This summer, I came across “I’m Too Young to Die”, the debut album by German artist Oliver Decrow. His Minimal-Electro/Wave music evokes an ’80s flashback, enhanced by a modern and personal touch through its gritty analog synth sounds. Released by the renowned Cold Transmission label, the album captivated me with its cold, sterile aesthetic layered over deep, human themes. It felt like the perfect opportunity to reach out to this promising artist. (Courtesy by Inferno Sound Diaries)

Q: Can you introduce us to the musical world of Oliver Decrow? Where are you from, and how did you first get drawn into the world of electro music?

Oliver: I’m from Dresden, East Germany. I began producing music at an early age at school, but it really took off when I studied fine arts at the Art Academy in Dresden. During that time, I met several DJs and shared a studio with a local DJ and tattoo artist. He introduced me to music from the 80s, Italo-Disco, Cold-Wave, and Minimal-Wave like Decadance, Medio Mutante, S.M. Nurse, John Maus, SS-Say, Deux, Eleven Pond, Knight Action, Charlie (Spacer Woman), Moderne, and Linea Aspera.

During this period, I also spent time in shared apartments (WG’s), moving from one party to another. I had no money, and survival was hard, but discovering and enjoying music became a release, helping me get through each day and deeply impacting my personality.

While painting, we would listen to Intergalactic FM or Bohren & der Club of Gore (Piano Nights).

During my studies, I decided to leave Germany and moved to Montreal, where I lived in a tiny flat and made music every day. It was there, and in New-York, that I filmed my first music videos. I’ve always been a computer guy, but I try to bridge the digital and analog worlds. So, making music as an art form or expression felt natural for me. I did many collaborations and projects back then. I also worked with opera singer Annette Jahns, who would visit my cheap basement in Dresden once a week, bringing a bottle of good wine and something to eat and then we produced music together. Rest in peace, Annette! Around this time, I also met Sneaker DJ, who gave me valuable production tips and mastered my first tracks.

Q: You released your debut album “I’m Too Young To Die” this year. A first album is always special, so how does it feel to have it out, and what was the journey like in creating it?

Oliver: ‘Stress test’ is the first thing that comes to mind, especially in the last few weeks. My first album is like a retrospective of three years of making music. There are songs where, as soon as I hear them, memories of specific stories and situations come rushing back. For example, the suicide of my best friend is reflected in the track “Horse Hoof,” and “In My Room” deals with experiences I had with my mother.

The journey to my first album was full of doubts, joy, depression, anxiety, and great moments. Yin and yang -it was a rollercoaster, much like my life. Nothing was stable; everything was questioned. But I’m glad I made it. It was also a relief to finally finish something after such a long time.

One of the most rewarding parts of the journey was meeting new people and connecting with positive individuals worldwide who shared my interests, experienced similar situations, and could relate to my music. I learned a lot during the process and fulfilled a long-term dream. In the end, everything came together. You know, making an album is personal -you open your heart for everyone to see, and that often comes with a price. But I’m already looking forward to the next chapter of my life.

Q: Your sound echoes ’80s Electro-Wave with a modern twist. Which artists or albums have had the most significant impact on you, and how do they influence your music?

Oliver: Life has influenced me the most. I make music primarily to express my emotions or to lose myself in my inner world. If I had to name a few artists who have impacted my style or approach to music, they would be Boy Harsher, Sneaker Dj, Joy Division, Jennifer Touch, Molly Nilsson, Boan, and DAF. But my influences often change, and I love discovering new artists like VOID Palace, Abu Nein, Nights In Athens, Lila Ehjä, Laura Krieg, Kris Baha, Lovataraxx, Asymetric80, Years Of Denial, ManMachine, and Curses.

I’m drawn to artists who present their music in a way that feels authentic, not just like another copy. For example, I met ManMachine at the Ombra Festival in Barcelona last year, and after chatting with him, I saw his music differently. A man, a father, a keyboard -it felt warm and pure. My music is more influenced by emotions and life events than by specific artists, so to speak.

Q: Many of the album’s tracks were performed live before being recorded. How did these songs evolve during the recording process, and what changes or improvements did you make?

Oliver: That’s an interesting observation, and you’re right. The songs on my album really grew during live performances. I redid some finished tracks, adjusting the vocals and synth parts after realizing during live performances what could add that final touch. Every track underwent a few makeovers after live shows. I see the process like painting. You build something up and then destroy it to create something unique and new. The challenge is knowing when to stop.

Q: You already evoked some lyrical themes in your songs which are quite dark and intense. What drives these narratives, and how does turning personal struggles and dark subjects into music serve as a form of therapy or healing for you?

Oliver: Yes, your question holds the answer. I won’t go into detail about how difficult my life was because everyone has their own stories, struggles, and fate. Music is definitely a form of therapy for me. It’s an art form and a way to break out of daily routines and the system we live in. I often wonder what the world will look like in 10 or 20 years, with all the technology, greed, commercialism, and hate. But I know that there will always be people searching for real emotions, analog experiences, and real intelligence or just something like breathing fresh air in the woods.

Q: Are you already working on new material? What can we expect in terms of singles, remixes, videos, live shows, and future projects with your label G50 Records?

Oliver: Of course! A remix tape is coming out, and new tracks are in the works. I love diving into music, especially when life hits hard, and right now, it definitely does. This year, you can catch me playing in Nuremberg at the Bunker Rituals Festival (28th of September), in Dresden with Lovataraxx (20th of October), and in Chemnitz with Left For Pleasure (14th of December). G50 Records is like a DIY label with no aspirations for profit. I’m not sure if there will be any projects with my old friends, like the Klassenfeind-project, but who knows?

I’m really happy with the guys from Cold Transmission Music, namely Andreas and Suzy. It’s like a real family feeling, and we talk daily about the scene and our next creative ejaculations.

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 David Kruschke) San Francisco-based artist Aursjoen presents her debut single “Nytår”. The new single comes complemented by a video created by filmmaker David Kruschke.

Aursjoen is the project of Ria Aursjoen, who is vocalist and keyboardist for the post-punk outfit Octavian Winters, who released their debut EP “The Line or Curve” in 2023, followed by their 2024 “Nebula / Velveteen” single with electronic-industrial legend Mark Pistel (Meat Beat Manifesto, Consolidated). A classically-trained singer and multi-instrumentalist, her musical past is steeped in genres ranging from Celtic and Nordic folk to darkwave and progressive metal.

Her debut “Strand” EP is slated for release on November 15 via Stratis Capta Records and was produced, recorded, mixed and mastered by William Faith (The Bellwether Syndicate, Faith and the Muse, Mephisto Waltz, Christian Death) at 13 Studio in Chicago. For this material Aursjoen is joined by Octavian Winters bandmate Stephan Bryan Salit contributing dynamic and atmospheric guitars on two songs.

This first single “Nytår”, which means “New Year” in Danish, was written on New Year’s Eve of 2022. Ria Aursjoen says this about the origins of “Nytår”: “This song started when I was experimenting with a slow-moving string arrangement that captured my imagination and made me think of walking down a dark road in winter, against the wind. The more I saw the image in my mind, the more it reminded me of Denmark, where I spent years as a child. It especially reminded me of how the world looked and felt when I would go out with my ice skates in the winter twilight to skate on the pond near my house at the outskirts of Copenhagen, so I wrote the lyrics in Danish. Midwinter in Denmark is very dark and very cold with short days. You spend time dreaming of the spring returning, waiting for it. My memories of that time as well as the language itself transported me back to those feelings and guided the way the song evolved both lyrically and musically.”

Aursjoen comes from a familial line of musicians, her grandmother Lillian an opera singer and grandfather Morris a singer and self-taught multi-instrumentalist. Having taught herself to play piano by ear at age three, she considers it her instrument of choice for songwriting; “I have been playing for as long as I remember, so piano feels like an extension of myself, a native language if you like.”

Nevertheless it was singing that unlocked something even more powerful within her: “The neighbours would complain about me singing loudly outside their windows while I waited for the school bus. They told my mother they didn’t know what I could possibly have to sing about that early in the morning. Fortunately, my mother never took the complaints seriously and never tried to discourage me. She has been my biggest supporter, and a great friend, and I wouldn’t be here today as an artist if not for her.”

As someone who has synesthesia, a rare neurodiverse condition in which senses overlap, Aursjoen experiences sound as visual structures, colours and textures. “I avoided regular music notation as much as I could. I coaxed my mother (a great sight reader) into playing my piano homework. Then I’d listen and learn it by ear – eventually my piano teacher discovered I had been faking note reading and I had to buckle down and really learn it… I am glad I did, but I still find it clunky and unintuitive, and still write music in my personal system of notation.”

As of today September 10, “Nytår” is available everywhere digitally, including Bandcamp. The full “Strand” album, out November 15 via Stratis Capta Records, is already available for pre-order.

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.

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Out on August 30th via Progress Productions is the brand new single from Briar Moth´s alias the US-based darkwave project Vexagon. The track is a new remix of the track “Eyes Without A Face” by JK Flesh aka Justin Broadrick from Godflesh (and a founding member of Napalm Death).

The original version of “Eyes Without A Face” is taken of Vexagon´s album “A New Flesh Experience” released in January 2024 also under Progress Productions.

Here’s the original version.

Justin Broadrick has been very active recently with for instance a new Godflesh album titled “Purge” (June 2023), a series of U.S. dates this year, and a new album for his electronic project JK Flesh, ” Sewer Bait”.

While Godflesh focuses on industrial metal, JK Flesh allows Broadrick to explore darker, more experimental electronic territories, often blending elements of techno, dub, and industrial music.

Bernard - Side-Line Staff

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

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(Interview by Janos Janurik) Ever since I got into online music journalism, I’ve always been interested in the background characters around my favourite musicians’ releases that add something important to the product we, the fans end up with.

With this in mind, over the years I have interviewed personalities such as Anton Corbijn (photographer of Depeche Mode and many other music greats), Gareth Jones and Mark Saunders (producers and mixmasters of Depeche Mode and Erasure amongst others).

About eight years ago I had the honour of helping to promote Vince Clarke’s then newly founded mini-record label (VeryRecords) and his releases. In addition to the artists whose albums have been released there in recent years, I also got in contact with Mat Smith, who, like me, is a freelancer – readers of Electronic Sound and Clash know him well – and works as a publicist for VeryRecords as well as being commissioned by Erasure and Mute for a number of press pieces. He also wrote the sleevenotes in the booklet of the new “Cowboy” Deluxe-Edition.

In addition to his journalistic work, he also has his own project “Mortality Tables”, which has just released a new mini-album on cassette and as a digital download. Last November, at the premiere of Vince Clarke’s solo album in London, I had the pleasure of meeting Mat in person and we had a lively chat about our shared passion for music. Knowing how important this project is to him, I approached him and asked him a few questions about it. 

But then life, or rather death, intervened. I didn’t mean this as a cheap shot, but it was indeed a sad event that forced me to make changes to the interview I had with my friend and colleague almost three weeks ago. Now that the aforementioned label is going on holiday, and before I do the same, I would like to bring this exciting musical venture (“The Engineer”) to your attention – and this interview with the man behind it.

SL: Tell us briefly about how you became interested in music. Have you had any musical training, have you learnt to play any instruments? Do you remember the first record you bought?

I grew up in a house where music seemed to always be playing, either on the radio or on my parent’s stereo. My mother listened to a lot of ABBA. Nothing about that was exceptional, particularly. When I used to go to friends’ houses, they always seemed to have the TV switched on, which felt strange to me. My family chose music, and I’ve surrounded myself with it ever since. 

I tried to play the recorder, which was the instrument that most of us learned as kids. My parents gave me a blue one for Christmas one year. I couldn’t play a single note. I briefly learned the basics of notation at school but very quickly forgot all of it. In early high school music classes I was more interested in recording real-life sounds into the Casio keyboard and using those to make compositions. Not long after that, I started making sample-based electronic music on my Amiga 500.

The first album I owned was Nik Kershaw’s ‘Human Racing’. I was given for my birthday the year it was released, along with a Sanyo portable cassette player. I played that album constantly. I wore out the cassette player after two weeks but I still have the ‘Human Racing’ tape and it still sounds incredible to me. 

SL: When did you discover electronic music? And who was the first electronic artist who introduced you to the world of electronic music?

My father is responsible for switching me on to electronic music. There were three pivotal events, and they all relate to times I was with my father.

The first was one evening when my mother was at her restaurant job, and my father was looking after me. I was playing with Lego in the lounge and Gary Numan was performing ‘Cars’ on TV. That performance completely captivated me.

The next was driving around in my father’s car while he did his second job as a debt collector. A friend at work had recorded two tracks from OMD’s ‘Architecture & Morality’ album onto a cassette for him. The songs were ‘Joan Of Arc’ and ‘Maid Of Orleans’, and we’d listen to them over and over.

The third was Soft Cell’s ‘Non-Stop Erotic Videotape’, which he brought home from work one day. That was pretty mind-blowing for a five-year old, and I can only imagine he didn’t realise what it was. It was definitely not suitable for a kid of my age, but, looking back, I don’t remember the imagery – I only recall the music. 

So I owe my father a huge debt for how he shaped my music tastes at a very early age. He was also the one who brought home a cassette copy of ‘The Innocents’ by Erasure and gave it to me. He had no idea quite what he started that day. 

SL: When did you start writing journalistic texts for Mute Records and its artists? What was your first article for Mute and about which artist, which release?

I began a blog called Documentary Evidence in 2003, which was focused on my personal Mute Records collection. I’d just write about the releases from a mostly non-musical perspective, explaining how they made me feel. I still write reviews like that today for Electronic Sound. I also got really interested in telling the stories of specific releases or artists, and that led me to interview people who released music through Mute, or were somehow connected to the label. I have a natural curiosity and inquisitiveness, and that seems to mean people like talking to me and opening up. 

From there I started writing for Clash, and then Electronic Sound and some other places. In 2017 I got asked to chair a panel discussion with Anton Corbijn, Daniel Miller, Paul A. Taylor and Steve Claydon (Add N To (X)) at Rough Trade East in London, about the visual identity of Mute. The first written Mute commission I got was to write a press biography for Chris Carter’s ‘Chemistry Lessons Vol. 1’. I couldn’t believe they asked me to do that, and I couldn’t believe I was being paid to write for the label I loved so much. The team at Mute liked what I did and I’ve been given a few more things to do since then, as well as with the team at BMG who look after the Erasure reissue programme, and Erasure themselves. 

SL: Did Vince Clarke’s VeryRecords label and the associated promotion give you any impetus for your own project, which you called “Mortality Tables”?

Indirectly, yes, but perhaps not in the way you might expect.

My task with VeryRecords was to assemble the press releases. It was the first time I’d worked behind the scenes of a release, where I’d often get involved before the album was even mastered, or before the artwork had even been considered. So I’d be talking to the artists – Reed & Caroline, Alka and Brook – at a very early stage, generally when Vince felt that the album was finished enough for me to listen and for me to start engaging the artists.

It took a while for me to realise this, but the process of working with the artists to write a press release became a collaboration – between all of us, and between my words and their music. I wasn’t just a writer but part of the collective effort to put this music out into the world. I did the same with Nick Hook’s Calm + Collect label, working on releases by Gareth Jones, Spiritual Friendship and others.

In 2019, when I began forming Mortality Tables, I envisaged it as a creative community of collaborators. You can definitely draw a line between that and the ideas that began to form as I worked with VeryRecords and its artists. I also took a lot of inspiration from Vince, who didn’t feel that he needed to only focus on the music that people would expect him to release. That sense of freedom, which Daniel Miller also brought to Mute, directly fed into what Mortality Tables has become. I wanted something where I could work with people making sound art as well as people making images. It had to have artistic breadth. 

I wanted Mortality Tables to be like a gallery, with a portfolio of artists in vastly different disciplines. That’s why Neil Coe deigned the first sleeve image to look like the description of an artwork on the wall of a gallery.

SL: The name of the project refers to the work of actuaries who measure the statistical probability of life insurance payouts. You do something like this in your everyday working life, don’t you?

That’s right. I work with insurance companies all around the world, and have done for over twenty years. I find lots of parallels between the worlds of insurance and electronic music, and the kinds of people I engage with in both of my jobs.

The story goes that I was meeting a friend in a café in Bloomsbury in London one morning. He runs a record label, which is another big inspiration for Mortality Tables. He wishes to remain anonymous, but he is actively involved, in the sense that he must approve anything we decide to do. I call him the Creative Consultant.

So I was meeting him and he had an LP of one of his releases to give me. He asked me if I had a bag to put it in, and I reached into rucksack and retrieved a tote bag. It was from the Institute and Faculty of Actuaries and had been given to me by an actuary a few years before. The Creative Consultant saw the bag with its logo and Latin inscription (‘e peritia ratio’ – ‘reason from experience’) and asked what it meant. I replied, “It’s all mortality tables and shit like that.” The name stuck.

We created our first Mortality Tables Product that morning. It’s called FORKTALK and is a conversation between two friends. We do not publish the details of our conversations. Its entry in the Mortality Tables Catalogue is MTP0.

SL: Dave Clarkson, who is mostly active in electronic and experimental music and Wonderful Beasts, a sound art/electronic music duo consisting of the anonymous Xqui and Carl Knott (boycalledcrow, Spacelab) were your first artists, right? How did you get in touch with them?

The release that moved Mortality Tables from something conceptual to something ‘real’ was ‘Two Meditations For Freya’ by Goodparley (whose name has now changed to Please Close Your Eyes). That was in 2022. It signalled what I wanted Mortality Tables to be: I would come up with ideas and hand them to someone to ‘respond’ to.

That concept has stayed consistent through the first two years of Mortality Tables. I’ll come up with an idea and pick someone to get involved. At the last count, there are at least fifty people who are collaborators. And it isn’t just sound projects – Mortality Tables encompasses sound, art, and words. And insurance. 

However, all rules in creativity are there to be broken, and I broke my own rules in 2023 with the release of Dave Clarkson’s ‘Ghosts Of Christmas Past (Music From Vintage Toys)’. I had nothing to do with the concept of that album, so I guess that’s a bit like Mortality Tables acting like a traditional record label, which is a description I never want to use. The same is true of Andrew Brenza and Alka’s ‘pod’ and boycalledcrow’s ‘Kullu’. However, all these releases only existed because of an earlier collaboration, and that’s how I got myself comfortable with releasing these projects. You’ll see a few more of those types of projects from Mortality Tables over the next few years. 

In answer to your question about how I find artist, it’s actually really straightforward. Anyone involved with Mortality Tables is someone whose music I’ve written about. As for how I choose an artist for a particular project, that’s mostly a case of matching a collaborator to an idea that feels aligned to what they would usually do. However, some of the most enjoyable projects are where the artist is working a long way outside of what they might normally do.

SL: After artists like Andrew Spackman, Rupert Lally, Simon Fisher Turner and Veryan, two years ago you released a strange and experimental piece called “On Mortality, Immortality & Charles Ives”. The piece is a spoken word piece in which you read out the Mortality Tables’ manifesto: “In life, our one true certainty is death.” This narration, recorded by Gareth Jones, was then sent to Vince Clarke who recorded a musical response to the text, which forms the soundtrack to the release. How did you come up with this, somewhat absurd, idea?

I had bought a copy of a book by Alex Danchev called ‘100 Artists’ Manifestos – From The Futurists To The Stuckists’ at the Scottish National Gallery of Modern Art in 2021. I read each of the manifestos from groups like the Surrealists, Dadaists and Situationists as if they were short stories, and it became a really profound experience. On the back of ‘Two Meditations For Freya’, people had started to ask me what Mortality Tables was all about, so it seemed completely natural (and not absurd at all) to write a manifesto.

Mostly it was designed to help me understand why I was doing this, and then I decided to explain it to everyone else. That’s when I asked Gareth to record my narration. At the same time I approached Vince and an anonymous sound artist called venoztks to create sound pieces to accompany it.

The listener can judge whether it successfully explains what this is all about, or not. It does explain why the composer and actuary Charles Ives is so critical to the evolution of Mortality Tables. In fact, the second Mortality Tables Product to be made available was a postcard containing an illustration of Ives in front of a mortality table from 1874, the year of Ives’s birth. That piece was a collaboration with Savage Pencil who had illustrated a lot of the Blast First sleeves.

SL: Released on June 16th, the 40-copy limited edition cassette “The Engineer” is a charity project for Alzheimer’s disease featuring Vince Clarke, Penelope Trappes, Chris Illingworth, Barney Ashton-Bullock, Lara Jones, Simon Fisher Turner, Hattie Cooke, Gareth Jones, Veryan and others. The title character is your father, isn’t he? Is that why you chose Father’s Day as the release date? Tell us a bit about this project!

The title character, the engineer, is based on my father. This project dates back ten years, probably longer, a long time before Mortality Tables was an idea.

I wrote a short story that tried to deal with my feelings about my father as he approached retirement. He lived for work, had no hobbies or friends, and I envisaged him struggling to cope with the concept of stopping work. I was angry when I wrote it, but I was also scared for him. It’s fiction, but it’s rooted in his reality. His actual retirement was very different to what happens in the story. He was diagnosed with Alzheimer’s in 2018, and that’s why we’ll donate all profits from ‘The Engineer’ to the Alzheimer’s Society. Sadly he passed away shortly after ‘The Engineer’ was released. 

When I published the story on my blog, an electronic musician called Laica (Dave Fleet) offered to create some music inspired by the story. He composed a beautiful piece but the project never got completed. A few years later, I came up with a different idea, which involved someone narrating the story with a piece of music behind it. That version also never got off the ground at all, but I liked the idea of asking someone to narrate the story. That’s when I asked Barney Ashton-Bullock if he would do it. He has a brilliant speaking voice, and it was perfect for this story.

It was Gareth Jones who suggested the idea of having different artists respond to different sections of narration. He said it was a bit like the Surrealist game ‘Exquisite Corpse’. I think of Gareth as my spiritual guru. He has a way of unlocking ideas, and freeing you from obstacles that are only there because you’ve put them there. ‘The Engineer’ wouldn’t exist in this form if it wasn’t for Gareth. 

From there, it was a case of picking the collaborators and asking them to respond to a specific 30-second section of narration. No one heard the full story, and no one asked to hear the whole thing. The order the artists agreed to say yes determined which section they got. The only rule I gave them was that their sound response needed to last exactly thirty seconds. 

There are two editions of ‘The Engineer’. One is a digital file that combines the narration and sound responses. The other is a cassette that splits the narration and responses apart. That means the only place you can hear Vince Clarke’s sound response without Barney’s narration is on the cassette, which has now sold out. 

SL: Barney Ashton-Bullock (the creator of Andy Bell’s “Torsten” projects), Vince Clarke, as well as Reed Hays, Alka and Gareth Jones will be familiar to most of our readers, but who are the other contributors? 

Again, everyone involved is someone I’ve written about. When I came up with my collaborator list for this, it was important to me to achieve some sort of diversity. So a lot of the artists here are electronic, but you have artists covering everything from pop to sound art. That was deliberate.

I also wanted diversity of textures. That’s why I included Charlotte Keeffe, Chris Illingworth from GoGo Penguin and Luce Mawdsley. When you put all 29 sound responses together as a single piece, it sounds like a right fucking mess. As the responses were coming in over a 30-month period, I realised that the sprawling, messy quality was a lot like my father’s Alzheimer’s – ideas form, are quickly forgotten before they develop, and are then replaced by something else. That wasn’t planned, at all, but now I can see it was a subconscious idea that must have been there from the moment that Gareth suggested involving lots of artists. 

SL: What plans and ideas are currently circulating in your head? Will it be something journalistic or another Mortality Tables release?

I’m always writing, and I’ve got a few big things underway right now, including something for a label I’ve done a few pieces for before.

In terms of Mortality Tables, now that ‘The Engineer’ has been released, all activities will he paused until later in the summer. We’ve released a huge number of Products in just over two years and I need a break. We’ll return later in the summer with Season 03 of LIFEFILES, which is an ongoing project where artists respond to my really basic field recordings.

We’ll also release a single from Please Close Your Eyes, an album from Andrew Spackman and the full version of Andrew Brenza and Alka’s ‘pod’ collaboration. I’ve been working on one of several projects inspired by Charles Ives, ‘Central Park: A Picture-In-Sounds’, which will be issued as a ‘score’ in October, along with some additional performances of the piece. We’ll begin work on another large-scale collaboration called ‘The Impermanence Project’.

Other things will happen. Other things will not.

More information on Mortality Tables releases.

Use code janos for a 10% discount off anything in the Mortality Tables Catalogue. 

I would like to end this article with a personal message from Mat Smith, who asks the readers and the music listeners to support, if they can, the Alzheimer’s Society, which has received the proceeds of the tape release mentioned in the interview. If you feel able to, please donate to alzheimers.org.uk directly.

The Detroit, Michigan-based dark electronic act Odyssey Moth has unveiled its latest EP, “Shattered”. “Shattered” is a double single release that includes the songs “Angry Girl” and “Broken and Burned“, both tracks are from the project’s forthcoming album out later in 2024.

“Angry Girl” is a song about the frustrations and the cynical acceptance of a relationship falling apart while “Broken and Burned” is a song about the pain felt from being pushed out and burned from a relationship and being blocked and not allowed to be a part of the birth of a child, divorce during pregnancy.

The EP was co-produced and mastered by Per-Anders Kurenbach in Bochum Germany.

About Odyssey Moth

Odyssey Moth is the conceptual project of Robert Andrew Bowman, also a founding member of the darkwave duo, Randoph’s Grin.

Bowman and Per Anders Kurenbach began to collaborate as a production team for the multi-collaborative music project called Plastic Assault Network ( AKA P.A.N.).

Currently, Bowman has composed eight full releases with the first three already released and the other five being in post-production. Bowman has also teamed up with keyboardist John Highberg and guitarist Stefan Carr to begin live performances later in 2024.

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.

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After a number of EPs and the mini-album “Kill your Idols”, the Belgian electro act Ultra Sunn presents its official full length debut album, “US”.

The band says this about their debut album: “The album is called ‘US’, like the initials of Ultra Sunn. In addition to being a reference to two bands that we love, VU (Velvet Underground) and AM (Arctic Monkeys), it reflects the more personal texts in this album – the bond between us (Gaelle and Sam) being stronger than ever, a new musician joining us on tour, and the bond that we have created with our audience / how the concerts are carried and experienced all together with strength and love. It’s our album, it’s yours, it’s about US.”

Based in Brussels, Belgium Ultra Sunn was formed in late 2019 by frontman Sam Huge and keyboardist/producer Gaelle Souflet. In 2023, they were joined on stage by keyboardist and percussionist Alexis Andrigo.

Check out the Video for “Shake your Demons” below.

Ultra Sunn 2024 tour dates

• 03.09.24 – BETHUNE (F) La Poche
• 03.29.24 – LONDON (UK) Moth Club
• 03.30.24 – BRIGHTON (UK) Alphabet
• 03.31.24 – SHEFFIELD (UK) Resistanz Festival
• 04.21.24 – MALTA (MT) Dark Malta Festival
• 04.25.24 – DENVER (CO) The Oriental Theater
• 04.26.24 – LOS ANGELES (CA) Catch One
• 04.27.24 – LAS VEGAS (NV) Sick New World Festival
• 05.02.24 – PHOENIX (AZ) Rebel Lounge
• 05.03.24 – SAN DIEGO (CA) The Kensington Club
• 05.04.24 – RIVERSIDE (CA) The Hideaway Cafe
• 05.07.24 – SAN FRANCISCO (CA) DNA Lounge
• 05.08.24 – SACRAMENTO (CA) Harlows
• 05.10.24 – PORTLAND (OR) Coffin Club
• 05.11.24 – SEATTLE (WA) Substation
• 05.12.24 – VANCOUVER (BC) Verboden Festival
• 05.30.24 – PARIS (F) Le Petit Bain
• 06.01.24 – BRUSSELS (B) Botanique Orangerie
• 06.06.24 – BERLIN (D)
• 06.07.24 – KRAKOW (PL) Klub Re
• 06.08.24 – WARSAW (PL) Hydrozagadka
• 06.09.24 – WROCLAW (PL) Liverpool
• 06.28.24 – KÖLN (D) Amphi Festival
• 08.08.24 – LOKEREN (B) Fonnefeesten
• 09.21.24 – LAUSANNE (CH) Les Docks

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.

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(Photos by Martyn Goodacre and Steve Gullick) Following the release of their first LP in 10 years on Mute, the Berlin-based collective Crime & the City Solution gets on the road UK/EU tour. The new “The Killer” album is out on CD, vinyl and as digital download or streaming.

The new Crime & the City Solution album began life as a PhD application that came to life when the band’s core members’ nomadic lifestyle put on pause by the pandemic. Simon Bonney and Bronwyn Adams found themselves stuck in their native Australia, under one of the world’s strictest lockdowns. “Naturally”, says Simon, “I sat and I pieced together a PhD application about decision making in Afghanistan in the late 80s. But as it turned out, it was actually more of a record than it was a PhD.”

The PhD and, by turn, the album found inspiration from Bonney’s work delivering aid programs across the Indo-Pacific region. Through that work, he visited places with high levels of violence and the album, in part, acted as a way in which to process the effect that turmoil has had on his psyche, of the “dead bodies in my dreams,” that he sings about in the title track. He explains, “There’s no mention of American decision making in Afghanistan on the album, but in terms of subject matter there’s a lot that’s pretty similar; a lot of the record is about loss of faith. There’s a veneer of normalcy and civilization that people hold onto until they just can’t hold on anymore, I’m interested in normalcy that exists within what we would consider to be extraordinary situations.”

While the idea came from Simon Bonney and Bronwyn Adams, the musical aspect was created by the combination of artists that became the second Berlin-lineup of Crime & the City Solution. Core members Simon Bonney and Bronwyn Adams were joined by Frederic Lyenn (piano, bass, synth), Donald Baldie (guitar), Georgio Valentino (synth, guitar), Chris Hughes (drums, percussion) and Joshua Murphy (piano, guitar), and for the first time they worked with a producer, Martin J. Fiedler, who also added synth and mellotron to the album.

Tour dates Crime & the City Solution

*All dates – supported by Joshua Murphy.

• 23/11/2023: Haacht, BE – Can’t Live In a Living-Room
• 24/11/2023: London, UK – The Moth Club
• 25/11/2023: Bristol, UK – The Cube Cinema
• 26/11/2023: Colchester, UK – Colchester Arts Centre
• 29/11/2023: Paris, FR – La Boule Noire
• 30/11/2023: Geneva, CH – L’Usine
• 1/12/2023: Karlsruhe, DE – P8
• 2/12/2023: Ebensee, AT – Kino Ebensee
• 3/12/2023: Zagreb, HR – Vintage Industrial
• 4/12/2023: Milano, IT – Arci Bellezza
• 5/12/2023: Munich, DE – Muffatwerk
• 6/12/2023: Prague, CZ – Fuchs2
• 7/12/2023: Budapest, HU – Instant
• 8/12/2023: Linz, AT – Stadtwerkstatt
• 9/12/2023: Poznan, PL – 2Progi
• 10/12/2023: Warsaw, PL – Niebo
• 12/12/2023: Dresden, DE – Chemiefabrik
• 13/12/2023: Hamburg, DE – Hafenklang
• 14/12/2023: Copenhagen, DK – BETA
• 15/12/2023: Oslo, NO – Salt
• 16/12/2023: Stockholm, SE – HUS7
• 17/12/2023: Gothenburg, SE – Musikens Hus
• 19/12/2023: Berlin, DE – Urban Spree

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.

side-line.com

Progress Productions have announced a new signing to the label: the US darkwave act Vexagon. Vexagon is the project of Briar Moth from Los Angeles, CA, who explores ideas of identity, sexuality, & dealing with the modern world as an autistic non binary person.

An album is in the making called “A New Flesh Experience”.

Torny Gottberg/Progress Productions: “Only a few times in my life have a heard an artist and had the feeling after 30 seconds that I NEED TO WORK WITH THIS!!!!” Vexagon is one of those really rare moments and we are so happy to have them onboard Progress and to introduce them to a bigger audience here in Europe. “A New Flesh Experience” is a perfect introduction to the amazing world and sound of Vexagon. “

The material has been remastered in Svenska Grammofonstudion in Gothenburg, Sweden by Hans Olsson.

More news later. For now you can check the project’s 2022 single “Voyeur”.

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.

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(Photo by Paul Husband) A Certain Ratio, commonly abbreviated as ACR, is an influential English post-punk band that originated in Flixton, Greater Manchester, in 1977. The initial formation featured Peter Terrell (guitar, electronics) and Simon Topping (vocals, trumpet), with Jez Kerr (bass guitar, vocals), Martin Moscrop (trumpet, guitar), Donald Johnson (drums), and Martha Tilson (vocals) joining shortly thereafter. In 1979, the band had the distinction of being among the first acts to debut on Tony Wilson’s iconic Factory Records, with their single “All Night Party” produced by Martin Hannett. During their early years with Factory, ACR achieved impressive success, securing seven Top Ten UK independent releases—most notably “Flight” and “Waterline”—and they initiated their album collection with “The Graveyard and the Ballroom” (1980).

In the late 1980s and early 1990s, the band transitioned through phases with major label A&M and Rob Gretton’s independent label Robs Records. During these periods, ACR’s activity varied. They made a notable return with their ninth studio album, “Mind Made Up” (2008), and have remained active in performance since, with their extensive back catalogue being reissued through a partnership with Mute Records. In September 2020, they released “ACR Loco”, their first new studio album in twelve years, followed by three EPs titled “A”, “C”, and “R” in 2021. In 2023, they released their eleventh studio album, aptly named “1982”.

Today, A Certain Ratio has unveiled a new remix by Emperor Machine—a moniker for close friend and collaborator Andy Meecham—of their track “Constant Curve”. This track will be part of their forthcoming 4-track EP, set to be released both on limited edition 12” vinyl and digitally on 22 September 2023 via Mute.

This remix sees Meecham revisiting “Constant Curve”, a song from the 1982 album that he originally co-wrote and contributed keyboards and electronic percussion to.

Explaining the process, Meecham says: “After the success of our previous collaboration, Martin [Moscrop] asked if I would record some synths for a new track. I loved it on first listen, so obviously I said yes. While working and writing some synths, I thought this is a great track, but it’s too short—it needs a Pettibone-style extended Dub mix, a proper extended 12” version with Donald [Johnson]’s drums more upfront in the mix, dubbed out guitars, and new vocal edit sections. I suggested this idea to the band, and thankfully they gave me free rein.”

The track can be found below.

The EP follows their latest album “1982” (released in spring this year), and includes three newly commissioned remixes of tracks from the album – Emperor Machine’s reworking, Werkha mix of SAMO, and Manchester producer Jade Parker’s remix of “Waiting on a Train” (feat. Ellen Beth Abdi & Chunky), alongside a brand-new track “Day by Day”, written and recorded with Ellen Beth Abdi.

A Certain Ratio recently announced a tour that celebrates 45 years of the band’s career. The dates will see A Certain Ratio perform two separate sets each night: the first set will represent the early years of their career from their Factory releases and A&M. The band will then reconvene for a set representing ACR from the early to mid-‘90s to 2024 including unreleased forthcoming material.

• 10 November – London, Moth Club – SOLD OUT
• 11 November – Preston, The Ferret
• 12 November – Glasgow, Stereo
• 15 November – Gateshead, The Sage
• 16 November – Reading, Face Bar
• 18 November – York, The Crescent
• 25 November – Brugge (BE), Cactus
• 2 December – Liverpool, 24 Kitchen Street
• 10 December – Manchester, Band on the Wall

A Certain Ratio will also be appearing at the following festivals:

• 19 August – Luna Festival, Coimbra, Portugal
• 26 August – Shambala Festival, Northamptonshire
• 27 August – Wrexfest, Wrexham
• 19 November – Shiiine On Weekender, Minehead
• 24 November – BBMix, Paris (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.

side-line.com

(Photo by Elvira Akzigitova) Crime & the City Solution have announced details of a new album, “The Killer”. It’s their sixth studio album, and their first in over a decade and is set for release via Mute on vinyl, CD and download on 20 October 2023.

You can already listen to a first track shared from the album, “Peace in my Time”. Simon Bonney explains the song is “about acceptance, more than just ‘peace’; I don’t think there’ll ever be ‘peace’ – nothing surprises me any more about what people to do to each other; but the song is about the acceptance of uncertainty, and also an acceptance of who you are.”

The video was made by Berlin based artist Elvira Akzigitova.

Working briefly in post-invasion Ukraine following the album’s completion, Simon Bonney saw that uncertainty again: “There was a building that was absolutely destroyed by a missile that was half a mile off the actual target. The buildings on either side were perfectly intact, but in the middle was a crater. Yet, in the face of such uncertainty, there was this incredible resilience that seemed to be born of accepting life as it was at that moment, no matter how challenging and uncertain.”

“The Killer” was recorded in Berlin by the second incarnation of the band to be based in the German capital. Core members Simon Bonney and Bronwyn Adams were joined by Frederic Lyenn (Piano, Bass, Synth), Donald Baldie (Guitar), Georgio Valentino (Synth, Guitar), Chris Hughes (Drums, Percussion) and Joshua Murphy (Piano, Guitar), and for the first time they worked with a producer, Martin J. Fiedler, who also added synth and mellotron to the album.

The band will also depart on a EU tour later this Fall:

• 23 Nov – Haacht (BE), Can’t Live In a Living-Room
• 24 Nov – London (UK), The Moth Club
• 25 Nov – Bristol (UK), The Cube Cinema
• 26 Nov – Colchester (UK), Colchester Arts Centre
• 29 Nov – Paris (FR), La Boule Noire
• 30 Nov – Geneva (CH), L’Usine
• 1 Dec – Karlsruhe (DE), P8
• 2 Dec – Ebensee (AT), Kino Ebensee
• 3 Dec – Zagreb (HR), Vintage Industrial Bar
• 4 Dec – Milano (IT), Arci Bellezza
• 5 Dec – Munich (DE), Muffatwerk
• 6 Dec – Prague (CZ), Fuchs2
• 7 Dec – Hungary (HU), Turbina
• 8 Dec – Linz (AT), Stadtwerkstatt
• 9 Dec – Poznań (PL), 2Progi
• 10 Dec – Warsaw (PL), Niebo
• 12 Dec – Dresden (DE), Chemiefabrik
• 13 Dec – Hamburg (DE), Hafenklang
• 14 Dec – Copenhagen (DK), BETA
• 15 Dec – Oslo (NO), Salt
• 16 Dec – Stockholm (SE), HUS7
• 17 Dec – Gothenburg (SE), Musikens Hus
• 19 Dec – Berlin (DE), Urban Spree

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.

side-line.com

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

Format: Digital, CD.

Background/Info: German-Swedish trio Menschdefekt released their fourth full length album by the end of 2022. “Recombination” features twelve songs and four remixes.

Content: Menschdefekt has always mixed different genres together creating a heavy, danceable, melting-pot. It’s not that different on “Recombination” where every single piece appears to be a true discovery. The work features the familiar EP-title song “Secular Days” featuring Jay Tazylor (J:Dead). Remixes were made by Teknovore, MissSuicide, Mechanical Moth and TBA.

+ + + : I like the mix between all these different -although related music genres. It sometimes creates a cool contrast which you’ll also find back in the vocals -switching from rough- to sweet parts. A few songs also feature guitar which only accentuates the diversity. The last song “Giana Sisters” is my favorite one for its ultra-diversity which however sounds balanced.

– – – : I wasn’t totally convinced by this new album which is mainly missing a true substance; I like the diversity but songs are missing an exploding effect leading to climax. The remixes can’t convince me either.

Conclusion: Menschdefekt stands for the meeting between Dark-Electro and Electro-Pop but their new work is not as good as I would like.

Best songs: “Giana Sisters, “The Calling”, “Secular Days Feat. Jay Taylor”.

Rate: 6.

Artist: www.menschdefekt.com / www.facebook.com/official.menschdefekt

Label: www.infacted-recordings.de / www.facebook.com/pages/Infacted-Recordings/124099254321690

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: Techno-Pop, Dark-Pop.  

Format: Digital, CD.

Background/Info: Timo Revna has been active under the Reichsfeind moniker since 2011. He released two noticeable albums before joining hands with Alfa Matrix. He re-edited both albums plus the new EP “Persona” (2020). “Darken” is his first new album released by Alfa Matrix.

Content: Reichsfeind moves on mixing different influences together. The work is constantly carried by Electro-Pop arrangements while carried by Techno elements and recovered with a darker touch. The vocals are pretty robotic while you’ll also notice female backings and multiple spoken samplings. The work sounds danceable and catchy.

+ + + : The main strength of this German project is the atypical Electro-Pop format. Electro-Pop and Techno elements have been mixed creating a visionary approach which might appeal for lovers of Faderhead and X Marks The Pedwalk. I like the darker touch supporting the songs but also the solid Techno boost. The songs are well-crafted and the tracklist reveals several potential singles. I however have a preference for “Red Pills” driven by a cold and solid lead which is more suited for Dark-Electro music. But that’s precisely the point where the artist shows his talent and visionary approach transforming this solid lead into a heavy, danceable, Electro-Pop driven song. I also recommend songs like “Wish There Was A Drug” for its elevating chorus plus “Desire” and “Darken” both carried by catchy choruses.

– – – : There’re a few ‘softer’, dreamy, pieces featured which aren’t exactly the best exponents of the work although injecting a few breaks.

Conclusion: There where too many electro-Pop artists remain inspired by the past and especially 80s productions, Reichsfeind opens a window upon Electro-Pop music for further generations.

Best songs: “Red Pills”, “Wish There Was A Drug”, “Desire”, “Darken”, “This”, “Frontiers”, “Moth”.

Rate: 9.

Artist: www.facebook.com/Reichsfeind

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Industrial, Ritual.

Format: Digital, CD.

Background/Info: “Heven” is the second album by O Saala Sakraal, a mysterious Dutch formation. This new opus comes three years after the debut album “Etmaal”.

Content: “Heven” features only 3 tracks (one more than the debut album). The work reflects a retro-like Industrial approach, which comes through in the percussion, but also in the ‘noises’ the work has been achieved with. The songs are featuring somewhat enigmatic voices, which at the second cut became a kind of exclamation format in Dutch. It creates a Ritual feeling, which totally matches with the Industrial sound of the work. A similar Ritual sensation comes back during the last cut.

+ + + : The Industrial percussion definitely appears to be the main strength of this collective. It brings good-old memories back to life, but most of all the ‘true Industrial spirit’. Mixing Ritual elements into their music creates the originality of O Saala Sakraal. There’s also something to say about the Dutch lyrics, which especially on “Apokatastasis” are truly freaky and commanding. The epic arrangements are also a great aspect of the production.

– – – : I regret the work only features 3 tracks; it’s more a kind of mini-album instead of a real full length.

Conclusion: O Saala Sakraal sounds as its name; intriguing and fascinating!

Best songs: “Apokatastasis”, “Moth Melismata: Photophilia”.

Rate: 7½.

Artist: www.facebook.com/osaalasakraal

Label: www.cycliclaw.com / www.facebook.com/cycliclaw

Inferno Sound Diaries

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

www.side-line.com

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

Format: Digital, 2CD.

Background/Info: “Mirrors” is the seventh full length album by German formation Mechanical Moth. Four years after their previous album, the band became a duo seeing the female singer Ivy joining in again. She previously contributed to the “Rebirth”-album (2009). This album is a double disc featuring the same eleven songs on each disc, but one disc features female vocals and the other disc male ones.

Content: Ladies first so the first disc is featuring female vocals. It feels a bit like a band that has reinvented its own sound. The sound treatments are pretty heavy, some passages being very dark while other ones are carried by bouncing kicks. The female vocals inject a sensual- and a graceful touch on top of the composition.  It’s a diversified composition, which sound-wise also reveals a pure transcendental passage in “Extinction Theory”.

The other disc featuring male vocals sounds clearly different. It’s more into a Dark-Electro approach, the cavernous vocals creating a totally different effect, but Mechanical Moth also brought some little, but essential differences in sound production.

+ + + : The concept is original and it’s just amazing to see how different –male & female, singers can put their stamp on a music composition. But you also can hear the little differences in sound production, which have been clearly made for both singers. I personally prefer the female-edit for the impressive sound treatments, which sound a bit as a contrast to the sensual vocals. Songs like “Stuck”, “La Petite Mort”, “Animals” and “Extinction Theory” reflect some magical moments. But on the other side I also noticed a few songs from the male-edit, which are much better. This disc is harder and darker. I recommend listening to “Pain With No Face”, which is maybe not the most powerful piece, but revealing a great progression.

– – – : The record has something pretty confusing, maybe a bit schizophrenic, but in the end it will catch a wider audience.

Conclusion: “Mirrors” has inspired Mechanical Moth to achieve a great concept, trying to find the ultimate harmony between female- and male fronted songs. It’s without a shadow of a doubt my favorite opus of the band.

Best songs: “La Petite Mort (Female)”, “Extinction Theory (Female)”, “Stuck (Female)”, “Animals (Female)”, “Pain With No Face (Male)”.

Rate: (8).

Artist: www.mechanicalmoth.de / www.facebook.com/mechanicalmoth

Label: www.darkdimensions.de /  www.facebook.com/pages/Dark-Dimensions-Label-Group/486014725206

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: EBM, Dark-Electro, Electro-Pop, Body-Pop, Electro-Wave.

Format: Digital, 2 CD.

Background/Info: Scanner is a subdivision of Dark Dimensions, which this year celebrates its twentieth anniversary. Set up by Francesco D’Angelo, Scanner has been always and mainly devoted to Electronic genres like EBM, Dark-Electro and Electro-Pop. The compilation features twenty six artists and songs reminding us of the great artists from this label.

Artists: Gin Devo, BhamBhamHara, Autodafeh, Kreign, DSTR, Fractal Age, Destin Fragile, Blue Images, Twins In Fear, Cyan Inc, Vomito Negro, [:SITD:], Eden Synthetic Corps, Mechanical Moth, Centhron, Intent:Outtake, Disorder:Mankind, Das Werk, X-Fusion, Spetsnaz, Grausame Töchter, Epinephrin, Black Heaven, A Spell Inside, Absurd Minds, Straftanz. 

Content: This sampler is a perfect way to (re)discover the Scanner label roaster, which features some great EBM names such as Autodafeh and Spetsnaz while other names such as [:SITD:], Vomito Negro + Gin Devo, Eden Synthetic Corps and Absurd Minds were more active in a darker EBM format, getting pretty close with pure Dark-Electro. Centhron and X-Fusion are for sure Dark-Electro! Other bands like BhamBhamHara and Straftanz are more representative of the progressive (Techno)-EBM format. A Spell Inside remains one of the ‘oldest’ bands from the roster and still one of the few to deal with Electro-Pop. And then there’s Grausame Töchter, which remains a very unique experience in sound. The compilation also features a few bands we’ve a bit forgotten like Fractal Age, Destin Fragile, Epinephrin. It’s also a while ago we’ve heard something from Cyan Inc. And there’re new signatures like the promising EBM formation Kreign and the Experimental-Electro Twins In Fear plus a few totally unknown names like Das Werk and Disorder:Mankind.

+ + + : When you take a brief look at the names featured at this compilation you can only, but agree Scanner has been for numerous years one of the leading labels from the Dark-Electro scene. But this compilation becomes really interesting when you’ll know that nearly all of the tracks are exclusive ones and/or rare edits. Frank D’Angelo always has had a nose to sign great artists, Kreign being the new sensation! My favorite cuts from the album are the ones by X-Fusion and Grausame Töchter remixed by And One.

– – – : This compilation doesn’t cover the entire Scanner roster, which says something about the Electronic welfare from the label. Some artists that haven’t been featured (because they’re no longer part of the label) are Amnistia, Stromkern, Distorted Reality, Sleepwalk, Page 12, The Eternal Afflict, Cycloon, Sara Noxx, Re:Work, Spiritual Reality, Inside, Das Präparat.. More than enough to fill an extra disc and they all are still part of this great label’s history.

Conclusion: This compilation is a part of history; 20 years of great underground music by Scanner!

Best bands: X-Fusion, Grausame Töchter, Autodafeh, Straftanz, BhamBhamHara, [:SITD:].

Rate: (8½).

Label: www.darkdimensions.de /  www.facebook.com/pages/Dark-Dimensions-Label-Group/486014725206

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

Gil O. Santos gained some recognition as member of the Brazilian EBM project MORGUE. He later on got involved with other projects and music styles, but came back to EBM with his solo-project AMORPHOUS. His newest album “Moth Metaphor” released on the Russian label Razgrom Music reveals a new sophisticated and intelligent writing mixing dark atmospheres and powerful EBM.

(Courtesy by Inferno Sound Diaries)

Q: How do you look back at the musician you were during the MORGUE period and the musician you became involved with AMORPHOUS?

Gil: MORGUE started as a duo, then it became a trio, and ended up as myself. MORGUE started before the internet explosion, before globalization, mobile phones, DAW, virtual synthesizers and plugins, so we had to do our best with the gears we could afford to buy, or borrowing from another musicians. During the MORGUE years, my music production and experience was just EBM and Dark-Electro.

From 2000 to 2010 I was fully involved with different music production as I was trying to have a career as sound designer and e-music producer, I took part to a movie soundtrack, I was making Psy-Trance, Tech-House, and Lounge music.

The urge for EBM and Dark-Wave production came back, then AMORPHOUS was born. As the name meaning, the main idea is to express electronic body music without a clearly defined shape or form, without a music cliché, an uncompromising electro-industrial music.

Q: Tell us a bit more about the new album “Moth Metaphor”? What is this album all about and what did you try to express by the title, which appears to me as a metaphor for the Western World, which is always driven towards more power and more welfare?

Gil: It’s all about criticism of power, religion, leaders, stupid society, and a strong wish for everyone to become aware of the matrix, a wish that people could appreciate a new way of understanding the universe that reconciles science & spirituality, eliminate religious fear & superstition that can lead to a new era of world peace and reconciliation.

Although moths are nocturnal animals, they are driven toward light for some unknown reason and represent wisdom of the other world, knowledge, clairvoyance and secrets.

The title expresses the phenomenon of the moth to a flame, which is a metaphor about emotional dependence. It is about how you sometimes feel attracted to the things that harm you. On the flip side, it may also lead you to fear the very thing that can free you.

Q: How do you perceive the evolution in sound and production of the AMORPHOUS releases? Do you handle specific criteria and/or references when it comes to the different aspects of composing and producing a song/album?

Gil :I believe it can be described as the most mature, inspired and technically polished release so far, it is a combination of pretty rough-sounding and noisy industrial dance tracks, atmospheric and cinematic soundscape.

The criteria were to create every song as a unique and remarkable experience. I tried to record all drum sessions using electronic percussion pads, playing live and recording instead of step sequencer or loops. I love to combine cinematic sounds and textures with contemporary electronic music.

Q: The most surprising –and I even dare to say totally unexpected song of the album is “Our Deepest Fear”, which is driven and inspired by the great Jacques Brel! How do you as Brazilian got in touch with the work of Brel and what did you try to achieve with this song?

Gil: Every album I tend to make a track where the lyrics and vocals (sampled) are taken from a poetry, short stories, novel or an audio book. I have used Edgar Allan Poe’s poem, “Brave New World” from an Aldous Huxley’s interview, Anne Rice’s novels “The Vampire Chronicles” (Lestat). This time whilst searching for some Gothic fiction, I came across with “Our Deepest Fear” poem by Jacques Brel, it fitted perfect to “Moth Metaphor” context, so I decided to use it.

Q: I know you’re interested by psychology so what does the Covid-19 pandemic evoke to you and its impact on people, artists, leaders etc..?

Gil: One mental health consequence of social distancing is the terrible loneliness that can prevail, as people are forced to remain inside their homes and away from gatherings and daily lives, which we may have taken for granted until now.

Luckily we are in the digital era and all virtually connected, but we all know that live streaming and zoom meetings will not fulfill the urge to shake our bodies and share music on a dance floor. As a therapeutic form of art, music offers that bonding power. Historically, music has been used by people to remain motivated, resilient, and united in the face of collective challenge, so I am crossing my fingers to get the old days of gathering at clubs and festivals as soon as possible.

Q: The CD edit of your album features three extra songs, which according to me still belong to the best tracks of the work. Does it mean you still believe in the CD format? How do you see things evolving and how do you see yourself evolving as artist?

Gil: Yes, I believe in all format of physical media and I feel something is missing when an album is just a digital release.

The 10 tracks album were ready to be pressed before end of March (CD & Digital) but due to lockdown restrictions it had a three months delay. As I had told to all fans and buyers that the CD would be available in March, there were many pre-orders so it was quite unfair to pay for a CD and receive it 4 months later. As a compensation for the delay, I decided to release the 10 announced tracks in March and compose 3 extra songs during the lockdown to add onto the CD, that was released end of July.

Every day I have new thoughts and a make new decisions about myself and my music. Reinventing yourself isn’t just a stunt, it’s required to survive. Because your personal brand can become a comfortable home where you know what to expect and others know what to expect of you. The only issue is that as a living creature, you grow.

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: EBM.

Format: Digital, CD.

Background/Info: I’ll always link Gil O. Santis with the great Morgue project, which was a true reference in the Brazilian EBM scene from the 90s. Later on the artist set up Amorphous as a solo-project and has released some great works. “Moth Metaphor” is Amorphous’ third full length studio album (there also is a remix- and live album) and the first one released on Razgrom Music. Notice by the way the CD edition features three extra songs.

Content: Amorphous is clearly driven by good-old EBM and Frontline Assembly might be seen as a potential source of inspiration, but globally speaking this project has something apart and very personal. The composition is accomplished with intelligence revealing elaborated song structures, minimalism and ghost-like atmospheres. The songs are dark, which is an aspect accentuated by the ghost-like vocals’ production. One of the most surprising cuts is “Our Deepest Fear” featuring a French poem by Belgian ‘chanson grand master’ Jacques Brel. 

+ + + : Amorphous simply confirms the potential exposed at previous albums. This is a styled and accomplished EBM, an intelligent format of body music resulting in a very personal approach. The songs are sophisticated, revealing an impressive number of layers with minimal-like sound arrangements on top. There’s a perfect twist between power and atmospheres, the last part of the work becoming darker. And I especially recommend the CD version for its bonus songs “Confinamiento” and “Kingdom Of Darkness (Empire Version)”. As a great admirator of Jacques Brel I’ve been particularly touched by the samplings referring to this great artist. 

– – – : I don’t have real minus points about this work, but it remains a pity Amorphous is still an underrated artist.

Conclusion: If you’re in search of intelligent and totally accomplished EBM, you better purchase this remarkable work by Amorphous.

Best songs: “Confinamiento”, “Kingdom Of Darkness (Empire Version)”, “Our Deepest Fear”, “Blackout”, “Unknown Things”, “Nonlinear Future”.

Rate: (8).

Artist: www.facebook.com/amorphous.sound

Label: www.razgrom.com / www.facebook.com/pages/Razgrom-Music/218060094876247

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-electro, industrial-pop.

Format: Digital.

Background/Info: Six years have passed since the last Menschdefekt-album “Touch Of Madness”. “Cursed” might be seen as the comeback for this German-Swedish formation featuring Fredrik Croona as singer. This album comes as an appetizer to the new opus “Empty World”.

Content: “Cursed” takes off with the title song as “Single Version”, which is a kind of dark-electro song accomplished with a catchy, poppy chorus. The vocals are harsh, but the melodic lead has something elevating. This is a song to all together sing and dance to.

We next get 8 remixes by Ruined Conflict, Frame Of Mind, Reichsfeind, X-Horize, BloodConnek7ion, DV8R, Nine Seconds and Mechanical Moth. 

+ + + : There’s no better way announcing a new album by such a sonic bomb! “Cursed” is a song you’ll rapidly keep in mind and before you realize it, you’ll be contaminated. You’ll spontaneously start to sing the chorus again and again to finally repeat the song again. I also heard several cool remixes like the more poppy- and minimal like one by Ruined Conflict. I also like the job done by Frame Of Mind, DV8R and Mechanical Moth.

– – – : It’s just a pity this EP only features one song and an endless list of remixes; good for the DJ’s, but I’m expecting a bit more so let’s wait for the album.

Conclusion: Menschdefekt strikes back with a dancefloor killer!

Best songs: “Cursed – Single Version”, “Cursed – Ruined conflict Remix”, “Cursed – Frame Of Mind Remix”, “Cursed – DV8r Remix”, “Cursed – Mechanical Moth Remix”.

Rate: (8).

Artist: www.menschdefekt.com / www.facebook.com/official.menschdefekt

Label: www.infacted-recordings.de / www.facebook.com/pages/Infacted-Recordings/124099254321690

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

Athan Maroulis will be always linked to Spahn Ranch and Black Tape For A Blue Girl, but the past few years he got involved with NØIR. Sound-wise this project is less comparable with his previous bands. It rather sounds as the juxtaposition of different influences, but in the end it has something intimate and subtle. The newest EP “A Pleasure” features the input of programmer / producer Erik Gustafson, keyboardist / vocalist Kai Irina Hahn, keyboardist / vocalist Demetra Songs and cello player Tracey Moth.

(Courtesy by Inferno Sound Diaries)

Q: Athan, you’ve been involved with many different bands and projects since the mid-’80s, so what does NØIR mean to you? And how much of the ‘young’ Athan Maroulis do you recognize in the experienced artist you’re today?

Athan: After an early period of transition, NØIR eventually came to represent something rather liberating. NØIR affords me the ability to drive the direction and style of the material while also remaining a collaborative forum where I can work with people I admire.

I remain somewhat similar to my younger self, I still enjoy the process of writing lyrics and performing, while also maintaining the determination of my youth, sans the anger. I would like to speak to my younger self and give him some good advice about life and music. Looking back, I have learned far more from my failures than I have from my successes.

Q: I got the impression NØIR originally started as a solo-project with the contribution of some guests while it later finally evolved towards a real band. What is it all about and tell us a bit more about the input and impact of the other members? Who’s doing what? And what about the song you did together with Jean-Marc Lederman?

Athan: Originally, NØIR had certain aspects of a solo-project, that was long ago, these days it feels like a real evolving band. Although I planned it as a short-lived project back in ’12, I brought in Kai and Demetra in 2013 as live members, both have been in the band ever since. Later, Erik Gustafson, who had played some guitar on the “Darkly Near”-album, became a full-time collaborator on “The Burning Bridge”-EP in 2016.

As a whole, electronic dark music is rather one-dimensional, I find that different contributors help add new color to the sound. Jean-Marc Lederman is a great example of that, he and I tried working on a project a few years ago, ultimately what came of it was the “Luxury”-demo. Erik completely reworked the song and added guitar, Kai did some backing vocals and Tracey Moth brought her cello to the party. Although juggling contributors from Austin, Brussels, Brooklyn, Boston and NYC was a challenge, I am really pleased by the results.

Q: What are you trying to achieve –eventually exorcize, with NØIR generally speaking and more specifically with the new EP “A Pleasure”?

Athan: For better or worse, I am always exorcising ghosts from the past. After Spahn Ranch broke up, I stopped making music for 10 long years. Afterwards, I joined Black Tape For A Blue Girl for a few years before starting NØIR, which is likely my last planned ensemble (although one never knows?) I’ve dabbled in a number of genres over the years and I believe NØIR is my opportunity to bring them all together under one banner.

At this stage of my career, each release becomes very personal. “A Pleasure” took a few years to assemble, as much as I enjoy the creative process, I have less patience for coordinating what is necessary to bring a release to completion. The title, “A Pleasure”, is partly sarcastic while also acknowledging my fetish for simple pleasures even amidst such turbulent times, the lyrics on the pair of new songs reflect that. The word ‘pleasure’ itself, was on my mind quite a bit during the process, then thrown into a conceptual stew that only exists in my mind. The title is also a nod to Roxy Music’s album “For Your Pleasure, while “A Pleasure to Burn” is a line from Bradbury’s “Fahrenheit 451”, the cover image features Julie Christie the star of the 1966 film.

“Luxury” is a song about serving the needs of bloated urban excess in New York City. I added the Fad Gadget cover because it fit the central concept of upheaval and raw pleasure. Ultimately, I achieved what I set out to do, which was to make a mini concept album. I was also surprised to find out that “A Pleasure” is already by far the best-selling NØIR release to date.

Q: It’s not an easy thing defining the ‘sound’ of NØIR, which in my opinion sounds like the juxtaposition of multiple influences and elements. Where does this ‘sound’ comes from and what are your references and criteria to create this ‘sound’?

Athan: Other than playing violin briefly as a child, I’ve never played an instrument, nor can I read music or understand keys. Although I can write, arrange, choose sounds and edit, my collaborators have been pivotal to my success and sound. I have many influences from the 1930s through the 1980s, although I believe the sound of NØIR is an amalgamation of each band I have ever been in. As for defining the sound, somebody once called NØIR ‘dark sophisticated pop’, perhaps that is right or perhaps that is foolish? For me NØIR is defined as a place where I can absurdly merge the imagery of old film stars with pulp novels while masquerading as a 1930s crooner in a contemporary electronic backdrop. It’s pure absurdist fun.

Q: NØIR appears to like recording cover versions. What does that mean to you and how do you manage making a cover version like the one from Fad Gadget released on the new EP?

Athan: NØIR cut “Back To Nature” for a compilation called “Under What Flag: A Tribute To Fad Gadget”. Naturally, other bands have covered the song in the past, it remains one of Frank Tovey’s best songs and that is why I did it. Aside from my admiration of Fad Gadget, it was a chance to experiment with a more aggressive approach to a NØIR song. I believe Erik Gustafson did a fine job producing the track, so much so that I decided to add it to “A Pleasure” because so few people heard the aforementioned tribute album and I wanted to recycle it.

I enjoy doing cover songs, I couldn’t give a damn if it is not en vogue these days. Keep in mind, nearly all music from the 1920s through the mid-’60s was dominated by cover songs or interpretive material, the artist brought their own approach, phrasing and style to the song and I still believe there’s room for that in 2020. NØIR has also taken part in tribute albums for Depeche Mode and Cabaret Voltaire, at some point I might collect all the cover versions by NØIR and release them as a full-length album.

Q: From a marketing/commercial perspective, I find NØIR to be a complicated band. Your debut album “Darkly Near” was released seven years ago, so why does it take so long to release a new studio album? Do you think there can be an impact releasing new studio albums at an irregular basis?  What comes next?

Athan: Spahn Ranch made five albums and four EPs in 7 ½ years, while also maintaining an exhaustive touring schedule. I really don’t know how I did it back then? These days, I am simply not a very prolific writer, so each release has purpose. The streaming era has prompted a number of bands to release singles or EPs, a shorter format for times of shorter attention spans and this has influenced me and suits me very well. I still like the idea of doing albums, it is simply that the game has changed, I believe artists can treat each release as individual complete works, regardless of length.

While NØIR has six individual releases on Metropolis Records, only “Darkly Near” is an actual album, I’d rather not wait for an album of material and instead have released EPs and such. I am ultimately planning to do at least one or two more albums with NØIR, yet I am not in a rush. I don’t feel as if I have anything left to prove, that, in and of itself is liberating. As for releasing albums at an irregular basis, I think there are other ways to keep the audience engaged such as compilation appearances, videos, performing, social media and so on. Again, the game has changed and there are no rules.

As for what comes next? NØIR was slated to perform at a few upcoming festivals, then the Corona virus naturally changed everything. Like everyone else, we wait and hope for the best for the entire world. Once the world begins to turn again, NØIR does have a new song on the upcoming “Electronic Saviors”-compilation ironically entitled “Death Is Easy,” and we are planning a new video for the song “Luxury” from “A Pleasure”.

Additionally, I wrote the liner notes on a Leæther Strip boxed set that will be released sometime this year and I am working on recordings with the New Zealand-based project Acclimate. Lastly, a toast to one and all, to the rapture of being alive! My sincerest thanks for supporting my releases over the years.

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: IDM, cinematographic.

Format: Digital.

Background/Info: Guido van den Brink (Atiq, Mindtrick Records label owner) and Pim Arnoldus (Enk) have already released a few productions together, but “Paradigm” is their first new experiment since the albums “Fear Of The Unknown” (2013) and “Embracing The Unknown” (2014).

Content: Time goes fast, but some values remain! “Paradigm” remains faithful to the earlier productions from this duo dealing with IDM. The work features 5 cuts, which are characterized by deep, blasting bass sounds, minimal bleeps, and astral synth lines and down tempo rhythms.  Zinovia Arvanitidi has been asked to sing on one of the tracks (cf. “Moth”) while Tangent (another familiar project from the Mindtrick roster) has been featured at the last cut (cf. “Redemption”). One of the tracks (cf. “Leviathan”) is moving into a more cinematic experiment.   

+ + + : This EP (or mini-album) is a remarkable comeback from this talented duo. Atiq & Enk are complementary artists and should just consider never making music without each other! The sound intelligence and global minimalism of the composition both remain intact; the magic is still operating. You can hear it throughout the blasting bass sounds, but still the little sonic effects –which are more noticeable by using headphones, confirm the genius of the project.

– – – : The main point with intelligent electronics is that it only catches the attention of a restricted number of music lovers. I can only encourage the duo to move on and hopefully release a new full length album.

Conclusion: Atiq & Enk belongs to this imaginary list of visionary electronic artists; musicians who only look forward opening paths for the further generations of composers!

Best songs: “Relativity”, “Within The Realm Of My Headlight”, “Moth”.

Rate: (8).

Artist: www.atiq–enk.com / www.facebook.com/atiqenk 

Label: www.mindtrick–records.com / www.facebook.com/mindtrickrecords

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.

Format: Digital.

Background/Info: Athan Maroulis will be always linked to Spahn Ranch and Black Tape For A Blue Girl, but the past few years he got involved with a new project called Noir. The album “Darkly Near” (2013) was a cool introduction to the dark-romantic pop style of the project. A few more EP’s were released while “A Pleasure” (released by the end of 2019) is the newest production. Athan Maroulis got some help from programmer/producer Erik Gustafson (Adoration Destroyed, Grendel), keyboardist/vocalist Kai Irina Hahn (The Sedona Effect), keyboardist/vocalist Demetra Songs and cello player Tracey Moth (Antidote For Annie).

Content: The title song (cf. “A Pleasure To Burn”) is a dark, bombastic outburst with a carrying chorus and featuring the charismatic vocals of Athan Maroulis. The song was remixed by Fires and Seeming.

We next get another new song (cf. “Luxury”), which has been written by Athan Maroulis, Erik Gustafson and Jean-Marc Lederman (The Weathermen ao). This song is more evasive. The last song of the EP is a “Reprise” of “Luxury”, which rather sounds as a short outro. Last, but not least you also will discover a cover version of the famous Fad Gadget song “Back To Nature”.

+ + + : Athan Maroulis remains a brilliant, charismatic singer. His unique timbre of voice injects a true spirit into the music. And the music of the title song is quite interesting for the mixing of bombast and refinement. Among the remixes I especially recommend the up-tempo edit by Fires. Covering “Back To Nature” is not that original, but the way the song has been adapted into the bombastic ‘style-noir’ is absolutely remarkable.

– – – : I didn’t experience “A Pleasure” as an absolute ‘hit’, but Noir isn’t exactly the kind of band achieving poppy-hits!

Conclusion: We can’t speak about a come-back, but “A Pleasure” is a good way to put Noir back on the map!

Best songs: “A Pleasure To Burn”, “A Pleasure To Burn – Fires Remix”, “Back To Nature – Radio Edit”.

Rate: (7½).

Artist: www.facebook.com/NOIRmetropolis

Label: www.metropolis–records.com / www.facebook.com/MetropolisRecords

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 Anglo-Dutch experimental rock act The Legendary Pink Dots will tour Europe in February 2020 to promote their current studio album “Angel In The Detail”, which was released in the late summer of 2019 via Metropolis Records. The tour also marks the band’s 40th anniversary since forming in 1980 and it concludes with a London show on 29th February.

And that’s not all says Edward Ka-Spel: “We’re cramming this anniversary with a lot of special, often handmade releases. Next up is a DVD-A edition of ’40 Angels – The Archive’, with just 89 being individually made that contain all 4.5 hours of the epic archive which appeared on our Bandcamp page last autumn.”

The full itinerary is as follows:

• 07.02.20 – GOTHENBURG (SE) Musikens Hus
• 08.02.20 – COPENHAGEN (DK) Alice
• 09.02.20 – MALMO (SE) Inkonst
• 11.02.20 – HAMBURG (DE) Markthalle Club
• 12.02.20 – BERLIN (DE) Quasimodo
• 13.02.20 – GDANSK (PL) Drizzly Grizzly
• 14.02.20 – POZNAN (PL) U Bazyla
• 15.02.20 – PRAGUE (CZ) Cafe V Lese
• 16.02.20 – VIENNA (A) Replugged
• 17.02.20 – BUDAPEST (H) Robot
• 18.02.20 – MUNCHEN (DE) Backstage
• 19.02.20 – LJUBLJANA (SLO) KUD Channel Zero
• 20.02.20 – BOLOGNA (IT) Freakout
• 21.02.20 – MILANO (IT) Ligera
• 22.02.20 – LUZERN (CH) Sedel
• 23.02.20 – FRANKFURT (DE) Nachtleben
• 24.02.20 – PARIS (F) Le Petit Bain
• 26.02.20 – KOLN (DE) Helios
• 27.02.20 – AMSTERDAM (NL) OCCII
• 28.02.20 – NAMUR (BE) Belvedere
• 29.02.20 – LONDON (UK) Moth Club

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.

side-line.com

The New York City-based dark electronic act NØIR will be releasing a 6-song EP entitled “A Pleasure”. It will be the band’s first new material since 2017. NØIR consists of vocalist Athan Maroulis (Spahn Ranch, Black Tape for a Blue Girl) and features programmer/producer Erik Gustafson (Adoration Destroyed, Grendel), keyboardist/vocalist Kai Irina Hahn (The Sedona Effect) and keyboardist/vocalist Demetra Songs.

“A Pleasure” includes the lead song “A Pleasure to Burn” with remixes by Fires as well as the band Seeming along with a new song entitled “Luxury”, co-written by Jean-Marc Lederman (The Weathermen) and features cellist Tracey Moth (Antidote for Annie).

Dedicated to famed English actress Julie Christie, this release also features a cover of Fad Gadget’s “Back To Nature”. “A Pleasure” will be released digitally by Metropolis Records on November 15th and will be supported by a string of select NØIR live dates.

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.

side-line.com

Industrial act Mindless Faith have just released their 7th full-length album, titled “Insectual”, that offers allegories of the modern world viewed through a primal lens. “Insectual” is currently available from the band directly at www.mindlessfaith.com and through Bandcamp. It will be available for purchase and streaming on additional platforms in the coming weeks.

A new video for the lead song, “Moth without a Moon”, was also just released in tandem with the album launch:

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.

side-line.com

Genre/Influences: Dark electro-pop.

Background/Info: Set up in 2017 by Liss Eulenherz (Intent:Outtake, Project Snowflake), Clodi Korzin (La Magra, Mental Defect) and ‘machinist’ Daniel Korzin (Mental Defect) this German trio already got a very positive response in their homeland and this before unleashing this official debut album.

Content: The work is driven by both female vocalists while Daniel Korzin is doing some backing vocals as well. I sometimes got the impression the music was composed to accompany both singers. The sound has something electro-wave and dark-pop like. It’s the kind of work that might appeal for lovers of early L’Âme Immortelle.

The album features 10 songs plus 5 remixes by Eisfabrik, ES23, Rabia Sorda, Mechanical Moth and Rroyce.

+ + + : The main strength of the album is emerging from the great vocals, which in a way inject some melody to the music. Sound-wise “Acid Pops” caught my attention with some filtered electro treatments. The best part for sure is the last one revealing great remixes by Eisfabrik and Rabia Sorda.

– – – : I can’t get away from the idea there’s something wrong with an album when you prefer the remixes instead of the original versions. Well, that’s precisely what I experienced listening to “Acid Pops”. The original edits are missing punchy choruses and a bit more elaboration in the composition.

Conclusion: There are some good ideas running through the work, but I’m afraid that’s not enough to speak about a successful album. But let’s not forget this is just the first album from a new band!

Best songs: “Incendio – Remixed by Eisfabrik”, “Breathe Me In – Remixed by Engel / Rabnia Sorda, Palast”, “Wasteland”, “Finite Incantatem”.

Rate: (6).

Artist: www.sonorus7.com / www.facebook.com/Sonorus7

Label: www.dansemacabre–group.de / www.facebook.com/dansemacabrerec

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-medieval, dark-electro.

Background/Info: Pedro- and Nadine Engel got mainly recognized as the terrific Acylum-duo, but they’re also involved with a few more projects. Totem Obscura last year released its second album “Nordische Feste”. The duo now strikes back with this EP featuring Hubert Kah on the title song. Hubert Kah worked together with Michael Cretu and was also involved in the legendary Sandra hit “Maria Magdalena”.

Content: This is more than simply an ‘extended play’ as it features 16 (!) songs, which are mainly remixes from the title track plus 4 more songs that were originally released on “Nordische Feste”.

The debut song is an “Extended Version” of “Helden”, which brings us back to the medieval and dark-electro style of the album. It also has something cabaret-like. Remixes have been done by Acylum and HausHetaere (both featuring the Engel gang), but also by Nano Infect, Ilia Romashov, Restriction 9 and Ethan Fawkes.

“Blut Marschiert”, “Eisenmann”, “Bastard” and “Verräter” have been remixed as well while you also get a remix of the “Waldgeist”-song (originally released on the band’s debut work “Forgotten Time”). The most noticeable bands from the list are Mechanical Moth, XMH, Omnimar and Synapsyche.

+ + + : Totem Obscura tries to intermix medieval atmospheres with dark-electronics and I’ve to admit it’s a rather original idea. It sometimes reminds me a bit of Heimataerde, but in the end it simply sounds different and Totem Obscura-like. This EP doesn’t reveal that much new except for a real sonic orgy of remixes. I like the “Helden”-demo version vs. HausHetaere, which sounds original and featuring great chants passages. Other noticeable remixes are the “Eisenmann”-remix by Omnimar, which has been empowered by guitar riffs and the great “Endzeit Edit” of “Waldgeist”.  Restriction 9 also did a noticeable minimal-like remix of “Helden” while the most surprising remix is for sure the dark-techno version of the title song by Ethan Fawkes.

– – – : You have to be a die-hard fan of the band to fully endure this 16-tracks EP. Too many remixes here, but probably not for DJ’s.

Conclusion: I still believe there’s more potential inside Totem Obscura than what came out on “Nordische Feste” and this EP. I think they still have to find the right balance between the influences. I however have to admit there are a few really cool remixes featured.

Best songs: “Helden feat. Hubert Kah – Demo Version vs. HausHetaere”, “Waldgeist – Endzeit Edit”, “Eisenmann – Omnimar Remix”, “Helden feat. Hubert Kah – Ethan Fawkes Remix”, “Helden feat. Hubert Kah – Restriction 9 Remix”.

Rate: (7½).

Artist: www.facebook.com/totemobscura

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Cinematographic, experimental, electronic, psychedelic, trip-pop.

Background/Info: Based in Edinburgh, Capital of Scotland, Bearsuit Records has already been active for a couple of years now. The label releases only a few albums a year so this sampler featuring 17 bands is an opportunity to get a bit more familiarized with the mainly experimental- and minimal taste of the record company.

Artists: Alexander Stordiau, PoProPo, Martian Subculture, Bunny & The Invalid Singers, Yponomeutaneko, Shinnosuke Sugata, The Moth Poets, Swords Reversed, Petridisch, Ageing Children, Kirameki, Manga Brothers, Steeples For People, Annie & The Station Orchestra.

Content: The sound universe of Bearsuit Records remains an open-minded window upon minimalism- and experimentalism. From cinema-like sounds to funky work to trip-hop rock to psychedelic-rock to experimental jazz to mystic passages to folk experiments this album is a truly sonic cocktail.

+ + + : If you’re into experimental music and you want to discover less familiar names from Belgium, Germany, UK, Japan, France, Scotland and US this compilation will for sure bring you a few surprises. Diversity is the keyword so everyone will find one or more tracks to their taste. My personal favorite is the into trip-hop and rock-minded track by Martian Subculture. I also enjoyed the track by Annie & The Station Orchestra, which is a formation I discovered in 2016 by the “Bingo Halls”-album. The song has been taken from this album, but remixed by Ullapul.

– – – : It’s not that the music is not that accessible to a wider audience, but it clearly remains experimental stuff for a restricted number of fans in the genre.

Conclusion: I can’t say that I fully enjoyed this work, but Bearsuit releases have always something apart from the rest and that’s a rather positive element.

Best bands: Martian Subculture, Annie & The Station Orchestra, Steeples For People, Manga Brothers, Alexander Stordiau.

Rate: (6).

Label: www.bearsuitrecords.web.com / www.facebook.com/bearsuitrecords

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Cold-wave, post-punk.

Background/Info: Moth was a Danish formation active in between 2012 and 2016. They released several productions and joined hands together with Mass Media Records. This album is a kind of retrospective featuring a selection of tracks that originally appeared on 7” and 12” plus a few unreleased songs.

Content: Moth sounds in the truest spirit of the 80s mixing influences such as cold-wave and post-punk. Everything sounds ‘retro’-like and even the few electronic arrangements are vintage-minded.

+ + + : I like this 80s emulation, which sometimes reminds me of The Cure for the guitar play. The guitar is an essential element of the production, but I also have to mention, the typical deep, bass parts and drums. There also is one great cut featuring female vocals. This song reminds me a bit to Siouxsie & The Banshees and reveals another side of this band. The song “Frozen Tears” is a great piece of ‘cold’ wave music.

– – – : I globally like this production although a few ‘softer’ and more evasive cuts are less convincing.

Conclusion: “20 Songs” is the perfect way to (re)discover Moth, which clearly was a talented formation emulating the darkest hours of the 80s.

Best songs: “Frozen Tears”, “Measured Time”, “Slow Burn”, “Young Future”.

Rate: (7½).

Band: www.facebook.com/dkmoth

Label: www.waverecordsmusic.com / http://pt–br.facebook.com/pages/Wave–Records/110635789015082

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Gothic.

Background/Info: Mechanical Moth became an established formation from active on the wide roster of Scanner/Dark Dimensions. The German formation set up in 2002 and mainly driven by front man Tandrin moved through several line-up changes and is now back on track unleashing their 6^th studio album.

Content: I’ve to admit I’ve never been a huge addict of Mechanical Moth. “Neverything” however will change my point of view. The work remains inspired by gothic moods, electronic sounds, guitar and mainly zombie-like vocal parts (mainly in German). But this production sounds more elaborated. There’s more harmony between the different aspects of the work, but still subtle treatments, cool female backings and evasive passages.

+ + + : I’m not saying that Mechanical Moth has completely reinvented their initial sound, but this work is, according to me, their best production in history. There’s more maturity in the global writing, but still a fascinating merge between dark atmospheres at one side and a kind of minimal wave-pop style at the other. Some songs are a bit retro-like while others are more into a goth-rock approach. I like this variation, accomplished by great sound arrangements played with piano parts and a few outstanding choruses. “Neverything” is a beautiful work revealing several great songs!

– – – : One of the few elements, which can’t totally convince me are the more into goth-rock songs. It here only concerns a few couple of cuts while the work features 13 songs. I’m maybe missing an absolute ‘hit’, but I got multiple great and essential songs instead.

Conclusion: The fans of the band will maybe not agree, but “Neverything” is without a shadow of a doubt the ‘opus magnum’ from Mechanical Moth. There’s a great evolution in the global sound writing and production!

Best songs: “Herzbeben”, “Dein Spiel”, “Suicide Note”, “Arise”, “Abendrot”, “Flug Unter Den Sternen”.

Rate: (8).

Band: www.mechanicalmoth.de / www.facebook.com/mechanicalmoth

Label: www.darkdimensions.de /  www.facebook.com/pages/Dark–Dimensions–Label–Group/486014725206

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-techno.

Background/Info: This new project was set up by R. Loren (Pyramids, Sailors With Wax Wings, White Moth) and Faith Malimba (Black Doll). They got some help from Kenneth Parker and Ashley Scott Jones while the vocals have been done by Marissa Nadler and Scout Pare Phillips. This is a serious ‘gang’ to accomplish 2 long duration cuts.

Content: “Chokehair” is an album I didn’t exactly expect to be released on Dark Vinyl. The sound is definitely driven by techno- and trance vibes. It sounds pretty groovy and the perfect music for raves.

But “Chokehair” is not exactly dealing with ‘cheap’ techno music. The sound has been accomplished by numerous sound effects, dark noises (especially on the second cut) and other experimental treatments. So in the end it all becomes a somewhat enigmatic techno sound, which finally ends into a noise apotheosis. I now better understand why Dark Vinyl has signed this project.

+ + + : Both songs have been meticulously worked out. It doesn’t sound that at all easy and “Chokehair” is much more than simply repetitive dance loops. I like the progression and the addition of somewhat background female vocals. The second cut sounds harder and is progressively joining a real climax along with pure noise treatments.

– – – : I can easily imagine some Dark Vinyl fans will be surprised discovering Gender Trouble, which remains pretty technoid. No doubt about it this is the kind of music that will find its place at rave parties and maybe not at industrial parties.

Conclusion: Gender Trouble is a band name that instantly catch the attention and that’s rather symbolic for the music they’re dealing with. This is a kind of alien-made techno music, but it makes sense and I enjoyed the rave…

Best songs: “Unknown Infant”, “Chokehair”.

Rate: (7)

Label: www.darkvinyl.de / www.facebook.com/darkvinylrecords

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 fine dark ambient label Cryo Chamber has just released a new release for the ‘threesome’ Apocryphos, Kammarheit, Atrium Carceri: “Echo”. “Echo” is the follow-up of the last album “Onyx” by Simon, Pär and Robert.

“Echo” explores mankind’s weakness to self destruction: “As nature is cyclical so is man’s will to destroy. Like a Moth drawn to pulsating light, the painful histories of the past echo with terrifying glee.”

You can listen to all of the tracks below. Next to the HQ audio download, the album is out on a CD in full color 6 panel digipak, plus you can also get the CD in one bundle with “Onyx” at a discounted price. Apocryphos is Robert Kozletsky, Kammarheit is Pär Boström and Atrium Carceri is Cryo Chamber label owner Simon Heath. Note that Heath – as usual – took care of some excellent artwork (and mastering).

An excellent release to enjoy during the very cold Winter!

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.

side-line.com

Synthpop act Glass Apple Bonzai aka the solo creative output of Daniel X. Belasco, is back with a new album, “In the Dark” via the Toronto-based Artoffact Records. Side-Line readers who follow us on Spotify will already have noticed that the band landed on our popular playlist today thanks to their authentic 80s synthpop touch.

So far Glass Apple Bonzai has self-released two albums of synthwave and synthpop, and with quite some success as the band won the ‘Album of the Year’ and ‘Electronic Dance Music Artist of the Year’ awards at the Niagara Music Awards in 2015 and 2016. They also performed at this year’s Iceland Airwaves Festival in Reykjavik, and played in Canada at the Terminus and Aftermath Festivals.

It’s the project’s third album and the first for a label. “In the Dark” will be released on December 9th as a 2CD digipak (order it here directly from the label’s mail-order) and with both black and purple vinyl formats following in the new year (but already available for ordering from the label’s mail-order). The album also features guest contributions from Alex Reed (Seeming) and fellow Canadian Hello Moth. The limited edition double-CD digipak includes an entire bonus disc of outtakes, demos, weird shit, and remixes.

Below is Glass Apple Bonzai with “Holy War”, the 2nd track from the album.

We also asked Daniel X. Belasco to define us the 5 albums that inspired “In the Dark”:

My Life With the Thrill Kill Kult – I See Good Spirits and I See Bad Spirits

Daniel X. Belasco: “Let’s start with the obvious. The first few My Life With the Thrill Kill Kult albums played a large part in the general tone and campiness I was going for with In the Dark. Most notably the usage of movie dialogue.”

“And This is What the Devil Does”

Talk Talk – The Party’s Over

Daniel X. Belasco: “To me, Talk Talk are one of the greatest bands ever and they serve as a constant source of inspiration for me in terms of songwriting and general attitude.”

“Talk Talk”

Killing Joke – Brighter Than a Thousand Suns

Daniel X. Belasco: “Like with Talk Talk, I view Killing Joke as one of the greatest bands that has ever existed. The lyrical content, the song construction, their power. Brighter Than a Thousand Suns has a wonderful ethereal quality that find its way into my music in various shapes, but it’s the raw awesomeness of Killing Joke that continues to inspire me.”

“Rubicon”

https://www.youtube.com/watch?v=TFcGLAfNwSs

Front 242 – Official Version

Daniel X. Belasco: “I was listening to Official Version a lot while working on In the Dark and the influence is fairly obvious in spots, notably anywhere where the synthbass and drums are locked in tight with each other.”

“Masterhit”

https://www.youtube.com/watch?v=RXtd_9-yWi0

The System – Sweat

Daniel X. Belasco: “I only discovered The System a couple of years ago while on a synthfunk binge and since then I’ve been hooked on their raw and emotional, yet simple funkiness. I’m a total sucker for strict mechanical beats and basslines and The System have that locked down hard.”

“You Are in My System”

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.

side-line.com