(Photo by Élodie Duhoo) Along with their “Come and Join the Beautiful Army” EP, electro-trip hop duo The Noise Who Runs presents a short film, offering these five tracks plus the extra instrumental track “Goalmouth Interlude”. The film last for almost 20 minutes and “showcases this dark and brooding collection, straddling the line between hope and despair, defeat and optimism” so the band says. The EP is out now via TNWR Records.

“There are themes and ideas running through all the songs and the film reinforces and highlights those. There are various images that are repeated or linked across the whole thing, sometimes as quite literal broad strokes to fit the lyrics and sometimes more abstract juxtapositions as well as more off the wall, poetic references,” says Ian Pickering.

“This EP is a call for solidarity in a world constantly being sown with division and discord. So far, the start of the 21st Century seems remarkably like repeating the mistakes of the early 20th Century. In the First World War, all that flag-waving, jingoistic sense of and pride in nationality across Europe, the othering of governments and nations all engaged in the same exploitation of other continents, resulted in the most obscene and needless carnage and it feels today as if nothing has changed, save that rather than conscript us all and send us to France and Belgium for the slaughter, the big push would appear to be starving us to death in our own homes while we work all the hours of the day for a monthly wage that barely covers the cost of living,” says Ian Pickering.

Revolving around Hartlepool native Ian Pickering (Sneaker Pimps, Front Line Assembly), The Noise Who Runs is based is Lille, France. Pickering co-authored such Sneaker Pimps hits as “Spin Spin Sugar”, “6 Underground” and “Tesko Suicide”. In 2019, he launched this project with Brazilian-French guitarist Felipe Goes.

Here’s the full EP.

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, Experimental.

Format: Digital, CD.

Background/Info: Nothing Has Changed has been introduced as Industrial-Metal from Poland. The project joined hands together with Zoharum, releasing their second full length. 

Content: There clearly is an Industrial basis running through this work. It comes mainly through the drum sections, but also the global sound treatments, which have something Noise-like. The tracks are supported with an obscure, cold sphere, which becomes pretty tormented, especially when mixed with some fragmented, sampled screams. A few tracks are heavily bouncing and even touching ground with Industrial-Techno, but the last cut ends the album with a soft Noise piece. 

+ + + : The approach is interesting for the mix of Industrial elements together with dark spheres and harder noises while there are also some vague Techno bass drums. The album features ten tracks, which remain pretty short so in the end this album is never boring. I also want to say a word about the great, artistic digipak of this production. 

– – – : The album doesn’t feature any real highlights and that’s maybe because the tracks remain pretty basic; there’s no sophistication here!

Conclusion: Nothing Has Changed is probably inspired by retro-Industrial music, but creates a refreshing Industrial approach, which with some extra elaboration would be really excellent. 

Best songs: “Martyr’s Death, “No Escape”. 

Rate: 7.

Artist: www.facebook.com/consumeorbeconsumed 

Label: www.zoharum.com / www.facebook.com/zoharum

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

Chris Pohl set up BlutEngel in 1998. The project got rapidly signed to Out Of Line and became an instant success. More than twenty years later BlutEngel is a long-time leading formation from the Electronic underground scene. The German Electro/Wave Pop  project has released countless hits and never stopped releasing great albums. The new album “Erlösung – The Victory Of Light” only confirms the leading status of BlutEngel. I even experienced the new work as one of the most accomplished productions to date. Chris Pohl answered a few questions about this new masterpiece.

(Courtesy by Inferno Sound Diaries)

Q: You’ve been extremely prolific during the ongoing pandemic. You last year released the debut album of She Hates Emotions and this year already unleashed two BlutEngel-albums. What has been the true impact of the pandemic on your artistic activities and how did you experience this situation as human being?

Chris: Well, my output would have been just as high even without the pandemic:-) I had planned the debut of She Hates Emotions for a long time, and it came about before the pandemic. The regular album was supposed to come out in February 2021, but without the chance of a tour, I pushed the cover album, which was supposed to be released at the end of 2020, to February 2021. I was hoping that when the regular album comes out in summer, I can go on tour in fall. But the reality is still different. Otherwise, nothing has changed for me as a musician during the pandemic. Not even in my private life, as I rarely go out and tend to live in isolation. The only thing I missed sometimes was meeting friends.

Q: Over now to the new album “Erlösung – The Victory Of Light”. How did you apprehend this new work? Did you’ve specific themes in mind and did you focalize on explicit elements in the writing and production process?

Chris: This album was created differently than the previous albums. I did everything alone. Since “Tränenherz” I have worked with producers who have been able to influence the songs a little here and there. A sound has already been changed and thus influenced the song. This time I finished producing everything myself, and the producer just made the overall sound a little nicer. It was primarily about the mix. Of course, there were small additions, but nothing was changed. That makes it so special to me, and it was somehow a very liberating process and reminded me of my beginnings.

Q: The title of the album sounds intriguing and rather metaphoric, so it can be understood in different ways, but what’s its deeper significance? And is there a possible link with the dark times humanity is actually going through?

Chris: This album is close to a concept album. It wasn’t planned in the beginning, but since I’m in a not-so-great situation at the moment, I wanted to write a very personal album. I wanted to describe my feelings and fears, but at the same time give me and my fans hope. It was a kind of self-therapy. Many songs are about loss, fear and hope. The light plays the role of redemption here. Everything gets better, brighter, friendlier or everything goes in the direction of eternity, so to death. You can see the light shortly before you die. Either way, it’s a release. Of course, the lyrics also fit very well with the pandemic. That wasn’t intended, but I don’t want to say that the situation didn’t affect me a little subconsciously.

Q: What have been the different stages you’d to go through to achieve the new work? Did you experience specific difficulties and/or challenges in the accomplishment of some songs?

Chris: No… As I mentioned before, it was the fact that I did the album all by myself that had a big impact on the result. What was very exhausting were the vocal recordings with Ulli. Not because she sang badly -on the contrary. But she was so busy because she works in the hospital and then that distance when recording… wearing masks in the studio (except when she was on the mic^^) and always having us tested before we could start… That was weird…

Q: The regular album features 14 songs, but you composed 13 extra songs for the limited/box format. What makes the difference to you between the songs of the regular album and the others? Do you handle specific criteria to know when a song is finished?

Chris: All songs are equally good for me. But when I put the main album together, I pay attention to the division and the variety. Not too many fast songs, enough ballads, the relationship between German and English songs… every song that doesn’t get on the main CD will find its place on the bonus CD. And I composed the 6 instrumentals especially for this little bonus CD, which is only in the box.

Q: I noticed the album is also available as cassette format. I know cassettes today are mainly collector’s items, but I can imagine it must have something nostalgic as your first Terminal Choice songs were ever released this format. What does it evoke to you and what’s your perception about technical (r)evolution?

Chris: You are absolutely right. This tape reminded me of my early days. I released 5 or 6 tapes before I got my first record deal. I just think it’s great that you can offer such formats. Unfortunately, I don’t have a cassette recorder, but the idea is just great and makes my old heart happy.

For me, everything is better than digital music. The soul is lost with it. You need to have something to touch, to look at… It all looks nicer, and so the music gets more attention. But I have to go with the flow even though it’s always with tears in my eyes…

Q: How much of the ‘young’ Chris Pohl releasing the first BlutEngel albums do you still recognize in the way you achieved “Erlösung – The Victory Of Light”?

Chris: When it comes to my music, I’m still the Chris I was 20 years ago. I still make music the same way. The technique has gotten better, but HOW I write and record songs -it’s the same as before. My mind and ideas are also the same. In fact, I don’t feel that much has changed for me. I only notice that when I look in the mirror^^

Q: Clips have been always a very important aspect in the work and career of BlutEngel. What did you try to express in the newest clips and what’s your own input in the creation and release of the clips?

Chris: We have always been a band putting a lot of emphasis on show and style. Our stage show, our artwork… of course that should also be reflected in the clips. All four clips are quite different. From beautiful and romantic to weird, disturbing, or sexy… Even if video clips don’t get the attention they used to, they should be made and fit the band.

Q: Live shows also are an important part of the band -and the fans, so how does it feel to go back on stage again? And how do you expect festivals and live events evolving because of the pandemic?

Chris: I am even more grateful to be on stage these days. We were never a band that gave a lot of concerts. Maybe 20 a year… Then a couple of festivals… But I’ve had 4 concerts since the pandemic and there are probably only 2-3 more to come. That’s weird. When I’m on stage now, I’m so happy and want more normality back. I hope that I will soon be able to stand in front of 25,000 people at a festival again and not have to worry about a virus… even if it is still there.

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

Set up in 2007 by René and Andrea Nowotny AD: KEY rapidly became a noticeable band in the ‘old-school’ EBM style. The band’s debut works were released by the now defunct Electric Tremor Dessau (a true reference in this music genre) while they next signed to Emmo.biz, which is another label that is no longer active. The German duo finally joined hands together with Belgian label Alfa Matrix. They this year released their sixth full length album “Resonanz”. It remains an EBM experience although AD: KEY experienced with new elements so this work is maybe opening new paths for René and Andrea.

(Courtesy by Inferno Sound Diaries) 

Q: “Resonanz” is your sixth full length album. How do you look back at the writing and production of this album and what is it all about?

Rene: “Resonanz” is primarily about interpersonal relationships. We tried to reflect on daily life; less our own lives than what we hear, see and read.

Andrea: It’s about love and hate, about hurt vanities. But also about problems such as sexual harassment, where every woman is sure to have had her unpleasant experience. This is exactly what our song “Ich Will, Dass Du Jetzt Gehst” is about, for example.

Q: I experienced “Resonanz” as your most sophisticated and maybe mature work to date. How do you explain the evolution in sound? Is it just growing experience & maturity or still a will to experience with new sounds, equipment and ideas?

Rene: The fact that “Resonanz” sounds a little different from the previous albums has several reasons. At first, our goal was not to repeat ourselves over and over again. This time we wanted to push the EBM attitude a bit into the background and work more song-oriented. We are also constantly looking for interesting sounds. And since we’re fans of the 70s and 80s electronics, we went the opposite way that many other bands take. We didn’t want to use modern equipment or software, but analog synthesizers. So we rebuilt our studio and bought a lot of new / old equipment.

Andrea: We are also older (except me):-D, maybe more mature.

Q: The song “Electro Musik” sounds to me as a homage to DAF and Gaby Delgado. What did you try to express with this song and do you want to say something about the tragic loss of Gaby who definitely belongs to the icons of EBM?

Andrea: Gabi Delgado’s death in Spring hit us hard. I’m a big DAF fan -Gabi and Robert‘s music has always had a certain influence on AD: keY. Then we made a cover version of “Verschwende Deine Jugend”, because this song speaks to us from our hearts. Maybe someday we will release this cover version.

Rene: Our song “Electro Musik” was written a few months before Gabi’s death. The song is the result of a jam session that we did together with Axel Machens from Placebo Effect in the AD: keY studio. We wanted to test one of my new synthesizers -and Axel had his Korg MS 20 -a synthesizer that DAF used very often. In principle, the basic structure of “Electro Music” was ready that evening. The song name speaks for itself -a nod to the roots of electronic music.

Q: I always link EBM with energetic live performances so I can imagine it must be frustrating because of Covid-19 to no longer play on stage. What are you feelings about this situation and how do you expect to see things evolving?

Rene: Yeah. It is very frustrating not to be able to go to any more concerts and not be able to play any more live concerts. We miss that very much. But in September this year we were very lucky to be able to perform at the NCN Festival for a concert under strict hygiene rules. It was an indescribably good feeling.

Andrea: But we see the need to implement these tough restrictions. We hope that the situation will improve in the foreseeable future. But this COVID 19 virus doesn’t just go away on its own. So we retired to the studio and work on new music. There will be a new AD: keY EP in December.

Rene: At the same time, I’m working on my side project, a new RECTOR SCANNER album that is due to be released next year.

Q: René, you’re still pretty close with ARMAGEDDON DILDOS and became member of ORANGE SECTOR too. What’s your input with these other bands and is there something like a big German EBM family?

Rene: Yes, I’m good friends with Uwe from the ARMAGEDDON DILDOS. Nothing has changed about that, even if I‘m no longer a live member. We sometimes stil work together making music. Uwe recently made a remix for AD: keY and I did a mix for ARMAGEDDON DILDOS. Uwe has always been a kind of musical mentor to me, and I value his opinion very much.

With ORANGE SECTOR it’s a lot of fun on stage. It’s just as great as it was with the ARMAGEDDON DILDOS. Martin, the mastermind of ORANGE SECTOR, produces the songs and the basic concept. The main work is up to him. He sends the files to me, I add my files and tracks and he mixes everything together.

Overall, one can say that the EBM / Electro scene in Germany is kind of a big family. Because the scene is relatively clear, you know each other, respect each other and are friends.

Q: How do you see AD:KEY evolving towards the next few years? What might we expect and what are you still dreaming of?

Rene: I don’t know how AD: keY will develop in the coming years. We are open to new influences because we don’t want to limit ourselves. We like to experiment. AD: keY will always sound like AD: keY. We stay true to our basic sound.

Andrea: In any case, we will start a new AD: keY album in 2021. We just let ourselves go -and we’ll see what comes out of it in the end.

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

(Interview by János Janurik – Photo by Phil Sharp) Erasure is going to release their 18^th studio album, ‘The Neon’ on 21st August. Their first single has already made it clear for the fans that Vince Clarke and Andy Bell are still world champions and hit guarantors in the synth-pop genre. Let’s forget about the Corona crisis and the shadow-side of life for a while now, let’s turn on the NEON lights and let our hearts and souls warm up in their lights! The boys are back in town! Vince and Andy joined Janos Janurik / our co-editor for an exclusive interview.  Enjoy reading!

JJ: It’s been more than 3 years since our last online interview. On the one hand, nothing has changed – and I am referring to international politics here; on the other hand, we have to face all the harshness of this Corona pandemic. One might think that the follow-up of ‘World Be Gone’ (2017) would be an even gloomier record. However, even after the first single (‘Hey Now (Think I Got a Feeling)’) we knew that the new sound would be something ‘optimistic, more upfront’ – as you described it yourself. I also think that this is exactly what the fans – their ears, souls, hearts and minds – currently need to enjoy a bit of the beautiful side of life with the help of your music. The album will be released at the end of the summer, but still gives the listener the impression of a little bit of sunshine. Have you appointed this release date in order to help the fans go through these difficult times? Could you please tell me some words about the “Neon” online album launch party?

Vince Clarke: The release date was chosen by the record company. It was put on hold for a while but then they thought, despite the lockdown, that the fans would appreciate some new music. It’ll be an opportunity to chat about the new record, answer some fan question and talk to some of the people from Mute, involved in the “Neon” process (and drink beer).

JJ: Let’s stay with this first single release topic. Although the song was written before the Corona era its lyrics could not even be intentionally more up-to-date. ‘Walk through the city singing Hallelujah, wish for a lover’s touch’, ‘Head for the city feeling kind of lonely, I gotta play the part’. Andy, you also mentioned on your online video chat on the 1^st of May that you were living far away from your spouse at that time. In another interview you also mentioned that you could also interpret the song “Nerves Of Steel” – which will be the second single and will surely become an absolute fan favourite – in a way that you can do anything and survive alongside a beloved partner. How has the pandemic affected your private life? I suppose these times have also taken on your ‘nerves of steel’. How can you protect yourself emotionally as a highly sensitive artist right now?

Andy Bell: I think for Vince & I it was very fortuitous that we got the album mixed & the photos just right before the pandemic broke. Of course it is very sad & frustrating to be away from your partner especially when you could do with some help, but really he was a great inspiration in all honesty when I was writing the lyrics in Atlanta. I have never lived on my on ever since leaving my childhood home so this is a very good exercise in independence & it proves that I can look after myself though I prefer to be with someone. London has been a completely different place without all the cars & people it is slowly coming back to life but I prefer it to be quiet.

JJ: Vince, in that sense, you’re in a better position to have your wife and son right next to you. And if you want to experiment with your synthesizers alone you just go to your basement where you have your own home-studio. On the new album you grabbed more for classical analogue stuff that added more warmth and 80s’ flair to the new songs. I really like those space-like instrument parts in songs like “No Point In Tripping”, “Shot A Satellite”, “Diamond Lies” or “Careful What I Try To Do”. For me, this is one of the true essences of Erasure’s music, why I’ve been your fan for over 3 decades now. They guarantee goose-bumps and make the fans of the classic analogue synth sounds happy. What can you tell us about the development phase of the musical basis of the new songs? Was it a pure coincidence that you just picked these synths (like Sequential Circuits Pro-One and Moog) out of your huge collection? Is there a favourite synthesizer the sound of which you like best? 

VC: I never have a really clear idea of how the songs should sound in the beginning. My process has always been about experimentation. I do have my favorite synths but I try and incorporate as many different machines as possible. It’s more interesting for me and hopefully results in less predictable sound.

JJ: The new album is full of potential hits. The fans already know the pre-released single “Hey Now (Think I Got A Feeling)” and the song “Shot A Satellite”, released as an appetizer but there are several more that are sure to become fan favourites. Let’s think of the beautiful mid-tempo song “Nerves Of Steel” or of “Fallen Angel”, which is an energetic up-tempo song and immediately lures you to sing along. Another absolute favourite of mine is the synth-disco-anthem “No Point In Trippin”. “Diamond Lies” with its catchy oriental motifs is also a highlight of the album. Radio stations should play these songs in heavy rotation. Do you already have personal favourite hits from the new album? Which song is going to be the next (third) single?

VC: My personal favorite is “New Horizons”, cos I’m an old romantic at heart.

AB: My favorite is “Nerves of Steel” I just keep playing it over & over again it’s sounds like electro rock to me & I can`t wait to perform it live hopefully next year. It is a song about the grit & determination that it requires for a relationship to last. It is a celebration of world lovers no matter in which form. The last single will be “Fallen Angel” which is a roller coaster ride of emotions.

JJ: What I am also very happy about is that after a long time we finally have an Erasure ballad with piano underpainting again. “New Horizons” is definitely one of the most beautiful Erasure songs ever released. The music, Andy’s voice and the lyrics – everything fits perfectly! The song caresses the soul and gives new hope. Do you believe in the healing power of music? Which song touched you emotionally for the last time?

VC: For me, music has always been a comfort. I think that’s especially true right now. I’m not sure music is a healer but it certainly gives us hope. “Life In A Northern Town” is my current favorite comfort song.

JJ: The end track “Kid You’re Not Alone” also goes straight to the heart and brings the album to a nice conclusion. It reminds me of such crowning album closing tracks as “Because You’re So Sweet” or “I Bet You’re Mad At Me”. I am sure that fans will choose the brilliant ‘Neon’ album – which is colourful, warm and brings light to the world, just like its title – as their favourite. The only thing missing is a tour to have the work well done celebrated together. And then we, ‘kids’ will ‘not (be) alone’. I know that it is very difficult to plan live appearances at the moment, but is there a chance to see you at least on the Internet until live shows are considered safe?

VC: There might be a couple of small events happening soon but there are no plans for a full concert, especially because Andy and I are 3000 miles apart.

JJ: Please tell us a few words about the successful artwork which beautifully completes the musical content. Fans who have pre-ordered the special edition are sure going to be happy about the coloured NEON design.

VC: The artwork was inspired by a photo shoot we did at “Gods Own Junkyard”. A museum dedicated to the history of Neon.

JJ: In addition to Erasure, you also have your side projects such as Andy’s Torsten trilogy or Vince’s new discoveries on his VeryRecords label. Not to mention his radio program about the magical world of synthesizer music with Reed Hays. What releases are still to be expected from you until we can see you on tour again? Andy recently put an interesting playlist of his favourite mute songs together. I’ve also heard rumours about Vince’s possible collaboration with Neil Arthur of Blancmange. What does your musical life look like outside of Erasure?

VC: There is a new Alka album coming out soon on VeryRecords. The Neil Arthur collaboration is on going. It’s nearly finished but at the moment there is no release date.

JJ: Erasure are not only in the studio but also on stage in top form. As I mentioned before, these times are not necessarily favourable for tours. But Andy spoke in a radio talk in May about a possible US tour starting next March and about further UK/EU concerts in the autumn of 2021. Are you looking forward to meeting the fans? What would your message be to your fan community?

VC & AB: We are both really looking forward to begin a tour next year and properly showcase the new album. “Hang on in there” would be our message to the fans.

The new Erasure album can be (pre) ordered at Mute.

Erasure – “The Neon” tracklisting

1. Hey Now (Think I Got A Feeling) 
2. Nerves Of Steel
3. Fallen Angel
4. No Point In Tripping
5. Shot A Satellite
6. Tower Of Love
7. Diamond Lies
8. New Horizons
9. Careful What I Try To Do
10. Kid You’re Not Alone

Editor’s Note: I’m giving this album a 5 star rating.

© JJANURIK

János Janurik

I began my career in online music journalism in 2001, writing about artists I had followed since the late ’80s and early ’90s, including Depeche Mode, Erasure and The Cure. I later edited the Hungarian Mute microsite for EMI Music Hungary. This led to interviews with Erasure, Nitzer Ebb and Alan Wilder, and some of those collaborations developed into lasting friendships. Since 2014, I have been part of the editorial team of depechemode.de. I also contribute interviews to Reflections of Darkness, Peek-A-Boo Magazine and Kaput Mag. I maintain a close connection to Mute Records artists and have also supported releases on Very Records. I am proud to collaborate with Side-Line Magazine, where I regularly publish interviews and features.

Genre/Influences: EBM, dark-electro.

Background/Info: Funker Vogt is back releasing their first new work since 2013. The legendary German formation still driven by Gerrit Thomas had some turbulent years after singer and frontman Jens Kaestel left the band. But he got replaced by Chris L. who you for sure know from his involvement with Agonoize, Dance Or Die and The Sexorcist. This EP is the first new stuff from this ‘reformed’ formation and is also a first teaser to the new album.

Content: Sound-wise nothing has changed! Funker Vogt remains inspired by powerful dark-EBM revealing the genius of Gerrit Thomas. Funker Vogt is a band with a very own sound DNA and that’s an aspect you directly recognize. The title song is powerful, danceable, featuring great arrangements and dark-technoid sequences.

The vocals of Chris L. of course are different than Jens Kaestel, but the least I can say is that it works! The EP features two different versions of the title song plus remixes by Patenbrigade Wolff and Winterhart. There also is a B-side song entitled “Blut Und Schmerz”.

+ + + : Funker Vogt is back on track and that’s for sure real good and great news for the fans and all lovers of dark-EBM. It will take some time to get used to the new singer, but in the end, he fully succeeded on this EP. I especially like the catchy lyrics of the title song. “Der Letzte Tanz” is a solid title track featuring all the familiar elements of Funker vogt. Power, dance and melody! I also have to mention the interesting diversity in the remixes and especially the epic-like remix of Winterhart.

– – – : As I said it will take some time to get used to Chris L; it’s not an easy thing to replace a charismatic singer of a band like Funker Vogt!

Conclusion: Funker Vogt is back on the EBM front and this first sonic raid is not their biggest success although a real nice comeback!

Best songs: “Der Letzte Tanz – Tanzmix”, “Der Letzte Tanz – Winterhart Remix”, “Der Letzte Tanz – Patenbrigade Wolff Remix”.

Rate: (7).

Band: www.funker–vogt.com / www.facebook.com/officialfunkervogt

Label: www.reporecords.de / www.facebook.com/pages/Repo–Records/119590774857404

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.

Content: After being active for 30 years in the EBM/industrial-metal scene, it seems nothing has changed for Die Krupps.

Mastermind Jurgen Engler, currently living in Austin-Texas (USA), still can’t choose between pure electronic music and guitars and succeeds in combining both in a powerful way!

This new album, in which the guitars are more in the foreground, fits perfectly in the list: “I” (1992), “II – The Final Option” (1993), “III – Odyssey Of The Mind” (1995) and “IV – Paradise Now” (1997).
Right after the instrumental intro “Die Verdammten”, “Kaltes Herz” smashes you in the face, for sure one of the fastest and hardest songs Die Krupps ever released. “Battle Extreme” was already released as a 1st single (and video) together with “Fly Martyrs Fly”, both noticed at #1 in the German alternative charts.

The best song for me is “The Truth”, which is full of great riffs and which also lyrically reminded me a bit of “The Truth” of Clawfinger.
When I heard “Road Rage Warrior” and looking at the album cover, I thought that perhaps this album should have been the ideal soundtrack for the movie “Mad Max: Fury Road”.

The best danceable song for the clubs definitely is “The Vampire Strikes Back”, although it was already earlier released on the sampler “Wing Commander: Prophecy”.

“Alive In A Glass Cage” sounds more melodic and has a sing-along factor, followed by “Branded”, full of electronic pumping bass-lines, sirens and trash riffs.

“Kaos Reigns” is just like “Kaltes Herz” a very hard and fast song, but this time with an eastern melody on top of it. A lot of sampling was done on “The Red Line”, followed by “Bonded By Blood”, a typical Die Krupps song in the good old style.

Last track “Volle Kraft Voraus” is a remake of this classic from 1982 of the album “Volle Kraft Voraus!”.

The 2nd CD consists of demo-versions of six of the new tracks plus two remixes of which the remix of “Kaltes Herz” by Darkhaus was by far the best.

This album was not only digital released but also as a DCD digipack, bundle (DCD digipack + t-shirt) and as a limited edition box (DCD digipack + gloves + signed photo + sticker).

Conclusion: Die Krupps shows again that they easily can keep their position of true founders and pioneers of this genre!

Best songs: “Fly Martyrs Fly”, “The Truth”, “The Vampire Strikes Back”, “Alive In A Glass Cage”, “Bonded By Blood”.

Rate: (WH:8½)WH.

Band: www.diekrupps.com / www.facebook.com/diekruppsofficial

Label: www.spv.de / www.facebook.com/spvhannover

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