and musicologist Imogen Holst lived in Aldeburgh, Suffolk. A first track from that release is available now, called “Entangled”.

“Heavenly Spheres” is the result of the artist experimenting with only her voice, an upright piano and an old German reel to reel tape deck.

Trappes explains: “I immersed myself in solitude and often deafening silence, and coexisted with an enormous amount of history and books. I grew to love this unfamiliar space as I recorded sound outside of my normal way of working, took long and sometimes psychedelic walks, channelled ghosts on tape, and ended up with about 35 pieces of music and sound art. This album is 8 of those pieces which I fell in love with.”

About Penelope Trappes

The musician debuted with material written and recorded in 2016 in a small piano studio in East London. Composed of mostly percussionless, reverb-heavy, atmospheres, the LP was released via Optimo Music in 2017. She then signed to the Houndstooth label and released her second album “Penelope Two” in 2018, a minimalist album built around field recordings, meditations, guitars, piano and reverb.

2019 saw the release of “Penelope Redeux” consisting of reworks of songs from “Penelope Two” by Cosey Fanni Tutti, Mogwai, Félicia Atkinson and Nik Colk Void. The “Eel Drip” EP followed in 2020 and “Penelope Three” was released in May 2021.

“Mother’s Blood”, a vocal-free meditative reinterpretation of “Penelope Three” was released on cassette at the end of that year.

Bernard - Side-Line Staff

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

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(Photo by John Fisher) Breton artist Yann Tiersen has announced details of a new album and also shared a taste of what to expect with the first track, “Ker al Loch”. A video for the single was directed by Sam Wiehl (Mogwai, Forest Swords) and can be seen below. The new album, “Kerber”, is set for release August 27 on Mute.

The new album is the follow up to 2019’s “Portrait” which was a collection of 25 newly recorded tracks from throughout his career. Small detail, “Kerber” is named after a chapel in a small village on the island and each track is tied to a place mapping out the immediate landscape that surrounds Tiersen’s home.

Regarding the sound Tiersen reveals the following: “You may get this intuitive thinking of, ‘oh it’s piano stuff,’ but actually it’s not. I worked on piano tracks to begin with but that’s not the core of it, they are not important. The context is the most important thing – the piano was a precursor to create something for the electronics to work around.”

Working in The Eskal, the studio he built on Ushant (the island where he lives, located 30 kilometers off the West coast of Brittany in the Celtic Sea), Tiersen was joined by producer Gareth Jones (Depeche Mode, Einstürzende Neubauten) to finish 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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Genre/Influences: Experimental, Ambient.

Format: Digital, CD.

Background/Info: Alex Mackay is an artist based in Glasgow (Scotland). He composed music for visual- and theatre performances plus got involved in multiple artistic projects, being also live member of Mogwai. “Targazer” is a solo-work featuring four songs.

Content: “Targazer” clearly sounds like an Experimental exposure from an artist bringing different influences and sound sources together. The work takes of with a fusion between experimental sound treatments and Ambient atmospheres. The sound treatments are pretty harsh, which also characterizes this work. Electronic soundscapes and guitar treatments have been merged together getting close to a true soundscape, but remaining overall pretty Experimental.

+ + + : What I especially like in this work is the slow progression of the songs. The opening piece “God monitor/Screen Burn” is a remarkable exposure of the way this artist is conceiving his work. A similar approach can be noticed at “Synthetic Disaster” . It’s not only an Experimental, and pretty minimal sound, which remains rather accessible and pretty entertaining. You somewhere can hear this artist is used to writing music for visual performances.

– – – : The work remains hard to catch and I think really needs to get joined by visual arts to realize its true potential.

Conclusion: “Targazer” is an Experimental although accessible sonic voyage; the perfect osmosis between Experimental- and ambient music.

Best songs: God monitor/Screen Burn”.

Rate: (7).

Artist: https://britishmusiccollection.org.uk/composer/alex-mackay

Label: www.forwind.net / www.facebook.com/forwindings

About Alex Mackay

Alex Mackay is a composer and experimental electronic and electric guitar performer based in Glasgow, Scotland. He studied composition at the Royal Conservatoire of Scotland, where he received the Craig Armstrong prize upon graduating in 2016, and has since made new work with the BBC Scottish Symphony Orchestra, Red Note, Touch and the Glasgow New Music Expedition.

Beyond his solo output, Mackay performs as part of the dance and music duo The Cloud Of Unknowing and as a touring member of Mogwai. “Targazer” was released on Forwind.

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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(Photos by Tori Lind Kjellstad) Norwegian electronic dream pop act Lights A.M is back with a delicious and heartwarming new 2-track single, which is right now exclusively available via Bandcamp. With this new single the electronic project (aka Erlend Eilertsen of Essence Of Mind) also announces his forthcoming conceptual full length album “Stories Without Words”.

This time Lights A.M dives deep into the cinematic side of the project offering two instrumentals that remind of some of the best work executed by Brian Eno, Tangerine Dreams and related, but staying faithful to timeless electronics.

The title track, “Agnes”, was written when Erlend lost his beloved Griffon dog companion named Agnes.

Erlend: “She shared my life for some 16 years along with her best friend Mogwai, also deeply missed… Agnes was and still is a big part of me, my family and close friends life. She’s been an inspiration, a support and a best friend for me, and has brought me a lot during all the years we spent together. We did so much fun and memorable things together, she even was part of the first promo pics for my first band back in the days…”

A video clip is also simultaneously released, made from private footage and images, adding a visual dimension to this heartwarming tribute Erlend wrote to what can be considered a man’s best friend. You can view it below.

The second track “A Mystery After Sunset” on the other hand showcases the darker and more mystical soundscapes of Lights A.M and is again proof that stories can indeed be told without words. Excellent electronic music from the north!

Here’s the video for “Agnes”.

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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Iconic UK post-punk/alt act The Membranes release an EP featuring two remixes of their song “Nocturnal” by goth rock/darkwave Goth DJ Kitty Lectro.

“Nocturnal” was originally released on The Membranes new album “What Natures Gives… Nature Takes Away” on June 7th this year. Having remixed artists such as Kommunity FK, Andi Sex Gang, Beauty In Chaos (Wayne Hussey, Simon Gallup and Michael Ciravolo) and more, Kitty Lectro adds a dance floor spin to “Nocturnal”.

Frontman and The Membranes founder John Robb explains why they chose to remix the song: “‘Nocturnal’ is our death disco dance with Pan, or our dark Dionysian dislocation of the senses that has been remixed to shadowy dance floor brilliance by Kitty Lectro. It is from our new double album “What Nature Gives… Nature Takes Away” and examines the beauty and violence of nature, in which we took our bass-driven post-punk and added choirs to it to create an epic brooding soundtrack to the theme of nature itself and its desperate struggle to survive the human race’s hell bent determination to destroy it.”

The Nocturnal EP will be available for streaming on all major platforms. You can here it right below.

Tracklist of the EP:

• Nocturnal (KITTY LECTRO Remix)
• Nocturnal (KITTY LECTRO Meow Meow Money Mix)
• Nocturnal (Album Version)

The Membranes will be on tour in Europe with Mark Lanegan Band in November/December.

About The Membranes

Formed in 1978 in Blackpool, England, The Membranes played classic bass-driven northern post-punk and were part of the same world as bands like Joy Division, Bauhaus, The Fall, Sisters Of Mercy, and Cabaret Voltaire, all inspired by the punk explosion of 1977 to launch their own idiosyncratic journeys. The band released a remarkable series of records throughout the ‘80s that combined their small town frustration with a love of heavy bass and distortion. This ultimately became a prime influence on such American noiseniks as Steve Albini, Swans and Sonic Youth.

The group reformed in 2010 at the request of My Bloody Valentine to play the All Tomorrow’s Parties festival, and have since made two albums, inspired by newer bands like Godspeed You Black Emperor, Mogwai, Ulver and Wardruna.

Membranes frontman/bassist John Robb is an acclaimed British musician/author/publisher and TV/radio commentator. He is the editor-in-chief of British music monthly Louder Than War and the author of the celebrated non-fiction work “Punk Rock: An Oral History”.

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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Cosey Fanni Tutti has reworked the Penelope Trappes track “Carry Me” for Trappes’ “Redeux” album which will be released June 7th on Houndstooth. The track is out as a standalone single.

Here’s some more info on this album. After the release of her sophomore solo album “Penelope Two”, Penelope Trappes and Houndstooth announce “Redeux”; an album of reworks of tracks from “Penelope Two”. On the album you find covers by Scottish post-rock legends Mogwai, Factory Floor member Nik Colk Void, Throbbing Gristle’s Cosey Fanni Tutti, Shelter Press label founder/producer/visual artist Félicia Atkinson, Throwing Snow, Icelandic multi-instrumentalist and vocalist Jófríður Ákadóttir aka JFDR, Poppy Ackroyd with Hidden Orchestra member and One Little Indian signee transposes Kismet on piano, Savages producer Jonny Hostile, Ben Frost and Tim Hecker collaborator and Sigur Ros’ musical director Paul Corley and Swedish techno duo Aasthma (Peder Mannerfelt and Pär Grindvik).

Full tracklist:

1. Burn On (Mogwai Rework)
2. Carry Me (Cosey Fanni Tutti Rework)
3. Maeve (JFDR Rework)
4. Farewell (Johnny Hostile Rework)
5. Night Hive (Paul Corley Rework)
6. Nite Hive (Nik Colk Void Rework)
7. Connector (Aasthma Rework)
8. Farewell (Throwing Snow Rework)
9. Kismet (Poppy Ackroyd Rework)
10. Burn On (Félicia Atkinson Rework)

Who is Penelope Trappes?

Penelope Trappes is a London based Australian born vocalist, musician and soundscape artist signed to Houndstooth. She spent 2016 writing and recording what would become her first solo album, “Penelope One” in a piano studio in East London. The LP was released via Optimo Music in 2017 on vinyl and as a photo book.

Penelope signed to Houndstooth in 2018 and released her sophomore LP (and photo book) “Penelope Two” in October 2018.

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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