Bill Leeb, the legendary frontman of Frontline Assembly, as well as Delerium, Noise Unit, Intermix, Cyberaktif, and numerous other projects, is finally releasing his first solo-album after all these years. Model Kollapse draws inspiration from the world of AI and is infused with Leeb’s signature sound. While there are unmistakable EBM influences that echo Frontline Assembly, the album also incorporates elements from his other projects, making it distinctly Leeb. “Model Kollapse” is a meticulously crafted Electro piece that balances between intense, driving sections -my personal favorites, and more atmospheric, Ambient moments carried by rhythms. The album features guest appearances from members of ACTORS, contributing guitars and female backing vocals, and Mimi Page, known for her work with Delerium, lends her voice to the final track. Longtime collaborator Rhys Fulber also returns to produce several songs. Despite its strong start, the album concludes with a few weaker tracks, but overall, “Model Kollapse” stands as a compelling and polished addition to Leeb’s impressive discography. (Rating:8).

Listen to “Neuromotive”:

Read the news on ‘Model Kollapse’.

About Bill Leeb

Bill Leeb is an Austrian-born Canadian musician based in Vancouver. He began in Skinny Puppy in 1984 under the name Wilhelm Schroeder.

In 1986, he founded Front Line Assembly, initially with Michael Balch, later joined by Rhys Fulber and Chris Peterson. In 1987, Leeb and Fulber launched Delerium, which later achieved international recognition with “Silence”.

Over the decades, Leeb’s projects have appeared on labels including Nettwerk, Third Mind, Wax Trax!, Cleopatra, Dependent, and Metropolis Records. His first solo album “Model Kollapse” was released on September 13, 2024 via Metropolis, followed in 2025 by the “Machine Vision” EP.

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 Bobby Talamine) Bill Leeb’s first solo album, “Model Kollapse”, drops tomorrow. Leeb, a Vancouver-based musician, is best known as the mastermind behind electro-industrial giants Front Line Assembly and ambient-pop duo Delerium. He’s also played a pivotal role in projects like Noise Unit, Intermix, and Cyberaktif.

This marks Leeb’s first solo effort since the early days of Front Line Assembly in the mid-80s, when he began recording in his bedroom and released his work on limited edition cassettes. Nearly four decades later, “Model Kollapse” was crafted between Vancouver, Toronto, and Los Angeles, with production support from Dream Bullet, long-time collaborator Rhys Fulber, and mixing engineer Greg Reely.

You can now stream the full album exclusively on Side-Line, including standout tracks like “Demons” and “Terror Forms”.

Today we can also present you this brand new video for “Muted Obsession”.

Musically, “Model Kollapse” taps into the legacy of post-punk electronic pioneers like DAF, Front 242, and Skinny Puppy (Leeb himself being an original member), while also drawing from more contemporary influences like Gesaffelstein and ADULT.

The album’s title refers to a phenomenon in artificial intelligence where trained models, particularly those dependent on synthetic or AI-generated data, degrade over time. Leeb elaborates, “As we push forward with unprecedented technological advances, I wonder how much longer we can truly stay in control. Automation has already consumed entire industries. With tech ruling much of the world, are we headed for a ‘Model Kollapse’? Chaos would surely follow.”

Released by Metropolis Records, Leeb notes the label’s crucial role in alternative music, saying, “This album was possible thanks to my long-standing friendship with the late Dave Heckman, who gave me complete artistic freedom.” Heckman, Metropolis’ founder, passed away in the summer of 2022.

Videos from “Model Kollapse”

Bernard - Side-Line Staff

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

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Out on September 13th via Metropolis Records is the first all solo album from Bill Leeb, titled “Model Kollapse”. The 11-track album “Model Kollapse” comes in two versions, a CD in digipak and a thick 16 pages booklet, and as a limited bleach effect double vinyl. The vinyl is limited to 500 copies and comes in extra heavy gatefold sleeve with seperate printed inner sleeves.

The first single “Terror Forms” features Shannon Hemmett of Actors and Leathers and will be out on July 9.

The album was recorded and produced in Vancouver, Toronto and Los Angeles with assistance provided by production duo Dream Bullet and long-term Front Line Assembly / Delerium cohort Rhys Fulber, plus regular mixing engineer Greg Reely.

Two tracks on the album feature Shannon and Jason from Canadian Electropop act Actors and one track has American singer-songwriter Mimi Page, who already collaborated with Bill on his Delerium project.

Tracks: Read the review of ‘Model Kollapse’.

1. Demons
2. Exotic Matter
3. Neuromotive
4. Folded Hands
5. Pinned Down
6. Terror Forms (feat. Actors)
7. Muted Obsession (feat. Actors)
8. Simulation
9. Infernum
10. Fusion
11. Erosion through Time (feat. Mimi Page)

About Bill Leeb

Bill Leeb is a Vancouver-based Canadian industrial musician, founder of Front Line Assembly, formed in 1986 after he left Skinny Puppy, and co-founder, with longtime collaborator Rhys Fulber, of the ambient project Delerium, begun in 1987. Despite decades of output across those projects, Leeb had not released a solo album under his own name until “Model Kollapse,” issued 13 September 2024 on CD, vinyl and digitally through Metropolis Records.

“Model Kollapse” was recorded across Vancouver, Toronto and Los Angeles, with production assistance from the duo Dream Bullet and Rhys Fulber, and mixing by longtime engineer Greg Reely. Guest contributors include Mimi Page, Jason Corbett of Actors and Shannon Hemmett of Actors and Leathers. The eleven-track album’s title and themes reference model collapse, the phenomenon in which AI models trained on synthetic data degrade over successive generations. “Model Kollapse” is Bill Leeb’s first release under his own name, separate from his work in Front Line Assembly and Delerium.

Bernard - Side-Line Staff

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

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(Photo by Bobby Talamine) Metropolis Records announces the signing of industrial-electronic Vancouver-based music legend Bill Leeb for his debut solo effort “Model Kollapse”, out September 13.

“The album explores the intricacies of artificial intelligence and the survival of humanity itself,” says Bill Leeb.

The first single “Terror Forms” features Shannon Hemmett of Actors and Leathers and will be out on July 9. This album also involves Front Line Assembly / Delerium cohort Rhys Fulber, mixing engineer Greg Reely, Actors’ frontman Jason Corbett, and LA artist Mimi Page.

“We are proud to announce that Metropolis Records has signed Bill Leeb for his first solo project. Bill Leeb has had a prolific career as a founding member of Skinny Puppy, Front Line Assembly and Delerium. His music has been highly influential, and we are excited to see what this new chapter in his career will bring for him and his listeners,” says Nina Heckman of Metropolis Records. “I’m honored to fulfill my father’s (Dave Heckman who died in the summer of 2022) lifelong vision and to be doing this project with a lifelong family friend I can honestly call family (Bill Leeb). This project is near and dear to all of our hearts here at Metropolis and I know it would make my father proud.”

“Model Kollapse” marks Leeb’s very first solo venture since the mid-80s days of Front Line Assembly, when he used to make recordings in his bedroom and released them on limited edition cassette format. Almost four decades on, his new album was recorded and produced in Vancouver, Toronto and Los Angeles with assistance from Vancouver/Toronto-based production duo Dream Bullet.

The “Terror Forms” single will be unleashed digitally everywhere on July 9. The full “Model Kollapse” album will be released on vinyl and CD, as well as digitally, on September 13.

About Bill Leeb

Bill Leeb, born Wilhelm Anton Leeb on September 21, 1966, in Vienna, Austria, is best known as the founder and lead member of the industrial music group Front Line Assembly (FLA). Leeb moved to Canada in the 1980s, where he began his music career.

Before forming Front Line Assembly in 1986, Leeb was a member of the influential industrial group Skinny Puppy, where he performed under the pseudonym Wilhelm Schroeder. His departure from Skinny Puppy marked the beginning of his career with Front Line Assembly.

In addition to Front Line Assembly, Leeb has been involved in several other music projects, including Delerium, which achieved commercial success with its fusion of ambient and pop music elements. Leeb’s other projects include Noise Unit, Intermix, and Conjure One, each exploring different facets of electronic music.

Bill Leeb discography

Bill Leeb has had a diverse range of musical projects, each with its own unique style and sound. Here’s an easy-to-read breakdown of the differences between his major projects:

Front Line Assembly (FLA) is characterized by a dark and aggressive style, blending industrial, Electronic Body Music (EBM), and electro-industrial sounds. The music features heavy use of synthesizers and electronic beats, often exploring dystopian and sci-fi themes.

Delerium, on the other hand, focuses on ambient, ethereal, and electronic music with a new age twist. Its sound is soothing and atmospheric, emphasizing melodies and textures. Delerium often incorporates world music elements and features various guest vocalists, achieving mainstream success with tracks like “Silence” featuring Sarah McLachlan.

Noise Unit features a mix of industrial, EBM, and techno influences. Over time, the project’s sound has varied, combining harsh industrial elements with more danceable EBM and techno beats. Collaborations with artists like Marc Verhaeghen of Klinik add to its diverse range of styles.

Intermix leans more towards techno, ambient, and electronic music. This project focuses on instrumental tracks, blending electronic and ambient music with techno rhythms. It is generally less aggressive than Front Line Assembly.

Conjure One presents a melodic and ethereal sound, incorporating ambient, electronic, world music, and pop influences. It features prominent guest vocalists and offers polished production with a radio-friendly appeal, blending electronic beats with organic instruments.

Cyberaktif, a collaboration with cEvin Key of Skinny Puppy, delivers a dark and experimental sound. Combining the signature styles of Front Line Assembly and Skinny Puppy, Cyberaktif features heavy use of samples and aggressive beats, resulting in a dense, experimental industrial sound.

Equinox focuses on ambient and atmospheric soundscapes, similar to early Delerium works but more abstract and experimental. It emphasizes creating immersive sound environments with a minimalistic approach.

Pro>Tech is a dance-oriented project with techno and trance influences. It features high-energy beats and repetitive, hypnotic structures, offering a clear departure from the darker styles of Leeb’s other projects, aiming for a more mainstream dance music appeal.

Below are the releases.

Front Line Assembly

• The Initial Command (1987)
• State of Mind (1988)
• Gashed Senses & Crossfire (1989)
• Caustic Grip (1990)
• Tactical Neural Implant (1992)
• Millennium (1994)
• Hard Wired (1995)
• FLAvour of the Weak (1997)
• Implode (1999)
• Epitaph (2001)
• Civilization (2004)
• Artificial Soldier (2006)
• Improvised. Electronic. Device. (2010)
• Echogenetic (2013)
• Wake Up the Coma (2019)
• Mechanical Soul (2021)

Delerium

• Faces, Forms & Illusions (1989)
• Morpheus (1989)
• Syrophenikan (1990)
• Spiritual Archives (1991)
• Stone Tower (1991)
• Spheres (1994)
• Spheres 2 (1994)
• Semantic Spaces (1994)
• Karma (1997)
• Poem (2000)
• Chimera (2003)
• Nuages du Monde (2006)
• Music Box Opera (2012)
• Mythologie (2016)

Noise Unit

• Grinding into Emptiness (1989)
• Response Frequency (1990)
• Strategy of Violence (1992)
• Decoder (1995)
• Drill (1996)
• Voyeur (1998)
• Dead Sector (1999)
• Deviator (2021)

Intermix

• Intermix (1992)
• Phaze Two (1993)
• Future Primitives (1995)

Conjure One

• Conjure One (2002)
• Extraordinary Ways (2005)
• Exilarch (2010)
• Holoscenic (2015)
• Innovation Zero (2023)

Cyberaktif

• Tenebrae Vision (1991)
• Temper (EP) (1990)

Equinox

• Holon (1998)

Pro>Tech

• Orbiting Cathedrals (1997)

Side-Line also covered Front Line Assembly’s ‘Molotov (Remixed)’.

Bernard - Side-Line Staff

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

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Celebrating its 30th year, Audioglobe, the most important distributor in the darkwave scene, just shared a statistical review, revealing the shifts and trends in the darkwave (and related) music genre.

Our readers will surely remember that we have reported on these stats for years, until 2018, the first year that Audioglobe didn’t communicate these stats. Sebastian Koch from Audioglobe explains: “Some customers never really cared that much about these, as they have better things to do than reading boring mails from the undersigned. But… Surprisingly there are quite a high number of customers, that sort of ‘complained’ about the fact, that no stats were being done any longer… The reason is: I was simply always far too busy in past years. Anyway: Here we go with the first new stats since 2017!”

So here are some export facts.

Top 10 Bestselling Labels of 2023 (export)

1. FABRIKA/DEAD SCARLET
   • She Past Away, Lebanon Hanover, Selofan, Kaelan Mikla, M!R!M, Doric…
2. METROPOLIS
   • Birthday Massacre, Delerium, Front Line Assembly, A Projection, KMFDM, Legendary P.D…
3. ICY COLD/MANIC DEPR.
   • Twin Tribes, Je T’aime, Traitrs, Kill Shelter, Closed Mouth, Talk to Her, Schonwald…
4. ALFA MATRIX
   • Alien Vampires, Front 242, Metroland, Die Robo Sapiens, Elm, 808 Dot Pop, Helalyn Flowers…
5. RUSTBLADE
   • Claudio Simonetti, Ennio Morricone, Lycia Lunch, Spiritual Front, Ketvector, Legendary Pink D…
6. OUT OF LINE
   • Blutengel, Hocico, Solitary Experiments, Suicide Commando, Signal Aout42, Erdling…
7. TRISOL
   • Sopor Aeternus, Rome, Clan of Xymox, Asp, Ostara, Skinflicks, Nachtmahr, Mantus, Soman…
8. DEPENDENT
   • Kirlian Camera, Girls Under Glass, Spectra*Paris, Mildreda, Black Nail Cabaret, Beborn Beton…
9. ARTOFFACT
   • Actors, Noise Unit, cEvin Key, Kaelan Mikla, Ploho, Sacred Skin, Kauan, Ken Mode, Spectres…
10. AUERBACH
    • Spiritual Front, Sol Invictus, Tenhi, Moon and the Night Spirit, Haavard, Hekate, Orplid…

Best Export Territories of 2023

If we look at the Audioglobe stats, we notice that Germany and Greece remain the company’s strongest markets, continuing a trend that has been consistent for ages. However, the 2023 statistics reveal some notable shifts.

Canada, once a prominent market for Audioglobe, has surprisingly disappeared from the export landscape. In contrast, the United States and the United Kingdom have re-emerged as significant territories, marking their return to prominence in the darkwave music scene after several years.

The most unexpected development in 2023 is the rise of Australia as a key market. This growth stands in stark contrast to Switzerland, which, despite its affluence, has seen a sharp decline in sales. Sebastian Koch adds: “The (by far!) lowest sales of all countries where we export to, was to Switzerland… The rich Swiss don’t buy records! Since I left the country (1990), something is wrong back home!”

Here is the top 10 list of export territories:

1. Germany
2. Greece
3. Netherlands
4. Portugal
5. USA
6. United Kingdom
7. Australia
8. Spain
9. Russia
10. Poland

Not in the top 10, but France, Japan, Malta, Brazil, Sweden, Mexico, and Perù are also good export territories for Audioglobe.

Bernard - Side-Line Staff

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

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Out via the Slovakian label Aliens Production is the all new album by the one-man project Fractal. The new album called “Antidote” is out on CD and available also in digital formats.

Behind Fractal we find the Polish EBM musician Tomasz Lukowicz. Tomasz: “The brand new album is a work whose production took place in the previous months, so this is a new direction and view of my musical world. Musically, the project is on a synthetic wave full of pulsating electronics and melodic structures. Of course, the melancholic instrumentals are also included in the new concept, where they are a strong part of the album.”

The 10-track album, mastered by Anatoly TOKEE Grinberg, is heavily influenced by bands such as Front Line Assembly, Haujobb, Forma Tadre, Noise Unit and related acts.

Here’s the video for “Leaving a dead planet” (Predator mix). Read the review of ‘Antidote’.

Bernard - Side-Line Staff

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

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Industrial outfit Noise Unit shares a new single “Dub It Up” today. This is the second single off of the group’s upcoming full-length “Cheeba City Blues” out October 21st via Artoffact Records. In July, Noise Unit already released “Alone Again”, the first single off of their upcoming album.

The album “Cheeba City Blues” was recorded by Bill Leeb and the late Jeremy Inkel (also of FLA fame). It references William Gibson’s 1984 science fiction novel “Neuromancer” set in Chibi City, Japan and is considered one of the first in the cyberpunk genre. It was Gibson’s debut novel and the beginning of the ‘Sprawl’ trilogy. Set in the future, the novel follows Henry Case, a washed-up hacker hired for one last job, which brings him in contact with a powerful artificial intelligence.

“Cheeba City Blues” is the follow-up to Noise Unit’s 2021 record “Deviator”, also released via Artoffact Records. “Deviator” was the first full-length from Noise Unit in over 15 years and included work by Leeb and Rhys Fulber.

Here are the two singles.

Bernard - Side-Line Staff

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

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Rhys Fulber will be always connected with music projects like Frontline Assembly, Delerium, Conjure One, Will, Noise Unit, Intermix, Synaesthesia ao. The Canadian musician remains a prolific artist who also started releasing music under his own name. Both previously released albums “Your Dystopia, My Dystopia” (2018) and “Ostalgia” (2019) were ground to explore Techno- and IDM fields. The “Resolve”-EP (2020) revealed a radical change into Ambient Music. The newest opus “Brutal Nature” released on Rhys’ own label FR Recordings sounds as the offspring between Techno and Ambient. I talked with Rhys Fulber about this new and visionary work.  

(Picture credits by by Adam De Ville / Interview courtesy by Inferno Sound Diaries)

Q: I remember you said this solo-project all started by some jam sessions with modular synths, which finally resulted in the album “My Dystopia, Your Dystopia”. How did it happen for “Brutal Nature”? Is it still a kind of instinctive process or more a suspicious one? 

Rhys: “Brutal Nature” was probably the most deliberate solo record so far, so not as much ‘jamming’ took place. It was actually made on a much smaller set up than the previous two which let to a more intimate sound in places.

Q: The album was recorded during your stay in Canada while you got inspired by elements of nature. Tell us a bit more about it and especially the connection with the album title? What has been the impact of the ongoing pandemic and the quarantine restrictions? 

Rhys: The core of the album was born in the initial lockdowns in Los Angeles when I just took a few pieces of gear home to work on, then halfway through relocated to a small coastal town in British Columbia I used to live in where that environment helped me fine tune the songs and make it become an album. 

I did all the test listening on a deserted rocky beach by a decaying cabin and all the bits and pieces of mankind washing up on the beaches and abandoned concrete infrastructure gave me the title. The juxtaposition of the two elements.

Q: How long did it take to write and record the tracks of “Brutal Nature”? And what are the different stages you’d to go through to achieve this work? 

Rhys: A couple tracks like “Pyrrhic Act” and “Rogue Minority” were started in L.A circa 2019, then the main material was shaped from spring to fall 2020 in the lockdown era. I usually have a bunch of ideas then figure out the direction and pull them all together as an album. Like I said earlier that fine tuning took place once I got into the coastal environment in British Columbia.  

Q: I can imagine “Brutal Nature” must have been a special recording as you were not working in your studio so how did it feel to work outside your ‘comfort zone’? What have been the pros and cons? And did you encounter major difficulties and/or challenges? 

Rhys: Honestly I can work anywhere I can set up some gear so I kind of liked the variety. The cons would be ‘unreliable monitoring environments’ and having to use headphones. The pros in L.A were no commuting! 

The studio I was using up here was a very finely tuned room so in a way it was an upgrade to my old L.A studio.

Q: “Brutal Nature” sounds to me as the offspring between Techno- and Ambient music, which makes the work pretty exciting and original. How would you analyze this album and its sound approach? 

Rhys: I had started making more ambient material and instead of using it for a another project I thought it would be better to make the solo-project more honest and include all the different sides.  I tried it with the “Resolve”-EP first. A few of the songs like “Chemical” and “Fragility” were going to be used elsewhere but then it suddenly made sense as part of this album and in many ways they are the core pieces now. I think there is so much Techno, EBM and club tools out there you need to find your own angle on things, so I wanted to cultivate a more ‘Soundtrack-Techno’ type sound that includes all tempos and emotions and highlights what I feel are my strengths musically.

Q: You’re now releasing your work on FR Recordings, which is your own label. What’s the idea behind FR Recordings and how do you manage all different elements like pressing, promotion, distribution, social media etc?

Rhys: I just wanted to release the music I want on the schedule I want in a more direct self-curated way. Also doing things for art’s sake like the live cassettes, with very artistic packaging and design (with Berlin artist Janina Schuetz) which most labels wouldn’t do because it is not profitable.  

As far as the logistics, I used similar set up the labels I’d release on used and hired promo people etc. It’s mostly people I know from over the years of making records. I am looking to release some other artists as well this year and develop it a bit more.   

Inferno Sound Diaries

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

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Portland, Oregon-based ambient act Slighter returns with “V O I D”, the follow-up to their 2019 album “Automata”. On “V O I D” mastermind Colin C. brings a new collection of songs, continuing the atmospheric and moody style he’s known for.

At the moment a campaign is running to get “V O I D” pressed to vinyl. Along with the original 9 album cuts, you’ll get 2 bonus tracks: “The Hunt” (featuring Moris Blak) and “Lights Out” (featuring Craig Joseph Huxtable of Ohm/Front Line Assembly/Noise Unit) plus the single “Cold Calculation” and an unreleased reprise of “Burning Embers”.

You can check out the campaign right here.

Check out the video for “Complicit”.

Bernard - Side-Line Staff

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

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Front Line Assembly’s Bill Leeb and Rhys Fulber have just announced “Deviator”, the first new Noise Unit record in over 15 years. The duo will release the new album on Toronto-based Artoffact Records on double vinyl, CD digipak, and digital formats.

The new album features exclusive artwork by Dave McKean (see below), and one of the announced tracks is a collaboration with KMFDM / PIG vocalist Raymond Watts. The first single to drop from the record is “Body Aktiv”.

About Noise Unit

Noise Unit was founded by Bill Leeb of Front Line Assembly as a side project. The project has seen several changes in line-up, with Bill Leeb being the only permanent member.

Noise Unit’s first album, “Grinding into Emptiness”, for instance arose from the collaboration between Leeb and Marc Verhaeghen of Belgian industrial band Klinik. It was released in 1989 through Wax Trax! and Antler-Subway. The 1990 album “Response Frequency” included Rhys Fulber. While Verhaeghen left Noise Unit for several years, Fulber remained with the band for the next three releases. Verhaeghen resumed his collaboration with Noise Unit for the 1996 album “Drill”, which also featured members of German industrial band Haujobb.

After an eight-year hiatus, Leeb teamed with former Front Line Assembly member Chris Peterson in 2004 to release “Voyeur” in 2005. Jason Filipchuk and Michael Balch also contributed to the album.

Bernard - Side-Line Staff

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

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Genre/Influences: EBM, Dark-Electro.

Format: Digital, 2CD.

Background/Info: German duo Arnte and Schmoun aka Pyrroline doesn’t release new albums on a regular basis, but they now strike back with the fourth album to date. Both protagonists were also involved with Nordschlacht, which unfortunately only released one single album in 2007.

Content: Four years have passed since the previous album, but nothing has really changed when it comes to influences. Pyrroline doesn’t innovate, remaining faithful to their old-school EBM reminding Skinny Puppy and Mentally & The Fixer. The work has a strong déjà-vu feeling, but globally speaking Pyrroline has seriously improved little details of the global production. The songs have been supported with haunting synth atmospheres while accomplished by Industrial sound treatments. I also noticed a few delicate passages. Arnte’s vocals are totally fitting to the ghost-like EBM while Schmoun is now and then injecting a female touch to the vocals.

The bonus disc features a few extra songs, which sound in the same vein as the main disc. But we also get an impressive number of remixes by The Opposer Divine, G.O.L.E.M., Sleepwalk, Amorphous, Fix8:Sed8, Jihad, Terminal State and 2 remixes by Placebo Effect.

+ + + : No doubt about it, “Struggling” is Pyrroline’s opus magnum! The production never has been that elaborated, revealing a great songwriting with dark and Industrial sound treatments. There’s a right balance between the sound and the vocals. Especially the 3 debut songs left me breathless; Pyrroline here reveals its harder side, but every single note and synth sound at the right place. I like when an album gives me the feeling of mathematics… The work is powerful, but also very atmospheric, the band here again reminding me to music from Benestrophe, Noise Unit ao.

Among the bonus disc I also discovered 2 excellent extra songs (both debut cuts) while there’s an interesting list of remixers. Most of the bands are dealing with a similar sound, but it’s great to see Fix8:Sed8 (definitely the new Master when it comes to composing Skinny Puppy-inspired Electro) and Placebo Effect. My favorite remixes are however these by G.O.L.E.M. and and especially Terminal State.

Last, but not least I also have to say a word about the cool digipak format of the album. Electro Aggression Records doesn’t release that much stuff, but each time again, it’s a very artistic and professional layout!

– – – : A very few songs couldn’t totally convince me, but you don’t hear me to complaining. I just can imagine some Electro heads will consider this band as inferior to the real masters in the genre… but it’s quite a long time ago since Skinny Puppy achieved such a masterpiece!

Conclusion: If you like intelligent old-school driven EBM, Pyrroline is for sure a great addition to your collection!

Best songs: “Song Of Deliverance”, “Battleground”, “This Dusky Faith”, “What Might Have Been”, “The Divine Image” + “State Of Things”, “Atelier Complex”, “Stop Acting So Small – Remixed by Terminal State”, “Song Of Deliverance – Remixed by G.O.L.E.M.”

Rate: (8½).

Artist: www.facebook.com/arnteANDschmoun

Label: www.electroaggressionrecords /  www.facebook.com/ElectroAggressionRecords

About Pyrroline

Pyrroline is the German duo of Arnte (production, vocals) and Schmoun (composition, arrangement, vocals). The project debuted with “Behind The Horizon” (2010), followed by “Ruins Outlast” (2013) and “In The Dawn Of Freedom”, reviewed by Side-Line in 2017 (Discogs).

“Struggling” is Pyrroline’s fourth album for Electro Aggression Records, released 14 February 2021. Its limited 2CD digipak bonus disc carries remixes from Placebo Effect, Jihad, Sleepwalk, Terminal State, The Opposer Divine, Fix8:Sed8, G.O.L.E.M. and Amorphous, according to the album’s Bandcamp credits.

Pyrroline went on to announce a sixth album, “Ambiguity”, in June 2026, followed by a “Day 45” video in August 2026 and its own Side-Line review later that month.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: EBM, Ambient-Body Music.

Format: Digital.

Background/Info: American solo-project Agitprop 666 is back on track unleashing a new work featuring twelve songs. After the “Penitentiary” album released late 2018, this artist strikes back with a different theme, which is clearly inspired by major events in the US during 2020.

Content: First there’s the music, which remains inspired by good-old 90s Electro and some EBM formats. This is not hard EBM to dance to, but a rather evasive EBM format reminding me of projects like Ringtailed Snorter and Noise Unit. The songs are carried by a soft cadence while the composition is filled with bleeps and wafting Electro waves. The main characteristic of the work are the numerous spoken samplings dealing with important news facts from the past year. There’s of course a song about the pandemic, but also one about George Floyd. Other themes like politics, racism, corruption, religion have been treated as well.

+ + + : Agitprop 666 realized a great job here. The album makes me think of a kind of 2020 overview put on music. The samplings are essential to this work while the music is well-crafted. The entire production became more elaborated. Using spoken samplings from news and speeches isn’t new, but the way it has been accomplished here is original. You feel this album is clearly engaged.  

– – – : I think some aspects of the sound production –like the mixing, can be still improved, but “Corruption” is a noticeable work.

Conclusion: This work is without a shadow of a doubt, the most elaborated and successful album by Agitprop 666. The style is not that new and yet refreshing!

Best songs: “Chrome Koran”, “George Floyd”, “Malcom X”, “Santa Muerte”.

Rate: (7½).

Artist: http://www.agitprop666.com

About Agitprop 666

Agitprop 666 is an American EBM and ambient-body music solo project based in Los Angeles. The project’s early releases include the CD-ROM “Mind Control” on its own label Agitprop 666 Recordings, and the album “Penitentiary”, released in late 2018.

“Corruption” followed as a twelve-track digital album, with track titles referencing events from 2020 including the Covid-19 pandemic, George Floyd, and police brutality. Agitprop 666 tracks have since appeared on the compilations “Face The Beat: Session 7” (2022) and “Electronic Bodies – Session 1” (2023).

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro-Ambient, Cinematographic.

Format: Digital

Background/Info: Rhys Fulber (Frontline Assembly, Delerium, Conjure One, Will, Noise Unit ao) is back with a new EP under his own name. Previous works –mainly released on Sonic Groove, revealed the Technoid skills of Rhys Fulber. “Resolve” is meant as the first EP in a series and also is the debut release on Rhys Fulber’s own label FR Recordings.

Content: Even if most previous productions were into Techno-Body music, Rhys Fulber also showed some Ambient influences. “Resolve” can be defined as pure Ambient, a dark sonic trip, which is touching ground with Cinematographic music. The work features 4 songs and has been progressively built up. You’ll also notice the more elaborated “Disused” featuring sampled voices in the background and creating a ghost-like effect.

+ + + : Rhys Fulber is a kind of ‘chameleon’ musician, who can transpose himself to write different styles of music genres. The Ambient approach is not new in his career (even FLA composed Soundtrack music), but this is a different approach. It’s dark, sometimes achieved with Technoid soundsculptures and still reminding me of some Ambient pioneers. The opening cut “Charleroi” is directly inspired by the Belgian city, which is a grey area of abandoned metal industry while the city became also famous because it was there where murderer Marc Dutroux lived. And by the way, it also is the hometown of à;Grumh. It’s a nice wink to the Belgian fans of Rhys Fulber. I however prefer the already mentioned “Disused”, which is finely elaborated with great sound treatments. Both last cuts reveal a kind of dark, inhibited reverie, definitely accentuating the electro-ambient approach of the work.

– – – : “Resolve” is an easy listening work, quite accessible, but definitely not the most exciting production I’ve heard from this sound guru.

Conclusion: Rhys Fulber goes Ambient revealing an intimate, electronic production that sounds as the perfect soundtrack for an imaginary movie.

Best songs: “Disused”, “Charleroi”.

Rate: (7½).

Artist & Label: www.facebook.com/rhysfulbermusic

About Rhys Fulber

Frontline Assembly alumnus Rhys Fulber is a Canadian musician and producer, born 10 October 1970 and based in Los Angeles. He has also recorded as Delerium, Conjure One, Will and Noise Unit. “Resolve” was released in 2020 as the debut EP on his own label, FR Recordings, following years of productions largely released via Sonic Groove. Fulber continued the FR Recordings series with “Brutal Nature” in 2021 and later returned to Sonic Groove with “Collapsing Empires” in 2022.

Inferno Sound Diaries

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

www.side-line.com

(Photo: The Jeremy Inkel Estate) Jeremy Inkel’s debut as a solo artist comes to us nearly 3 years after his untimely passing. Inkel died January 23 2018 due to complications arising from an asthma condition. He was only 34 years old.

Although Inkel was a member of Front Line Assembly, Left Spine Down, Delerium and Noise Unit he also worked on a first solo album, “Hijacker”. “Hijacker” will be out in November via ArtOfFact Records and is an album of hard-hitting EBM and techno grooves and industrial dancefloor experiments. A first single, “I don’t need your money” is out now on Bandcamp.

Hijacker will be released on CD and vinyl formats worldwide as well as on all streaming platforms on November 6th, 2020. A portion of proceeds from each sale will be donated to the Vancouver Food Bank.

Bernard - Side-Line Staff

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

side-line.com

Good news, the duo Rhys Fulber and Bill Leeb are working on a brand new Noise Unit album and this 15 years after the last album “Voyeur” was released on Metropolis. Precise details are not yet known though, more news as we get it.

Noise Unit: a continuously evolving project

Noise Unit is a Canadian industrial project founded by Bill Leeb of Front Line Assembly as a side project. The band has seen several changes in line-up, with Bill Leeb being the only permanent member.

Noise Unit’s first album, “Grinding into Emptiness” was a collaboration between Leeb and Marc Verhaeghen of Belgian industrial band Klinik and was released in 1989 through Wax Trax! and Antler-Subway. For the 1990 album “Response Frequency” Leeb was joined by Rhys Fulber. After the completion of the album, Verhaeghen left Noise Unit for several years while Fulber remained with the band for the next 3 releases.

Verhaeghen resumed his collaboration with Noise Unit for the 1996 album “Drill” which also featured members of German industrial band Haujobb. Leeb finally teamed up with former Front Line Assembly member Chris Peterson in 2004 to release “Voyeur” in 2005 with further help from Jason Filipchuk and Michael Balch.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Industrial-techno, IDM, minimal-electro.

Background/Info: One year after the successful album “Your Dystopia, My Utopia”, Canadian electro veteran Rhys Fulber (Frontline Assembly, Delerium, Conjure One, Noise Unit ao) strikes back with his second solo-album. The title of the album reflects ‘ a romantic nostalgia for the old but comforting ways of Communist East Germany – and a yearning for rigid systems after progression into the future has led to chaos and uncertainty’.

Content: The title of the album might be understood as a sonic metaphor from an artist in search for good-old electronic sounds. One thing is for sure, Rhys Fulber moves on exploring techno paths, which he meticulously merged together with harsh industrial sound treatments. This album sounds more into the techno direction, but still reveals the sophisticated approach of the musician/producer. The second half of the work becomes more elaborated and into IDM.       

+ + + : Rhys Fulber confirms feeling comfortable composing ‘’his type of techno music.” The industrial-techno genre isn’t new at all, but this artist mixes it with some good-old sound treatments. But the album also sounds like a magic box, which features an endless number of sonic tricks and effects. Some tracks are progressively evolving towards a truly climax. Just pay attention to “12 Steppes” and the darker “Consum” and you’ll seize the complexity of “Ostalgia”. I might prefer the previous album, but what I especially like on “Ostalgia” is that Rhys Fulber evolved with his techno exploration.

– – – : “Ostalgia” made me a bit nostalgic from the more explicit EBM and techno-body approach from his previous album.

Conclusion: Rhys Fulber is a meaningful project when it comes to industrial-techno and IDM. This artist has no limits when it comes to expose his skills!

Best songs: “12 Steppes”, “Consum”, “Apostel”, “Right Hand Of The Free World”, “Misery Whip”.

Rate: (8½).

Artist: www.facebook.com/rhysfulbermusic 

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

About Rhys Fulber

Frontline Assembly is documented elsewhere on Side-Line; Rhys Fulber’s solo catalogue includes “Realism” (2017) and “Your Dystopia, My Utopia” (2018) before “Ostalgia”. He continued two months later with “Baut Mit!”, also released on Sonic Groove, and went on to record “Corruption Of Form” (2019), “Diaspora” and “Resolve” (2020) and “Brutal Nature” (2021) for the same label.

Inferno Sound Diaries

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

www.side-line.com

Does the name Mark Burghraeve make ring a bell? No doubt about it, ‘older’ electro heads know this Belgian artist born in 1961! Together with Marc Verhaeghen he set up The Klinik and created the band’s original look. Both ‘old’ mates are now back again working on new Klinik-stuff. You might also know him from his work under the Somnambulist moniker and M.Bryo & D.M.T. He also worked with artists and bands such as Niki Mono, Bill Leeb, Insekt, Vomito Negro, For Greater Good, Mike Shelter, Brain Pilot, Dark Poem, Hybryds, Les Boufons Tristes ao. Mark Burghraeve is a man of many talents and next to his music activities he’s also active as a multimedia artist and graphic-, video- & sound-designer and sound & light engineering. But back to music! The French label Nuit Et Brouillard recently released the album “Things I Was Due To Forget 1979 – 2005”. The work has been released on different vinyl formats and is now planned to be released on CD format as well. The music brings us back to the early and original sound of electronic music… to the roots. This interview will give you more background information about this passionate, fascinating and visionary artist.

(Courtesy by Inferno Sound Diaries)

Q: The least I can say is that you’re involved with an impressive number of very different artistic projects. Do you’ve some preferences in your artistic creation, what’s the importance of music and do you still have secret dreams in mind?

Mark: My preferred creations are the ones where I could sit at home and work on them in my own tempo and atmosphere, without any unwanted interference from the outside world. The ones where I could set my own deadlines and delegate some of the time consuming work. I like to see myself as a multi-media artist in the broad sense of the word. Music is one of the media I use to evoke or reproduce feelings, visions and dreams, based on my experiences and observations. I jump from one medium to another, sometimes mixing them. And the more I can use in one project, the more satisfying it becomes. The final result grows into a part of a viewer’s or a listener’s precious time. The artist has only this short period to take them on a small journey by exposing himself.

I try to keep my mind and taste open. My dreams are no secret. It would be nice to have my work survive the times, interpreted by others as it has already happened. The best feeling one can have is that his work is appreciated by as many people as possible, I guess. Making an immersive VR experience is on the want-list. Another film score would be nice too. A book maybe? A golden tie?

Q: You’ve been inspired by early electronic pioneers, but you in a way became a pioneer yourself. How do you look back at the early years of electronic music? Was there a kind of particular ‘spirit’, ‘philosophy’, ‘goal’… and do you see common elements with what’s happening today?

Mark: I always felt as a pioneer, out to get a taste of the future. Electronic music was the most futuristic music then. That time,  synthesizers were expensive and not seen as a full instrument yet. They were more like an effect in a classic rock setting, an extra weird toy for the keyboard player, like Pierre Henry did in the sixties with “Psycho-Rock”. Or they were used as sound effect machines for cinema as Bebe and Louis Barron already did in the fifties for the movie “Forbidden Planet”. Apart from “Popcorn” by Anarchic System, full electronic music was not yet popular. There weren’t that many people in Belgium who had a synth and tried to make music that fitted the expectations of a new sci-fi future vision.

After the ‘No Future’-era, we were looking for one. Most of the guys who had synths made ‘cosmic’ music or just collected buttons. Pure electronic music was not regarded as ‘real’ music yet. But there was a kind of spirit of togetherness between the artists of that time in Antwerp, a lot of independent projects and disciplines crossed each other: theater, music, fine arts, fashion, performance. It was a period in time when we revolted more, as a group or as individuals, against anything we were opposed to. We used the new technologies. We walked away from tradition and uniformity. Sometimes we even had ‘goals’. From political- and ecological awareness to shared ethics and aesthetics. We were multicultural anarchists with a rainbow of tastes and opinions. We were the avant-garde. We were the underground.

I don’t see this anymore, it seems culture has been institutionalized, nationalized, censored and belonging to the happy few who get financial support from the government. I see increasing xenophobia and homophobia. I see aggression, racism, poverty and despair in this modern day dystopia. And cell-phones, lots of cell-phones. But then again, I don’t go out that much anymore, so I might miss out on a lot of what is happening today.

Q: One thing is for sure, the late 70s and early 80s were pure ‘underground’-like! I think it had something magic, connecting people a different way than today. Today we’ve the internet, electronic music became much more accessible… everything became that different. What’s your perception about this evolution? The pros and cons?

Mark: The pros are that it all became much more accessible and now more people can create, produce and put their stuff on the internet. One can reach a global audience immediately. A computer is now a household thing and most people have cell-phones. We are all connected by wire or by Wifi and have libraries of virtual synths and plug-ins at the touch of a button or screen, complete with professional production tools and low distribution costs, if any.  Also you can get direct feedback from people all over the world who value your stuff. One can communicate faster. Co-operations over great distances get easier. Tools are easier to find.

The contras are that anybody can make music and put videos on YouTube. But without talent, proper promotion or attention of the media one can get lost in the flood of banal information. Today’s internet has become a marketplace, a big and busy one. You need extra skills if you want to get noticed as an artist. Like for instance opening an e-mail account to get PayPal. It also still leaves a very big and bad ecological footprint. Think of the control knob you ordered on e-bay, transported by trains, planes and diesel trucks.

The search for new music has also dramatically changed, we have robot programs that search for everything we want, telling us what we are supposed to like, based on databases and tags. Before all this, we physically went to the record shop to buy what they were offering. We had magazines with no commercials. No cell-phones, no social media sites, no e-mail, no internet. Just telephone, fax, modems and walkmans. Cassettes were the independent medium of that time. The home-studio was born. Affordable, but still expensive. I was lucky to have Stefan Van Elsen (Trans-4M,  Brain Pilot, …) of Central Tapes who distributed my work. Teac, Tascam & Fostex competed with Revox. There were still U-matic, 12-bit Digital Recording, Commodore & Spectrum, Memorex. All these factories sold physical equipment. Nowadays, big companies sell or even just rent data for the same use.

It has it’s pros and cons. The thing is, it’s here. One has to use it as a tool and avoid distractions. It’s still very new and it already had a very radical impact on all our lives. Writers like Kafka, Orwell or Huxley couldn’t even have dreamt this up. It’s like their warnings became handbooks for the rulers. Are we in the hands of a system we don’t understand, own or even know anymore? Who collects and controls the data? Does all this ‘security’ make us feel safe or does it make us more scared or paranoid? Since the expression ‘Fake News’ has been introduced, nobody trusts the media anymore, from both sides. We have political propaganda and commercials in between the services we paid for. We’ve all seen how YouTube and Google have evolved from data providers to data collectors. Do we lose freedom and privacy and should we protect these values? What’s this thing with wars, money, power and persistent ecological & political unawareness?

We live in glass houses. Too many rats in a cage with an overload of information. Sorry, what was the question again?

Q: Nuit Et Brouillard recently released the double album “Things I Was Due To Forget”; I should say an appropriated title for songs taking us back to your first sonic compositions. How did this release come through and can you tell us something about the origin of the songs?

Mark: Sylvie, co-founder of the French Nuit Et Brouillard-label, once made a compilation tape from records she had borrowed from a friend to play in her car. One of the songs was “The Empty Street” by M.Bryo & D.M.T. from the “No Big Business” compilation. Years later she found me on Facebook on a picture with Marc Verhaeghen (the Klinik) and Bill Leeb (Frontline Assembly), from the time we worked together on Noise Unit. She knew both Marc and Bill, but had never heard of me until she did some investigations. Nuit Et Brouillard invited me to Lille to meet them in person, so I took all my courage, some luggage and a train to France. There I met Stéphane as well. We talked about music and politics and played with the idea of making a release. It was a bit like checking each other out, before we made this idea concrete.

For Nuit Et Brouillard it would certainly have been the most ‘commercial’ record they would have ever made, since they were mainly releasing more experimental and ‘obscure’ music. A bold step. They showed me their beautifully made releases. Some of them had handmade art covers. All their releases were treated as gems, showing a deep involvement and respect for the artist. They were not driven by money, but by passion. Of course I felt very flattered by the offer and I loved the people there in Lille who supported me. I had the chance to do everything from A to Z; music, lyrics, recordings, mastering and artwork. I am very lucky to have had this opportunity and I am proud with the result.

The songs had their origin in the late seventies, the start of punk, affordable synths, drum machines & multi track recorders. Bands like Kraftwerk, Tubeway Army, Ultravox and The Human League had just started and people like Vangelis, Jean Michel Jarre, Tomita and Walter Carlos had already opened the door to popular electronic music.

I lived in industrial Hoboken and was a DJ for some time, pretty up to date. By buying the ‘trash’ the record shop couldn’t sell on a Friday, I got a lot of weird unknown stuff. The weirder it was, the more I liked it. Anyway, I had fun in my room with my machines, later got into computers and now I’m still trying to use technology as a medium, not only for making sound.

Q: When it comes to music, I think there’re very different types of artists; classical schooled musicians, composers, producers, self taught artists and experimentalists who clearly break the codes. Where do you place yourself and tell us a bit more about the different aspects of being the musician/artist you are?

Mark: I’m a self-taught mad experimentalist, composer, bad musician, an OK writer and from time to time, if I may say so, a very able producer with neo-classical ambitions, and some more… I cherish my work as a musician as much as I like using other media. If I get bored or stuck with one medium, I jump onto another one. It keeps the creative ball rolling. Sometimes one inspires the other. Bringing as much art forms as possible into one project is the most satisfying, I think. To me, programming is an art form as well. Sometimes a program can be written as elegantly as a poem.

Q: You’ve been involved with different music projects; M.Bryo & DMT, The Somnambulist, The Klinik… and you’ve worked with an impressive list of artists. What did you keep in mind from all these projects and experiences and tell us something more about The House of the Thepaphone?

Mark: So many stories to tell. So many experiences. Every contact has its anecdotes. Sometimes, it seemed as if I lived in a soap opera, complete with the melodrama and the intrigues. But the fun part was the work itself, trying to get the best results with the tools I had. Having my own rock-band KOYT! was great, but what I liked especially were the one-on-ones, like Les Bouffons Tristes with Peter Geysels, whom I knew from For Greater Good or the ones with Sophie from Dark Poem.

With The House of the Thepaphone, I try to create a cosy place for my friends and I on Bandcamp, a popular music site for independent use, with a possibility to get some money for the music. Not big amounts, but since money seems to be a handy thing to have on this planet, any return is always welcome. It’s where I put some of the collaborations with other artists and completed works from my archive. On SoundCloud I put my most recent sketches and portfolios. ReverbNation was one of the first music libraries I used on the web. I forgot MySpace, but who didn’t? I think of building some more websites. They open possibilities for experiment and promotion. Recently, I got on Spotify and iTunes, to keep up with the new tools and platforms. I’m still learning.

The House of the Thepaphone :

Nuit Et Brouillard:

Other Links:

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

Vancouver electronic music pioneers Craig Joseph Huxtable (Landscape Body Machine, Noise Unit) and Chris Peterson (Front Line Assembly, Decree, Delerium) return with a brand new album and a brand new incarnation on Artoffact Records: OHMelectronic. The album is the follow-up of their debut album “Ohm” and follows the release the single “Everything is Gone” featuring Galen Waling (Lords of Acid, PIG) on drums.

Note that the artwork for their new features the work of legendary Canadian album artist Simon Paul (Universal, SUBcon).

The album is out tomorrow, but you can now listen to an exclusive preview of the full album on Side-Line! You can order the release as a download and CD straight from Bandcamp!

OHMelectronic will be playing at this year’s Infest festival in Bradford, UK August 23-25. This show is currently slated to be OHMelectronic’s only UK show for 2019. Read the review of ‘OHMelectronic’.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Minimal-electro, industrial-techno, body-techno.

Background/Info: Rhys Fulber (Frontline Assembly, Delerium, Conjure One, Noise Unit ao) last year took me by surprise releasing the 12” “Realism”. This maxi revealed a truly high-tech, minimal-, but still industrial-techno approach. The Canadian artist is now back on track unleashing a full length featuring 9 new songs.

Content: The influences and global approach are pretty similar. Rhys Fulber sounds like having fun experimenting with dark-techno, industrial sounds, minimal-electronics and EBM. The work becomes a kind of electronic melting-pot however centered on techno music. It’s obscure and sophisticated, but always danceable. Multiple vocal samplings have been injected. There also is a song called “My Church”, which sounds as a wink to Faithless mega-hit “God Is A DJ”.

+ + + : Rhys Fulber making techno might sound a bit weird, but he remains a truly sound alchemist. Techno can be also intelligent and well-crafted and that’s precisely what you might expect from this opus. The way all influences have been mixed is just great. Some passages are clearly into EBM and sometimes even reminding FLA arrangements, but it has been merged together with harsh industrial elements, great synth lines and pure minimalism. This work reveals a majority of great tracks, which will make you move. Notice by the way that there’s no track from the previously released 12” that has been picked up. This work features only new cuts! I fully enjoyed this work and I sincerely hope Rhys Fulber will go on composing ‘his’ techno music.  

– – – : There’re just 2 songs (cf. “My Church” and “The Sick”), which can’t totally convince. Both pieces are missing a climax, but that’s just a detail compared to the rest of the tracklist, which is magic!

Conclusion: Rhys Fulber dealing with techno music sounds is a real challenge. He already surprised me at the debut 12” and simply confirms all his talent and visionary approach at the album. Respect Rhys!

Best songs: “You Can Kill Them Or You Can Feed Them”, “Limited Vision”, “Anhedonia”, “Inhabits Eternity”, “Truncheon”.

Rate: (9).

Artist: www.facebook.com/rhys.fulber

Label: www.sonicgroove.com / www.facebook.com/Sonicgrooverecords

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 Canadian label ArtOfFact records has launched a mega-sale with tons of releases priced at just 1$. You can visit this special sales page right here on Bandcamp.

Included in this special Bandcamp sale action are releases by such bands as Controlled Bleeding, Dead When I Found Her, Seeming, Out Out, Legend, Encephalon, Ghost Twin, Glass Apple Bonzai, Valhall, Noise Unit, SÓLSTAFIR, Nash the Slash, 3teeth, Mirror (Dave Gahan), Slow, Mobile Clones, Images in Vogue, …

Happy hunting!

Bernard - Side-Line Staff

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

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Out on June 6th via Sonic Groove is the new Rhys Fulber studio album “Your Dystopia, My Utopia”.

“Your Dystopia, My Utopia”, is the first album produced by Fulber for Sonic Groove and the follow up to his 12″ “Realism” released last year and available right here on vinyl. The new album consists of 9 tracks clearly aimed at the dance floor but definitely holds dark EBM elements.

Fulber has an extensive oeuvre; from his artistic collaborations with Bill Leeb (known predominantly as Front Line Assembly, and also as Delerium, Noise Unit, Intermix, and many others) to his work as a producer for bands such as Youth Code, Paradise Lost, and Fear Factory. He also works under the name Conjure One, which is a cinematic solo project that features collaborations with vocalists such as Sinead O’Connor and Leigh Nash.

Bernard - Side-Line Staff

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

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I last year discovered Damage Control by the successful debut full length “Ultranoia”, which is a real masterpiece revealing intelligent and sophisticated electronics. Set up by Australian core members Bill Barsby and Damian Davis they got joined by Markus App (Germany) and Jason Podmore (UK). “Ultranoia” became one of my personal favorite albums of 2017 so I get in touch with Bill and Damian to ask them a few questions. And they had a lot to say…

(Courtesy by Inferno Sound Diaries)

Q: I get the impression Damage Control is a project driven by a few core members joined by extra musicians who can join in and go whenever they want. Is that right and can you tell us a bit more about the background of Damage Control, the concept and the coordination?

Bill: At the project’s core at all times you will find Damian Davis and myself. Markus App has also been a part of the inner core of the band, he’s still involved, but more on a casual basis these days. I’m glad we did some music with Jason Podmore, an old friend of mine in the UK. New members are Richard Thacker and Craig Saunders. Richard has been involved with synth jams we had over the years and is a talented guitarist and sound designer. Craig joins us from Sydney industrial band Novakill. Craig is a great programmer and percussionist and is driven by similar influences to us with his approach to music production.

The core line up for the new album “Oblivion Grid” is now Bill, Damian, Richard and Craig. We also owe a lot to Craig Huxtable and Chris Peterson from Ohm along with Claus Larsen from Leather Strip. This collective effort and push to get things done helped get our debut release “Ultranoia” off the ground.

I’m always looking to forge new musical relationships with people on the same or a similar page to us. I can’t imagine any other people in the world I’d trust our mix and masters with than Chris and Greg Reely. It feels to me like Craig Huxtable and Chris are in the band too. We will always try to collaborate with them creatively on tracks as and when schedules allow. We collaborated with Ohm on a few tracks on “Ultranoia” and they have performed “City Of Ruins” in Germany and Canada in their live sets. I’m happy to have such a great team of talented and nice people around me (albeit dotted around the world).

I can reveal exclusively to Side Line a new Remix-EP of tracks from “Ultranoia” is well underway called “Hypernoia – The Remixes”. We are currently collaborating with Brian Bothwell of old-school industrial legends Manufacture on this project we are excited to confirm. This will be released later in the year.

An album of new material called “Oblivion Grid” which is half written and sounding epic to us so far is well underway, featuring the solid new line up. We expect to release that album in 2019. We have began collaborating with other artists in Germany, Slovakia and the US who are new to Damage Control. These guys have excellent track records for industrial music. Watch this space for more details on that. I’m excited that Chris Peterson and Greg Reely are on board for mixing and mastering on both “Hypernoia” and “Oblivion Grid”.

Please keep an eye on our website www.damagecontrolofficial.com and Facebook page www.facebook.com/damagecontrol for updates.

We are so very appreciative and thankful to all the cool folk around the world who have supported us with purchases of “Ultranoia” and the positive reviews we have received. Your support means a lot to us. It makes a huge difference to help kick start the next writing and recording project for Damage Control. We cannot thank Side-Line/inferno Sound Diaries enough for their excellent review of “Ultranoia” and it polling at number 13 in the top 25 reviewed releases of 2017 by Side Line Reviews! Thanks for your 9/10 review!!!

In regards to the concept and the co-ordination of the project, being a music technology, gear head, and huge music fan along with my fellow artists in this project, over the years we have always been determined to create something we like ourselves. We have tried various real-time recording technologies, but have found the perfect workflow for us is to simply use dropbox and exchange audio multi tracks (stems) and use a google calendar to help keep organized with who is working on what and when, and what the deadline is. This also of course addresses the time difference issue. I very much push this agenda from the ground up and start mini projects with each member, and collaborator and that can take on a life of its own and go in any direction without creative boundaries other than making sure we have a central vibe and sound people can identify with Damage Control’s music.

With a lot of material we can pick and choose what works together to make a cohesive sounding release. It’s very important to me that everyone is enjoying themselves when working on a record and that it does not feel like a chore or for anyone to feel trapped creatively at any point. We are pretty free form with how we work. This allows for great creative accidents and collaborations to mutate naturally. A collective pool of individual creative strengths working together to achieve something great is the goal. It’s also good to have disagreements in creative direction at times so the compromise can make for interesting results. This to me gives a certain kind of tension and unpredictability to the music in how it flows together and hopefully makes for an interesting and varied listen.

Knowing Chris Peterson will be producing us requires everyone to bring their A game so we are all of course motivated by that too. Chris helps us make important decisions in the writing process and we have a good laugh along the way with analogies of a track and its mix at times. It’s certainly not a project for the easily butt hurt! You have to have a good sense of humour with all this. I would like to mention how two talented friends of mine here in Melbourne have had an impact on the image of Damage Control’s “Ultranoia”. Adam Verspaget (Photography) and Roberto Massaglia (CD Design and artwork).

Q: I can imagine it’s not that easy to accomplish a full length album featuring multiple members. How did the writing and recording of “Ultranoia” happen and what has been the input of each member?

Bill: Well that was an interesting rollercoaster ride to get the thing off the ground! It was a struggle at times although it had its moments of excitement, fun skype conferences, and brainstorming. My challenge was to work with everyone individually to focus on their strengths and come up with solutions for the recording process and workflow, something Mitrefinch TMS helped us with. Dealing with different opinions on how things should be done, and finding a common ground and plan of action. The brief was to make something cool and then bring it all together through trial and error and finding the right creative path to tread and people to work with. What I love about working with a few like minded people is when you hit a brick wall with an idea, someone else picks up the ball and runs with it and then comes back to the with a fresh and new inspiring perspective on a track which reignites the creative process. This keeps things moving forward.

The standard has to be high or why bother is my motto. I think collectively we made something really cool that achieved its sound by our individual differences. That was an interesting point you picked up on in your review last year. The song lyrics themselves are often derived from Damian’s interpretation of my stories, fact or fiction and his. It’s always a fun part of it to brain storm the lyrical ideas and set the scene for the track. Damian is very talented in this area we feel. He usually hits the spot for what we had in mind for the vibe and the delivery. We focus on painful world affairs and the unpleasant realities of what’s going on in the world. I often come up with the concept and the idea and then we flesh it out until the song unfolds. Damian just goes for it with the lyrics and vocal delivery and I will edit the results until I’m happy and then go back to him with suggested fine tuning. Other times he just nails it straight away. It was awesome working with Craig Huxtable and Markus App on the tracks they sung on.

With us coming from different countries and cultures, it mixes things up nicely and keeps it interesting for us. In the spirit of keeping the international collaborative approach to how we make music, we are now working with other artists in other countries including Slovakia.

As far as the input of each member on “Ultranoia” goes, to highlight individual strengths and our approach with that project. I like to drum program and experiment with a lot of synths including the rare vintage collection at the Melbourne Electronic Sound Studio and to bring interesting rhythms, sounds and vibes to an idea, ambient drones and pads are also my thing. I’m fussy about the signal flow and sonic flavours different equipment brings. I often re-record other people in the band’s midi through high-end hardware synths like Moog, Doepfer and Oberheim, DSI etc.

Markus was always good at arranging and some of the melody along with great programming and sound design in the software world such as Omnisphere but I think it’s safe to say Damian is our melody man, vocal meister and bass are also strengths and atmospheric pads. He also collects hardware synths and vintage samplers like myself. Jason and I used to like messing around with weird samples and Damian too to try and have something sublime in there that might mess with your head when you’re listening in the dark by candle light.

Craig Huxtable I believe recorded his vocals for “City Of Ruins” in a van if my memory serves me correctly as not to upset his neighbours in Victoria, BC, Canada where he lives. I think he was able to record “Trauma” at home as that one’s a little less angry! Having Markus sing in German on the track “Angst” was also a highlight and with Ohm taking care of a lot of the music on that one. This was intended to be a remix so that was a happy accident how that one turned out.

Damian: Yes, I agree that accomplishing this album had challenges, having multiple members. It was a blessing as well as a trial. There was so much to gain from having a few extra sets of ears, which were willing to put their money where their mouth was. This is crucial this fact, because there is only so much external opinion and advice a musical outfit can tolerate and absorb. I often drew parallels to the trials and tribulations of The Beatles, where too many cooks could spoil the home-brew. But in the linear fashion of Exporting Stem tracks to each other, cyclically, the music could do round-robin and end up sounding soul-less, or it could build a serious shit-load of power. It was hit-and-miss really. But we could always revert to the original stem package at any stage of the way. Bill’s mastery at co-ordinating this, at certain times, ’world-circus’, was nothing to be envied, and yet totally astonished with.

Q: Right now you’re in between 2 albums so how do you look back at “Ultranoia” and what can you already reveal about “Oblivion Grid”? What will be the main differences and sound evolution?

Bill: It’s nice to reflect on “Ultranoia” being well received so far, the effort to create our debut and find our sound has been very rewarding on all fronts.

For “Oblivion Grid” Markus, Craig, Damian and myself have had a good push to write new material and it’s going well. Richard has started adding to our demos and we are reworking some older stuff we did not finish from years ago with the Oberheim Xpander classic old synth from the 80’s. You will also soon have a sneak preview of the new remixed version of “Ultranoia” we are calling “Hypernoia  The Remixes” which debut’s Craig Saunders and Richard Thacker to Damage Control. It’s great to have Craig and Richard on board who bring diverse skills with a common ground to what we are doing. I would say that so far, the new material for “Oblivion Grid” is sounding very much like a fine-tuned evolved version of us. There might be more guitars on this one and some new vocalist talent. We have some awesome new songs shaping up. The collaborations we currently have lined up with VIP remixers for this album, we are pretty excited about. We look forward to revealing more about that as it happens with the future releases.

Damian: Well, interestingly, I think that “Hypernoia”, our remix collection, is one way of us to reflect on our efforts with “Ultranoia” in a very hands-on way. We can see where things could easily travel in a direction that could lose the momentum and impact, that a brand new album would have. So “Hypernoia” is a release for us, that deals with this possible issue very elegantly. In the early days of Depeche Mode, sonic variation was critical from album to album, and a deep obsession with technical and musical change was vital for the band to move forward on. I feel that this may be a path we could travel, and it would be remiss of us to settle on a ‘winning formula’ if we refused to experiment with sound. “Oblivion Grid” shows such promise, and I’m sure the final sound will impress us, and all who hear it.

Q: On “Ultranoia” I felt a real strong concern about sound creation. Damage Control sounds not like a band using ‘cheap’ preset sounds, but musicians with a real quest to find unique sounds! What is the sound creation and -approach of Damage Control all about?

Bill: It’s great people have noticed this aspect of what we do. The band is made up of engineers as well as musicians, we believe in experimenting with many combinations of analogue and digital hardware vintage and current. I like nice pre amps and high-end effects. I am part of the team who represent MOOG, Novation, Teenage Engineering and Elektron in Australia.  I am lucky to have access to all of these wonderful synthesizers. We also dabble in a small amount of software we believe to be the best after a lot of trial and error. We generally find ourselves preferring to work with hardware synths again. The machines have a soul of their own. We are using a Kemper profiler on guitars for “Oblivion Grid” so going back to hardware again there too. An extremely cool and unique technology for guitar amp and effect solutions with all the realism you want from actual guitar amps as apposed to regular amp modelling in software. Software is however, awesome in context to certain things. I heard the excellent recent Gary Numan album “Savage” only uses software and I know Gary is a big fan of Omnisphere. It’s just a question of preference and what inspires you. The more sonic colours in the mixing pallet, the better as far as I’m concerned.

Between us we have a pretty large collection of gear and with access to the vintage rare collection of synths at The Melbourne Electronic Sound Studio, this gives us a point of difference. We make the effort to do something interesting rather than just reaching for a plug-in. We do that too, but usually to replay field recordings or sound libraries we have resampled into the computer from older samplers. Damian and I have both been enjoying the Emu Emulator V Sampler with the Z Plane filters from the 90’s in recent times. I grabbed a Proteus 2000 and Morpheus from eBay too for ‘Oblivion Grid’ sessions. I used the EMS VCS3 Putney on “Ultranoia” and a lot of my recordings of that old beast from 1969 are being used on “Oblivion Grid”. That synth is an important part of our sound. We have an interesting and very cool synth community in Australia with access to the M.E.S.S. as I mentioned. https://mess.foundation/

Damian: Yes, I’m amazed at how finely tuned ears, which are used to hearing a lot of this style of music, can aptly spot any differences in sound design (be it digital/analogue/found-sound/acoustic/preset/original). Whether this be true, or whether reviewers can sense that musicians are also in it for the sonic discovery, is a true talent. The one thing I can’t do without, is instant access to a device that samples your voice, and can do immediate manipulations, all without booting a computer. There is no creative killer worse than feeling compelled to check your emails, just as you get a musical idea in your head. Some bands who use laptops seem to be doing this onstage, and seriously, who could tell otherwise? Original sound creation is VITAL in this preset-soaked era. I would shudder and wince if I heard a preset on a recording, that I would possibly ever regret using. If the project called for that type of sound, yeah then great, but for this project, there is no compromise.

One great thing about some types of hardware, and outboard gear, is that they are either too rare to clone virtually or mass produce Behringer-style, or they can have presets made on them, that can’t be replicated easily any other way. I personally feel that the approach of Damage Control is a mix of discrete sonic-design, and blatant outright gear endorsements and plugging. You can’t maintain a mystique for too long, whereby people aren’t inquisitive about what you use to write your music. It’s electronic. We aren’t pioneers. There’s no hocus-pocus voodoo to that…lol. It’s about finding a combined spirit of adventure and a social, emotional, mental release of personal takes on world problems and issues.

Q: The mixing and mastering of an album is such an important aspect, which I think is sometimes neglected by bands. I can imagine that’s the reason why you worked with Chris Peterson and Greg Reely? Tell us a bit more about this aspect?

Bill: The huge difference it made to us having Chris Peterson on board as a producer. I thank Craig Huxtable for helping to make that happen and that also led to having Greg Reely involved with final sonic details. I have been a fan of Chris’s work as an artist and mixing engineer with Decree, Frontline Assembly, Noise Unit, Delerium, Equinox, Intermix, Ohm etc for decades so to be able to just say to him ‘please do your thing’ rather than to a different producer where we would be saying ‘please do it like this Chris Peterson guy does on these records’ that makes a massive difference to me. Chris doesn’t just mix and master Damage Control tracks, he pours his heart and soul into the project. As I’ve mentioned before, we consider him a member. I have a good rapport with Chris and we get along as friends, which makes it a fun project to work on for him as well as us. He takes our music where we need it to go.

It was also fantastic to collaborate with Claus Larsen from Leather Strip on the mixing of “Hate Crime” in which he added the samples to and nailed a fine remix of that track also. We have had success in clubs with “Hate Crime”. It’s been an awesome learning process for Damage Control and gotten the project off the ground. The album is a mixed bag of styles we like. To anyone reading this, please check us out if you have not already.

Damian: A big part of pursuing this project, was to encapsulate a particular sound that all of us pretty much grew up with. As Bill states, our relationship with Greg and Chris, extends to utilizing these guys as members of the band, as their fingerprint on the final sound is vital to our cause. Otherwise, we would have floundered along with leagues of other acts, who shun, or are ignorant to the power of experience provided by these geniuses, and other such super talents we collaborate with along our journey.

Q: You guys are experienced musicians who’re into music for years now so what does Damage Control mean to you and how do you see this project evolving during the next few years?

Bill: Well we know what we like and how we like it done. We also need to make sure everyone working on the project is having fun. To me Damage Control represents therapy using Cubase and creating an outlet for creativity and collaboration. To be releasing musical outcomes of sonic experiments and compositions that turn out good enough that we like it ourselves while keeping standards high. I know I can speak for all of us; we are long time fans of electronic music, industrial, goth and post punk kind of stuff and a bit eclectic across the board too. We hope to play some one off shows from time to time when possible. It would be nice to play WGT but for now we are a studio project. We will see what happens. Making good records and enjoying the process of making them is the number one priority for us.

Thank you for the interview and your support. It’s very much appreciated and we love Side-Line!

Damian: I want to get to the difficult third album stage, and destroy that cliché once and for all… Haha, but seriously, I believe that no matter what fate may bring to the Damage Control viking table, music will still exist in our hearts. I would love to perform live again, but we shall see what the future brings for us. Thank you for your amazing level of support for us, and I fully appreciate the time you have spent with us on this interview. Cheers.

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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The biggest distributor for the industrial electro scene, Audioglobe, has announced its Top 10 in best selling industrial music labels. The numbers were already out there for the labels to look at it, but here they are also for the regular fans. Note that with 2018, Audioglobe also enters it’s 25th year of existance as the distributor set up shop on 6 December 1993. We will of course have a big extended interview and more with Sebastian Koch regarding this great achievement in a very tough market.

But now the numbers many of you have been waiting for!

The Top 3

First the Top 3. The number 1 label in sales is Trisol which has bands such as Clan of Xymox, Rome, Project Pitchfork, Sopor Aeternus, Nachtmahr, Rotersand, Asp, Mantus etc. under contract. The second label in the list is the Belgian based Alfa Matrix which nurtures the talent of Front 242, Underviewer, Daniel B Prothèse, Metroland, Alien Vampires, Ayria, Leatherstrip, Psy’Aviah, Kant Kino and so many other acts. Note that this label also has a very strong e-shop presence (direct sales are not included in this Top 10 list). The 3rd label is Out Of Line with Blutengel, Combichrist, Hocico, Solar Fake, Heimataerde, Unzucht, Solitary Experiments. Also this label has an own e-shop.

The rest of the Top 10

The 4th label is Fabrika/Dead Scarlet (She Past Away, Lebanon Hanover, Selofan, Kaelan Mikla, M!R!M, Doric…) followed by ArtOfFact (Legend, Frontline Assembly, Haujobb, Psyche, Noise Unit, Dead When I found her, Pankow…) and Metropolis (Birthday Massacre, Aesthetic Perfection, God Module, Lords of Acid, Skinny Puppy, Delerium…). The 7th place is occupied by Rustblade (Morricone, Claudio Simonetti’s Goblin, Leaether Strip, Lydia Lunch, Legendary Pink Dots, Merzbow…). Also Dependent is still in the Top 10, namely on spot 8 with their label roster (Covenant, Mesh, Pride & Fall, Beborn Beton, Seabound, Encephalon, Frontline Assembly, Clicks..). Place 9 and 10 finally are for Manic Depression (Winter Severity Index, Ash Code, Schonwald, Box and the Twins, Sjoblom, Dear Deer…) and Undo (Marsheaux, Girl One and the Grease Guns, Mesh, Fotonovela, OMD, Nikonn, Mikro, Vienna, Liebe…).

And on spot 11 and 12…

2 labels didn’t make the Top 10, namely Hall Of Sermon (Lacrimosa, Snakeskin, Black Moon Secret, Eyes Shut Tight) and Infacted (NamNamBulu, Grendel, Torul, Reaper, Frozen Plasma, Ruined Conflict, Orange Sector, Syntec…). Both labels ended on place 11 and 12.

Here’s the complete list again. The bands next to the label are listed in order of sales results/total turnover per band in 2017 via Audioglobe.

01 TRISOL (Clan of Xymox, Rome, Project Pitchfork, Sopor Aeternus, Nachtmahr, Rotersand, Asp, Mantus…)
02 ALFA MATRIX (Front 242, Underviewer, Daniel B Prothèse, Metroland, Alien Vampires, Ayria, Leatherstrip…)
03 OUT OF LINE (Blutengel, Combichrist, Hocico, Solar Fake, Heimataerde, Unzucht, Solitary Experiments …)
04 FABRIKA/DEAD SCARLET (She Past Away, Lebanon Hanover, Selofan, Kaelan Mikla, M!R!M, Doric…)
05 ARTOFFACT (Legend, Frontline Assembly, Haujobb, Psyche, Noise Unit, Dead When I found her, Pankow…)
06 METROPOLIS (Birthday Massacre, Aesthetic Perfection, God Module, Lords of Acid, Skinny Puppy, Delerium…)
07 RUSTBLADE (Morricone, Claudio Simonetti’s Goblin, Leaether Strip, Lydia Lunch, Legendary Pink Dots, Merzbow…)
08 DEPENDENT (Covenant, Mesh, Pride & Fall, Beborn Beton, Seabound, Encephalon, Frontline Assembly, Clicks..)
09 MANIC DEPRESSION (Winter Severity Index, Ash Code, Schonwald, Box and the Twins, Sjoblom, Dear Deer…)
10 UNDO (Marsheaux, Girl One and the Grease Guns, Mesh, Fotonovela, OMD, Nikonn, Mikro, Vienna, Liebe…)
11 HALL OF SERMON (Lacrimosa, Snakeskin, Black Moon Secret, Eyes Shut Tight)
12 INFACTED (NamNamBulu, Grendel, Torul, Reaper, Frozen Plasma, Ruined Conflict, Orange Sector, Syntec…)

Bernard - Side-Line Staff

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

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Storming The Base has started what it calls a Freaky Fall Sale offering you the opportunity to order a huge amount of vinyl and CD releases at bottom prices. What’s more, if you live in the US, you should keep in mind that all orders reaching 100 US dollars will see their shipping costs waved, yep, they’ll be sent for free.

You can view the selection of items for this sale action right here.

Included are releases by 3TEETH, Out Out, Dead When I Found Her, Noise Unit, Haujobb, Controlled Bleeding and many many more. Moreover, some of these items come in test pressing versions, in other words: MEGA-RARE !

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: EBM.

Background/Info: “Ultranoia” is the debut album of Damage Control. Set up by Australian artists Bill Barsby and Damian Davis plus Markus App (Germany) and Jason Podmore (UK), we might speak about an international collective. The album got mixed and mastered by Chris Peterson (FLA, Will, Noise Unit, Öhm, Decree ao).

Content: Damage Control sounds inspired by EBM. It’s not the hard-core EBM approach, but an intelligent and sophisticated composition, which might remind you of bands such as In Strict Confidence, Skinny Puppy and Portion Control. There’s a real fascinating mix, which is maybe due to the different origins of the band members.

“Ultranoia” is mixing danceable- and powerful cuts together with more evasive and somewhat soundtrack-orientated songs. The vocals are passionate and in total harmony with the dark sound creation.

The final song is a remix by Leather Strip.

+ + + : Damage Control didn’t spare any effort to accomplish a real masterpiece. The songs are intelligent and well-crafted, but still revealing a mature and outstanding production. The mixing of Chris Peterson is for an important aspect here. The songs mix power and a great sound creation plus appropriated vocals. But “Ultranoia” is not only a technically outstanding album, but also feature many terrific songs. The sound of Damage Control also inspired Claus Larsen who made a great remix of “Hate Crime”.

– – – : I don’t see any negative point! “Ultranoia” is maybe not the most accessible EBM format, but EBM is much more than simple 4×4 structures!

Conclusion: Damage Control took me by surprise. This band has accomplished a         real masterpiece, which will be for sure become one of my favorite EBM albums of 2017. Respect guys!

Best songs: “Reasons”, “Hate Crime”, “Ruined”, “World In Decline”, “Trauma”, “Hate Crime – Leather Strip Remix”.

Rate: (9).

Band: www.damagecontrolofficial.com / www.facebook.com/damagecontrol

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

Rhys Fulber is a musician/producer who will be forever linked to the EBM giant Frontline Assembly and the ambient-ethereal-dance project Delerium. I also can mention other music projects like Conjure One, Will, Noise Unit, Intermix, Synaesthesia ao. The Canadian musician has now started a new solo-project under his own name. A first 12” “Realism” got released on Sonic Groove revealing a surprising, but great dark electro-techno sound. This is what Rhys says about it.

(by Inferno Sound Diaries)

Q: After Frontline Assembly, Delerium, Conjure One, Synaesthesia, Will, Intermix etc… you’ve just released a first 12” under your own name! What does “Realism” stands for and what inspired you to compose this work?

Rhys: The title “Realism” was inspired by the Socialst Realism art style that also inspired the sleeve of the record. I have always been fascinated by the imagery and mystery of the former socialist states and again took my cue from this. The music itself started out as just some improvisations on the modular synthesizer. I had accumulated several sessions of this material, then went back and chose which ones to develop further. Eventually it evolved into this EP.

Q: It seems you had no specific idea of sound in mind when starting the composition, right? What do you think about “Realism” right now?

Rhys: I had no initial concept at all other than wanting to make some harder edged music again. Like I said, I just started recording some modular synth jams and that grew its own momentum.

Q: This is a totally new project so did you try to experience with new ideas/sounds/instruments/production skills ao?

Rhys: It was some of the most freeform music I have made in a while, so in that way it was very different to the labor intensive productions I have been making for some years now. I just started and went where it took me, with no real rules other than what sounded good rhythmically. Once I got told this would work in a techno format, I developed some of the sounds in that direction as well as a more club style arrangement. But overall it has been very liberating to make music this way.

Q: What has been the main focus in the global production process and do you have some references?

Rhys: The main focus is just following instinct. Recalling some old techniques I haven’t used in a while, then present them in a current way. I only reference other records for the kick drum sound, as that is the foundation of music in this style usually.

Q: How did you get in touch with Sonic Groove and what does it mean to release a vinyl ano 2017?

Rhys: Adam X (Sonic Groove) had heard some of the modular jam demos I had shared with my friend Joey Blush (Response) and then expressed interest in making a record with me. I had heard good things about the label and that they are selective with their releases so it sounded like a good opportunity.

I love the resurgence of vinyl. We have had some older releases being re-issued recently and coming from a vinyl collecting background, I am all for a resurgence in music being something more tangible than digital files, with vinyl being the premier format of the recorded music experience.

Q: Sonic Groove is labeled as techno-industrial! Are you a bit familiar with this ‘scene’ and what’s your perception about techno music generally speaking?

Rhys: I have followed techno on and off since its inception, especially in the early 90s and the last four years or so, so I have kept fairly up to date. I have always felt like industrial music’s torch was passed through different club genres over the years and now the underground techno scene is representing its spirit far more accurately than the current genre holding that title.

Q: Is “Realism” just a ‘one-shot’ experience or do you’ve further plans considering aspects such as live performances, new releases, eventually an album?

Rhys: All of these are currently in the works – a full length album as well as live performances. There was already a surplus of material as “Realism” was finished, so that will be coming on the full length. I also did a recent live set in Los Angeles in preparation for a gig at “Tresor” Berlin coming this August 10th, so expect to see more of everything.

Courtesy by Inferno Sound Diaries

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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The Klinik (or Klinik as you want) no longer has Dirk Ivens in the line-up so it seems. The duo Marc Verhaeghen and Mark Burghgraeve (member of the band in 1981–82, 1995, present) have been working on brand new material, of which the track below, “Don’t look back”, is already a nice teaser.

To many the line-up that delivered such albums as “To The Knife” and “Stitch” (along with early Noise Unit) is considered to be the project’s finest. The band itself was originally formed around 1982 by Marc Verhaeghen, who is the only constant member. Previous members included Dirk Ivens (1985–1991 and 2003–present), Eric van Wonterghem (1985–87), Sandy Nys (1985), Thorsten Stroth (1995), Tom Claes (1996), Stefan Mertes (1996) and Nickanor (2002).

Verhaeghen has been involved in several projects outside Klinik, including Noise Unit (with Bill Leeb and Rhys Fulber of Front Line Assembly), D.Sign (with Philippe and Eliane Fichot of Die Form), X10 (with Niki Mono, Marc Ickx of A Split-Second and Vidna Obmana), and Para (with his own wife Sabine Voss).

For now enjoy this track, “Don’t look back”.

Bernard - Side-Line Staff

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

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Background/Info:

Read the news on ‘Realism’.

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 label Artoffact returns with a rather delicious offer – and it has made the label’s CEO rabies mad as you can see above. If you use the discount code 2016move when following this link, you’ll get 35% off your vinyl purchases in the next 24 hours! Ain’t that a sweet deal.

You can choose from a nice list of releases from Haujobb, Controlled Bleeding, Die Krupps, Front Line Assembly, Wumpscut, Psyche, Advanced Art., Cat Rapes Dog, Cevin Key, Land of Giants, Marsheaux, Mlada Fronta, Mobile Clones, Nash The Slash, Noise Unit, Of Tanz Victims, Rational Youth, Terminal Sunglasses, The Glen & Joe Show and The Gruesomes.

In short, you have no reason to say no to this fine offer. So head to this secret Artoffact link and use the code 2016move and you’ll get your 35% reduction!

Bernard - Side-Line Staff

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

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Genre/Influences: EBM.

Background/Info: Artoffact Records moves back into history. Together with the re-release of “Deceit / Struktur” we now get the digital version of “Agitate / In Vain”, which was the second and last 12” by the duo Bill Leeb (FLA) and Marc Verhaeghen (The Klinik). Both songs also appeared on the album “Response Frequency” originally released on Antler-Subway.

Content: Both songs were released in 1990 and that’s for sure an element you’ll easily notice. This work clearly sounds like late 80s – early 90s EBM and is the perfect offspring between both artists main bands. The sequences and of course the vocals by Bill Leeb are into pure FLA while Marc Verhaeghen injected his darker, experimental and more industrial tricks from The Klinik.

+ + + : Especially the song “Agitate” reveals early, but great and worked-out EBM. The sound also revealed a more elaborate writing and more harmony between the influences of FLA and The Klinik. Bill Leeb’s vocals on this release were also more mature and charismatic.

– – – : Even if both songs remain great early EBM pieces they for sure suffer from the weight of time.

Conclusion: We’re getting back into time awakening during the early magic of EBM and the common efforts between 2 of the greatest artists in the genre!

Best songs: “Agitate”, “In Vain”

Rate: (7½).

Band: www.facebook.com/Noise–Unit-178935318858983

Label: www.artoffact.com / www.facebook.com/artoffact

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.

Background/Info: Noise Unit was set up in the late 80s by two ‘giants’ of the early EBM/dark-electro scene. Bill Leeb (Frontline Assembly) and Marc Verhaeghen (The Klinik) joined hands composing 2 full lengths together. “Grinding Into Emptiness” and “Response Frequency” both entered into the collective memory of the late 80s. They also released 2 maxi’s. “Deceit / Struktur” released in 1989 on Antler-Subway was the first one. Both songs were also the first cuts from the CD-format of their debut album –but didn’t originally appear on the vinyl format of the album.

Content: Great music and great memories! That’s for sure what I felt when getting back to this typical late 80s sound. The music is closer to early FLA instead of The Klinik. The bass line running throughout “Struktur” even reminds me of Die Krupps.

Both songs are definitely driven by the typical late 80s spirit of EBM. I like some drum passages adding some extra elaboration to the work. A last essential aspect of this band remains the vocals by Bill Leeb, which were a bit spooky and cavernous.

+ + + : Noise Unit never gained the fame and popularity of FLA and The Klinik although it remains a genius band driven by 2 masters and visionary artists. Both songs sound pretty old-school like, but there’s still some magic emerging. I like the typical EBM format and the great drum arrangements.

– – – : There’s nothing really negative to say about this release, but you better avoid it if you’re tired of early EBM.

Conclusion: “Deceit / Struktur” was a perfect appetizer or little bonus to the album “Grinding Into Emptiness”. Noise Unit belongs to the history of ‘body-music’ and I’m sure I’m not the only one missing this legendary- and original duo today.

Best songs: “Struktur”, “Deceit”.

Rate: (7).

Band: www.facebook.com/Noise–Unit-178935318858983

Label: www.artoffact.com / www.facebook.com/artoffact

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 Finnish/Canadian label ArtOfFact has a sale up with incredibly low prices including excellent releases from such great bands as Marsheaux, Cevin Key, … That sound almost too good to be true to you? Well, hang on, it’s true and you’d be foolish not to take advantage of this limited offer.

The massive sale is up to free up stock space. Therefor they have slashed their prices with 50% or more resulting in prices of 6 Euro, 12 Euro etc for high quality releases from Marsheaux, Cat Rapes Dog, Cevin Key, Download, Front Line Assembly, Land of Giants, Mlada Fronta, Mobile Clones, Nash The Slash, Noise Unit, Of Tanz Victims, Psyche, The Gruesomes and more!

Head right here to get your basket filled!

Bernard - Side-Line Staff

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

side-line.com

Out later this year, but available right here for US customers and right here for EU costumers are 3 deluxe vinyl re-issues for Noise Unit, the Canadian industrial band, founded by Bill Leeb of Front Line Assembly as a side project. All of the reissues are available in very limited numbers, so better order your copy now.

The first item to be included in the re-issue series is Noise Unit’s debut album “Grinding into emptiness” which was originally released in 1989 on the influential Antler-Subway and Wax Trax! labels. Featuring the original line-up of Bill Leeb (Front Line Assembly) and Marc Verhaeghen (Klinik), the first Noise Unit is a minimal industrial-EBM hybrid. The reissue comes on two slabs of vinyl, one 12″ and one 7″, and is housed in a faithful reproduction of the original sleeve. All audio is remastered and fully authorized. There are various versions available right here for US customers and right here for EU costumers.

Next is “Response frequency”. Released in 1990 the second Noise Unit album featured Rhys Fulber (Front Line Assembly, Delerium) next to Bill Leeb (Front Line Assembly) and Marc Verhaeghen (Klinik). The album also features guest appearances by Marc Ickx (A Split Second) and Luc Van Acker (RevCo). The reissue comes on vinyl and CD, including the bonus “Agitate”/”In Vain” 12″ mixes. The vinyl edition comes on two slabs of vinyl, one 12″ and one 7″, and is housed in a faithful reproduction of the original sleeve. All audio is remastered and fully authorized. There are various versions available right here for US customers and right here for EU costumers.

The 3rd re-release is for “Drill” which appeared 20 years ago on the notorious Off Beat label and featured input from Marc Verhaeghen (Klinik), as well as members of Haujobb. The core duo of Bill Leeb and Rhys Fulber were still at the helm, and the result was a more future-electro sound that combined the earlier EBM beats with the techno style of Decoder. The reissue presents “Drill” as a double-LP vinyl, remastered and presented in a gatefold sleeve. The release features music on three sides, and the fourth side will sport an incredible etching, based on the iconic cover art. There are various versions available right here for US customers and right here for EU costumers.

Hardcore fans can get the 3 releases in one big fan package available right here for US customers and right here for EU costumers.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Electro-pop, space-pop, body-pop.

Background/Info: Thanks to the Russian ScentAir Records we get the opportunity to discover a rather unknown pop-minded formations from the Russian scene. RedLine previously released a self-released album and an EP as well.

Content: “Mind’s Garden” is miles away from the electro-pop standards. This is not a typical synth-pop production, but an instrumental composition based upon wafting sound vibes and great astral electronic treatments. The songs have been meticulously worked and are sometimes a bit more into certain complexity reminding me of Noise Unit. I here especially refer to the brilliant “Made By Humans”.

RedLine clearly are sound architects who take care to create attractive sound sculptures carried by danceable rhythms –which sometimes are pretty slow-like. The album is also characterized by some poignant leads. It indeed is an instrumental work, but a few cuts feature a kind of spoken, spooky words and outstanding female chants on “Windhaven”.

+ + + : RedLine maybe doesn’t propose the most accessible electro-pop work, but it definitely is an intelligent composition. The somewhat astral dimension of the work is absolutely fascinating. A few songs lead the listener to a real climax.

– – – : I would encourage the band to incorporate a few more ‘voices’ into their work and I mainly refer to the transcendental chants during the final song.

Conclusion: “Mind’s Garden” is an efficient antidote to the traditional electro-pop standards. This is an alluring work that will captivate the listener for the entire album.

Best songs: “Made By Humans”, “Under The Ocean”, “Abandaned Scenery”, “Lost Illusion”, “Windhaven”.

Rate: (DP:8)DP.

Band: https://soundcloud.com/redlineduo

Label: www.scent-air.com / www.facebook.com/ScentairRecords

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

ArtOfFact will release the 2LP vinyl reissue of Noise Unit’s “Decoder”, the project’s 4th album, originally released in 1995 via Dossier and Cleopatra. The line-up for the “Decoder” album consisted of Bill Leeb and Rhys Fulber. The re-release will include 2 unreleased bonus tracks (“Falling” and “Lifetime”) and will be available in 2 versions, a black double vinyl and an orange one (only version in the EU).

You can order this vinyl right now from ArtOfFact (for EU orders) or from Storming The Base (non-EU orders) where you can buy both version in one go too. Shipping is expected in February 2016. And while you at it, both stores have other Noise Unit vinyls on offer too!

Noise Unit is a Canadian industrial band, founded by Bill Leeb of Front Line Assembly as a side project. Over the years the band has seen several changes in line-up, with Bill Leeb being the only permanent member. The first album, “Grinding into Emptiness”, arose from the collaboration between Leeb and Marc Verhaeghen of Belgian industrial band Klinik. It was released in 1989 through Wax Trax! and Antler-Subway. The 1990 follow-up, “Response Frequency”, was the last release to feature Verhaeghen until 1996 and included Rhys Fulber who would remain with the band for the next three albums. Verhaeghen resumed his collaboration with Noise Unit for the 1996 album “Drill” which also featured members of German industrial band Haujobb.

After an eight-year hiatus Leeb teamed with former Front Line Assembly member Chris Peterson in 2004 to release “Voyeur” in 2005. In 2014, Front Line Assembly announced that a new Noise Unit album is in the works and the line-up is the same as on Front Line Assembly album “Echogenetic”.

Bernard - Side-Line Staff

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

side-line.com