LA based dark industrial metal band Dawn Of Ashes have launched an all new single, “Heart Wrapped In Suicide”.

“Heart Wrapped In Suicide” was mixed by front-man Kristof Bathory with Angel, Crowe, and Brendin Ross (who also mastered the single), and is the first single off of the band’s upcoming album, “Reopening The Scars”.

Founded in 2000, Dawn of Ashes began as a dark electronic music group, using horror film samples. By 2005, they released “Sacred Fever”, defining their future theme. They signed with NoiTekk and released “In the Acts of Violence” in 2006. In 2007, Joey-Tekk left, Rayne joined, and “The Crypt Injection” was released, featuring their first music video.

By 2008, they shifted to melodic black metal, with Bathory leading. New members joined, but by 2010, changes occurred again. “Genocide Chapters”, a melodic death metal album and they toured with Dimmu Borgir and Enslaved. Before leaving Metal Blade Records, they released “Farewell to the Flesh”, returning to their electronic roots. Members Othuum and Volkar Kael departed. In 2012, guitarist Syrus joined, and they released “Anathema” in 2013, blending electronic and metal.

In December 2013, they announced their breakup due to various issues, including potential legal troubles. Bathory hinted at future collaborations with Bahemoth and Syrus. Their last performances were in 2014. In 2016, Dawn of Ashes returned with Metropolis Records, releasing “Theophany”. By 2017, they introduced Brandon “Rage” Richter and released “Daemonolatry Gnosis”.

Transitioning to industrial metal, they combined their original style with “The Crypt Injection II”. In 2019, they left Metropolis Records and released “The Antinomian” in 2020.

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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Chilean duo Die BRAUT has been set up in 2007 by singer Katia Figueroa Letelier and composer Voz y Líricas Cristián Soto Vanell. DIE BRAUT is for sure one of the most familiar Electro-underground bands from their country. They released albums on labels such as Danse Macabre, Orion and NoiTekk. They last year released their newest opus “Virtual Communication” on the Russian label ScentAir Records. It also was the band’s first full length album since “Psychotherapy” (2011). The songs are danceable pieces mixing elements of Electro-Pop and New-Wave music, but it’s without a shadow of a doubt the most mature and accomplished work of the band to date. Time for a chat with the Chilean duo.

(Courtesy by Inferno Sound Diaries)

Q: You guys are active under DIE BRAUT moniker since 2007! What do you consider as the main facts in the band’s history and how did you evolve from the early years till today?

DB: Exactly! And that name is due to the existence of a frontwoman in the band. For years now we have enjoyed our art and reached great moments like the release of every single and album, each performance,  all what we’ve learned from great musicians who left us and the affection and support of the people. We of course always cherish the great moments.

We especially keep in mind two great festivals where we were invited to play. There was Wave Gotik Treffen in 2011 and Orus Fest in 2016, both leaving us a clear feeling of doing things well and being able to enjoy playing in front of thousands of people, which we like the most of all.

Evolution is part of the same learning and love for music, dedication, study, being clear about concepts and always ready listening to others, to live each experience as the best of our lives and thus continue to grow.

Q: You last year released the new album “Virtual Communication”, which clearly sounds different in sound and influences. The global production is more ‘Pop’-driven, but what’s your perception of this work and what have been the main influences to compose the new stuff?

DB:The perception of things is subjective and influences have always been present in our lives. Mainly it is about experiences, things that happen to people, illnesses, hunger, abuse, misery and pain. Musically for us the influences to compose this or another album have always been the same, the difference is that we can show it with different faces and nuances. We love Synth-Pop, as well as Grunge, Rock and all its evolution over the years. What is changing from an album to the next one is the concept of each work and we think that today the most appropriate thing for us is to present “Virtual Communication” as one of the great shortcomings of human being in recent times and we believe that it was just the right time to say it.

We will never pigeonhole ourselves into anything specific and we also don’t believe there’s a reason to have another band with a different musical style. We are sure that variations feed our creation and that is how we have seen it reflected in our albums and listeners.

Q: The lyrical content of your work has often been a critical perception of what happens in your own country, Chile, but what did you try to express on “Virtual Communication”?

DB: Indeed, the truth is that we spent a good time showing our own experiences as a country and American continent, but this is what we commented in the previous answer; each concept may differ as time passes and while we observe it, it is worth telling it. “Virtual Communication” means a globalized world, mixed with the immeasurable expansion of social networks, their aggressiveness and their misuse. It stands for the selfishness of nations, people and not having an own identity, where written criticism seem to have more value than honest conversation.

We don’t see it as a path in the opposite direction, but as something that is a real fact from which we must know how to take advantage and learn to be able to relate.

Q: Do you follow a particular procedure to compose the music and writing the lyrics? Do you’ve specific references when it comes to production?

DB:Music is supposed to be spontaneous, something that comes from the heart and mind, and not necessarily from a synth or computer. Music has to be sexy in all its dimensions and the transforming channel of ideas into songs, so we don’t have a specific way to start working. As we said before, it’s enough to be clear about the concept on, which we want to deepen and all that results from it is an album as we have made it

Q: I noticed you’ve been already worked with multiple labels; Orion Records of course, but also European labels such as Danse Macabre, Noitekk, Advoxya Records and now ScentAir Records. What makes you’re constantly working with new companies and what do you expect from a label?

DB:We believe that each of them has been a great learning experience. All things always have a limited time and we have lived it to the end. Some of them are no longer active and regarding others it simply were personal decisions, which have nothing to do anything specific. We see positive the fact that each of them has had enough interest to have welcomed us and believed in our music, and from our side to have been able to go a step further.

Right now we are happy with ScentAir and we hope to continue releasing records on this label. Promotion and support both are very important itemds and you don’t hear us to complaining in all what we got so far.

Q: Artistic activities have been affected all over the world because of the Covid-19 pandemic. How’s the situation in Chile and how do you try to manage this situation now that you’ve a new album out? What brings the future for DIE BRAUT?

DB:Of course, and it’s a global health issue. For now we just have to wait patiently and stay current by making more and more records. A new single with remixes will be released pretty soon and we’re working on a new album with another lyrical and musical concept, which is totally different from “Virtual Communication”. It will surely transport the listener to the 80s with a theme refering to love and respect for nature, native peoples and a lot of geographical histories, which we believe represent us spiritually. It will remain Electronic music in all its variations!

Thank you very much for this interview and the support of our work

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

Format: Digital, CD.

Background/Info: Set up in 2007 by singer Katia Figueroa Letelier and composer Voz y Líricas
Cristián Soto Vanell, Die Braut clearly is one of the most familiar Electro-underground bands from Chile. They released their stuff on very different labels such as Danse Macabre, Orion, NoiTekk and Advoxya Records while this new opus (the first ‘new’ album since 2011) has been released on Russian label ScentAir.

Content: Die Braut already has experience with varied Electronic influences, but they’ve always been connected with some Pop influences. The new work is clearly moving in between Electro-Pop and retro-like Wave-Pop music. They’ve reached a very own sound, which is hard to compare and yet some songs remind me a bit of the spirit of Kirlian Camera. Die Braut definitely sounds more melodic and Pop driven, but the production is  supported with a colder atmosphere. Most of the songs are danceable and masterly driven by the female vocals of Katia Figueroa Letelier.

+ + + : Die Braut probably accomplished their most elaborated and mature work to date. I can’t say that they are innovating, but they are simply good in what they do! This is an electro-Pop format with attitude! The songs are boosted by danceable kicks while the melodic choruses create an elevating effect. I also like the production of the vocals creating a perfect balance with the sound.

– – – : This album is maybe missing ‘the’ hit that would convince all Electro lovers of this band’s true potential.

Conclusion: Die Braut strikes back with style unleashing a well-crafted and efficient album.

Best songs: “Words In An Empty Space”, “Virtual Communication”, “Without Time”, “Dissonance”.

Rate: (8).

Artist: www.facebook.com/diebrautmusic

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

After the release of the last Grendel studio album “Age of the disposable Body” and the re-release of their harsh electro album “Inhumane Amusement” (a 2CD set including bonus tracks), Grendel quickly returned to the studio to record a sixth full-length album.

The new studio effort has 10 all new songs and was mixed and mastered by Kojla Trelle (Soman).

Grendel formed in 1997 and was named after the beast in Beowulf. Grendel was signed by the German record label NoiTekk — a sub-division of the now defunct Black Rain label — which released their first studio album, “Inhumane Amusement”, an expanded and remastered version of their demo CD. The band is currently signed to Infacted.

Here’s a live snippet from last week.

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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Set up in 2001 by Kristof Bathory, the Los Angeles (USA) based Dawn Of Ashes is a band that went through different periods. The early records, released by the now defunct NoiTekk, revealed a dark- and tormented electronic sound. Quite progressively the band started to explore new sonic paths, composing albums driven by heavy industrial-metal music. There was a break in between 2013 and 2016, but DOA stroke back releasing new material. The newest opus “The Crypt Injection II (Non Serviam)” released on Metropolis, is a kind of back to the early dark-electro sound mixed with elements of metal music. It’s a powerful and fully accomplished opus, which incited me to get in touch with Kristof Bathory and… Johan Van Roy (Suicide Commando) who has been invited to do guest vocals on one of the tracks.

(Courtesy by Inferno Sound Diaries)

Q: Your new album “The Crypt Injection II” clearly sounds as a back to the roots, but still featuring the industrial-metal approach from the recent years. What incited you to go back to the early sound of Dawn Of Ashes and where do you place this new work in the band’s history/discography?

Kristof: There has always been a high demand about returning to our earlier sound from fans that have been following us since the beginning, and there are fans that understand how we have the capability of blending both metal- and industrial music. I feel that I did neglect the origins of where DOA started from, but also know that I initially wanted Dawn Of Ashes to be a blend of metal and industrial from the beginning. Dawn Of Ashes is an industrial-metal band that experiments with various sides from different types of metal- and industrial music. I wanted to pay homage to the first “Crypt Injection” while throwing in what we do now. This album was meant to tell older fans that we hear you and that we don’t have to bury who we used to be any longer.

Q: So how did it feel getting back to dark-electronics and how would you compare writing an industrial-metal album versus a dark-electro album?

Kristof: This first attempt emerged when I wrote the debut “Bornless Fire”-album. Toying with synths again has been something I really missed. There is definitely something special about the combination of synth sounds and metal music. Not a lot of bands can pull it off and if they do, it sounds amazing. The dark-electro era had a very simplistic style of writing, while writing industrial-metal is a lot of work. The mixing process is very different and working with others and having them capture my vision of the sound is challenging. I feel that there is a sense of maturity difference between both “The Crypt Injection 1” and “The Crypt Injection 2”. Both unique in different ways and both have their own charm.

Q: What has been the main focus in the composition- and production process of this work and what are the elements you’re particularly proud of?

Kristof: The focus was to achieve the sound of the original “Crypt Injection” while making it completely different. The style of writing dark-electro / industrial and writing metal and putting them together while doing the math was very interesting. Mixing this album with Brendin Ross was the biggest nightmare and probably the hardest album to mix in my opinion. I feel like I’m mostly proud that I was able to pull this off and bring back that old sound, but also making it unique.

Q: I’m intrigued by the cover inspired by the Sephiroth, the famous ‘tree of life’ from Kabbalah. What does this ‘symbol’ means to you and what’s the link between the artwork and the lyrical content of the album?

Kristof: It’s actually the ‘Tree of Death’ or the Qliphoth. I have made it public that I am an active practitioner of The Left Hand Path and Black / Dark Magick. While in the middle of this album, I was studying and working with the Qliphothic Magick in a LHP order that I am involved in. The concept of the Tree of Death went well with the theme of “The Crypt Injection 2”. Death as a symbol of transformation or the mysteries in darkness and injecting this symbol within the knowledge of the mind. 

Q: The song “Hexcraft” is featuring Johan Van Roy who’s accentuating the dark-electro side of the work. How this featuring did happen and what makes Suicide Commando that special to you?

Kristof: Johan has always been a friend even though we still have not met in person. I felt that he would be the perfect person to do guest vocals since this album was meant to pay homage to the early years of dark-electro. I have always loved his work so it just happened.

Q: Johan, do you’ve some personal criteria when you accept to get featured on an album and what was your personal experience on “Hexcraft”?

Johan Van Roy: In theory I don’t have any personal criteria to accept any guest vocal requests, after all I’m just an electro whore, so I do all for money …:-)

No seriously, basically my only conditions are that I like the music and/or the song, and the artist behind this music. I would never sell my soul to an artist I don’t like personally. I know Kristof Bathory of DOA for many years now, and we always had much respect for eachothers work, so for me it was an honor to do guest vocals on “Hexcraft”.

Q: I always have experienced Dawn Of Ashes as a rather versatile formation and I here refer to numerous line-up changes, the band’s break in between 2013 and 2016 and the evolution in sound. It looks pretty rock’n’roll like, but how do you look back at all these different topics and how do you see the further years of the band?

Kristof: One of my top favorite bands is Nine Inch Nails. All of Trent’s albums sound very different, but it still is NIN. Every album has a sound and its own charm. Each DOA album is different, but it still is DOA. The equation is metal and industrial equals who we are. I am going to stick to both, but not alienate one or the other. That is the future of Dawn Of Ashes.

Inferno Sound Diaries

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

www.side-line.com

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

Background/Info: Driven by Kristof Bathory, Los Angeles (USA) based Dawn Of Ashes became an established formation in the industrial-metal scene. This new work brings us back to the original sound of the band, which was inspired by pure dark-electronic music. Some of you for sure remind both official debut albums “In The Acts Of Violence” and “The Crypt Injection” released on the defunct NoiTekk.

Content: “The Crypt Injection II” indeed is a move back to the dark-electro and tormenting sound of Dawn Of Ashes, but still spiced with some heavy metal guitar riffs emerging at the debut of the work. The song “Hexcraft” features Johan Van Roy (Suicide Commando) who clearly is a source of inspiration for the dark-electro side of the album. The album end reveals remixes by Hocico and Chris Vrenna (Army Of The Universe).

+ + + : The intro cut is an instrumental, overwhelming piece of music announcing a merciless opus. And that’s precisely what is emerging from the debut part, which is a heavy fusion between industrial-metal and dark-electronics. The vocals sound like they are emerging from the throat of a possessed soul. The songs aren’t only powerful, but masterly accomplished with great sound treatments. The ‘classical’ dark-electro side is also absolutely impressive. Power and bombast create a total state of terror, which sometimes makes me think of :Wumpscut: (pay attention for “Abuse The Abuser”). Dawn Of Ashes has achieved a masterpiece, which is ended by two great remixes.

– – – : I’m not especially a ‘metal’-addict, but I’m missing some metal power in a few cuts. However I’m not really complaining.

Conclusion: This album is a real major opus, which is perfectly mixing the dark-electro side of the early years with the metal-industrial work of the later period.

Best songs: “Ahriman”, “Reborn In Fire”, “Sitra Ahra”, “Hexcraft”, “Abuse The Abuser”.

Rate: (9).

Artist: www.dawnofashes.com /  www.facebook.com/Dawnofashes

Label: www.metropolis–records.com / www.facebook.com/MetropolisRecords Read the news on ‘The Crypt Injection II / Non Serviam’.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Industrial-metal.

Background/Info: Psyclon Nine once started as a harsh dark-electronic formation (referring to their debut album released on NoiTekk), but quite progressively the band moved towards industrial-metal fields. This opus is the first new one since 2014.

Content: The industrial-metal influence remains ultra-present, but I also experienced this album as an exploration of new sonic paths. The dark-doom side has never been that present while the oppressive atmospheres are clearly revealing a kind of modern sound-approach. This album has something overwhelming and the bombastic/orchestral arrangements only reinforce the feeling. The power is hiding in obscure and sometimes disturbing spheres. A few passages even have something ritual-like.

+ + + : I experienced this work as the most disturbing Psyclon Nine release in history. This production will freak you out and I simply love it. But I’m also convinced Nero Bellum has accomplished the most soundtrack-orientated opus from the band. “Warm What’s Hollow” is a great song illustrating this obscure, cinematographic side. This is production is characterized by brilliant atmospheres reinforced by the possessed vocals of the front man.

– – – : I can imagine some fans would have expect something harder and more ‘pure’ metal-driven. They’ll only get a few songs into that style.

Conclusion: “Icon Of The Adversary” appears to be a noticeable ‘comeback’ for Psyclon Nine. It doesn’t sound like the start of something completely new although it’s definitely a new chapter that has just begun.

Best songs: “Warm What’s Hollow”, “When The Last Stars Die”, “And With Fire”.

Rate: (8).

Artist: www.facebook.com/psyclonnineofficial

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Dark-electro.

Background/Info: American formation Die Sektor saw the daylight in 2004. The debut album “To Be Fed Upon” released on the now defunct, but still legendary NoiTekk in 2006 became an instant success. This album now gets a new re-release featuring next to the original 11 songs from the album 3 bonus tracks. The first 100 copies are featuring an extra disc. There you’ll (re)discover the first self-released EP of the band (cf. “Scraping The Flesh”) plus 8 early demo songs.

Content: “To Be Fed Upon” remains a powerful dark-electro work. Solid bass lines, haunting atmospheres, heavy electro-industrial kicks and distorted vocals made the splendor of this album. Somewhat inspired by Suicide Commando and revealing an elaborated writing, this album was an astonishing debut for Die Sektor. The original versions haven’t lost their initial power and magic.

The album ends with three bonus songs. The second disc brings us back to the early years of Die Sektor. Next to the songs featured at “Scraping The Flesh” you’ll get the opportunity to hear old demo songs. Most of these songs remain instrumentals.

+ + + : Die Sektor got an instant recognition because they revealed an impressive, mature sound. They deal with dark-electronics, sometimes reminding to Suicide Commando, but with this extra industrial –and I dare to say American touch, they later on would elaborate. “To Be Fed Upon” also sound tormented and that’s also a part of the band’s success. This is an opportunity to rediscover songs as “Painkiller”, “Motionless”, “Electronic Savior”, “Lustangel” ao.

This re-edition also is an interesting work for the fans as you’ll get multiple bonus songs (which were already released on digital format), but the CD has a booklet as little extra. It’s pretty cool to (re)discover the 5 songs from the EP “Scraping The Flesh” (2004).

– – – : The bonus songs make the interest of this re-edition although the featured songs don’t really sound as the most inspired and accomplished compositions in the band’s discography.

Conclusion: The original album “To Be Fed Upon” still sounds great and doesn’t suffer at any moment from the weight of time. It’s an opportunity to rediscover how it all started for Die Sektor while they also give you a view upon their very early demo work.

Best songs: “Painkiller”, “Motionless”, “Electronic Savior”, “Lustangel”, “Deathkill”, “Prey To The Razor”.

Rate: (7½).

Artist: www.facebook.com/Diesektorofficial

Label: www.digitalworld.audio /   www.facebook.com/DigitalWorldAudio

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 59th track on our free download compilation “Face The Beat: Session 4” (featuring 92 tracks) is by the Colombian band Psyborg Corp..

The track we offer here comes from the band’s second album “The Frozen Shrines of Obsydyana”, a conceptual LP telling the sci-fi story of Obsydyana, a crystal planetary system with a hi-tech society threatened by a cosmic phenomenon in the midst of war and thus facing annihilation.

The band signed to the German label BlackRain/Noitekk in 2010, and to Orion Records (Chile) in 2014 after they won the Orion Records ‘Best Latinamerican Band 2011’ contest. In 2015, the band signed to Insane Records and re-released their last album as a digital deluxe format with bonus tracks. A band to keep an eye on, connect with them right here on Facebook.

Listen to “Tekhelet’s Ice Cyclone (Exemia Remix)” below and download it right here.

Check our “Face The Beat: Session 4” page on Bandcamp to discover the other 91 bands. All donations will go to charity.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Industrial-black-metal.

Background/Info: Dawn Of Ashes is a band I discovered during the glorious days of the now gone NoiTekk label. NoiTekk was a reference when it comes to discovering dark-electornic talents during the early millennium years. Dawn Of Ashes already was a kind of exception for their metal-influence supporting their work. After NoiTekk closed its doors, Dawn Of Ashes signed to another label and finally joined Metropolis while their sound never stopped to get more metal minded.

Content: “Theophany” is the newest brain child of Kristof Bathory. He again acts and sings like he is possessed and it doesn’t take that much time to get the impression that you’re entering into hell. The songs are driven by furious rhythms, empowered by epic bombast, recovered by obscure atmospheres and accomplished by torturing guitar sounds.

A few softer cuts feel a bit like a short intermezzo, but it rather sounds like a short relief before getting back to aggressive, freaky power outbursts. A final and more ambient-inspired cut brings us to the exit of the “Theophany”-inferno.

+ + + : “Theophany” is not just only power, but confirming the conceptual and somewhat spiritual approach of Dawn Of Ashes. It reinforces the disturbing aspect of the work, which moves further than only metal. It feels like a devilish rite and a merciless experience in ‘modern’ metal-music. The opening cuts will really blow you away; the power is driven to its ultimate state and it feels great.

– – – : I was not especially impressed by the somewhat softer and moody-like cuts of this work. Dawn Of Ashes clearly feels more comfortable and efficient when dealing with rough power. “Theophany” is an accomplished work although not the best one from this band.

Conclusion: “Theophany” sounds like the power from the underground, an imaginary sonic temple known for obscure rites featuring Kristof Bathory as the guru of a dangerous sect.

Best songs: “Equilibrium”, “Tribe Of Chemosh”, “Rise Of The Ancient East”, “Fire Of The Phoenix”.

Rate: (7).

Band: www.facebook.com/Dawnofashes

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

Inferno Sound Diaries

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

www.side-line.com