Bureau B is set to launch the compilation titled “KLAR! 80 – Kassettenlabel Düsseldorf 1980-1982” in both CD and LP formats on July 14th. The compilation is a much-needed initial exploration of the period from 1980 to 1982, a time when KLAR! 80 functioned as a cassette label. It also operated a store under the same name, exclusively specializing in cassette releases, located at Aachener Str. 115 in Düsseldorf, under the management of Rainer Rabowski.

Rabowski was also active in a few bands himself, such as Mentocome and Roter Stern Belgrad, and he also operated under the monikers Rara and Rara Düsseldorf.

KLAR!80 brought out 18 cassette releases of varying lengths along with a box set comprising three 12” vinyl EPs. This latest anthology delves deeper into the past than the previous compilation, “SAMMLUNG – Düsseldorfer Kassettenmusik 1982-1989” (2017), also curated by German musician and producer Stefan Schneider (Kreidler and To Rococo Rot), which highlighted the cassette scene in Düsseldorf during the mid-1980s.

The KLAR! 80 label ceased operations in October 1982, and all master tapes and artworks have since been lost. The recordings featured in this new compilation have been sourced from well-preserved cassettes in private collections, which have subsequently been restored and digitized.

Below is the tracklist for this new compilation.

1. Strafe für Rebellion – Blaue Mig
2. Roter Stern Belgrad – Ta Ku Sey
3. Und Piloten – Umsturz
4. Roter Stern Belgrad – alpha waves
5. Europa – Dein Zauber
6. Ralph & Ernie – Ralph & Ernie
7. Xao Seffcheque und der Rest – Mir fehlen die Worte
8. Rara, Axel & Ralph – Rara, Axel & Ralph
9. Eraserhead – OT
10. P.Projekta / G.Ranzz-M4
11. CHBB-Mau-Mau
12. Roter Stern Belgrad-Blas dein Knie ein
13. BLÄSSE-Taktlose Klapperschlangen

Below is the list of tapes released by the KLAR! 80 label (but rest assured, the tapes are extremely difficult to find, or at very expensive prices). You will see that the catalogue numbers are not chronological.

• Dilette – “Dilette” (Cassette, C10), Catalog Number: buhuu 1, Year: 1980
• Roter Stern Belgrad – “Session / Alpha-Waves” (Cassette, C-2), Catalog Number: buhuu 2, Year: 1980
• Various Artists – “Klar! 80 Sampler 2 – Sample And Hold” (Cassette, Compilation, C50), Catalog Number: buhuu 11, Year: 1980
• EKG (2) – “Ende / Japs Kommt” (Cassette), Catalog Number: buhuu 12, Year: 1980
• Die Zwei – “”Die Zwei” Und Das 3. Reich” (Cassette, C20), Catalog Number: buhuu13, Year: 1980
• Komödi Trakik – “Komödi Trakik” (Cassette, Album, C-1), Catalog Number: buhuu14, Year: 1980
• Eraserhead (5) – “Beside Our Heads Is A Forty-Five” (Cassette, MiniAlbum, C10), Catalog Number: buhuu 10, Year: 1980
• Herr Ickswo – “+-x” (Cassette, C10), Catalog Number: buhuu 3, Year: 1981
• Klang Da – “Klang Da” (Cassette, C20), Catalog Number: buhuu 4, Year: 1981
• Hans./S702/MC 100* – “Chlagér Nouveau” (Cassette, C10), Catalog Number: buhuu 5, Year: 1981
• Eraserhead (5) – “Dead End Street E.E.” (Cassette, C10), Catalog Number: buhuu 6, Year: 1981
• Various Artists – “Der Klar! 80 Sampler” (Compilation), Catalog Number: buhuu 7, Year: 1981
• Blässe – “Live” (Cassette, C30), Catalog Number: buhuu 8, Year: 1981
• Blässe / EKG (2) / Roter Stern Belgrad – “Massa” (3×12″, Album), Catalog Number: KLAR! I/1/2/3, Year: 1981
• Various Artists – “Klar! 80 Sampler Alles Oder Nichts” (Cassette, Compilation, C 6), Catalog Number: b/u 17, Year: 1982
• Various Artists – “Privat” (Cassette, Compilation, C 3), Catalog Number: b/u 18, Year: 1982
• Roter Stern Belgrad – “Wölkchen” (Cassette, MiniAlbum, C 3), Catalog Number: b/u 19, Year: 1982
• Roter Stern Belgrad – “Afars & Issas 2 & 3” (Cassette), Catalog Number: b/u 20, Year: 1982

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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You for sure know Brant Showers as member of ∆Aimon. A few years ago now the American artist also set up Sølve. This is a solo-project wherein he can deal with more personal and occult themes. After the debut album “The Negative” (2016) he this year unleashed “Earth Inferno” which has been released by Re:Mission Entertainment. It’s a dark and sophisticated piece of music which is hard to define but clearly dealing with Industrial, Witch-House and Cinematic influences. I talked about Sølve and the new album with Brant Showers.

(Courtesy by Inferno Sound Diaries)

Q: What does this solo-project means to you and what place does it take -next to  ∆Aimon, in your artistic odyssey?

Brant: Initially the Sølve project was meant as a way to work through some personal experiences unrelated to my relationship with my wife and partner in ∆Aimon. It was also an opportunity to explore pieces that were more Ambient and Experimental with a heavier dose of occult themes. As the project developed though, it has become a very important outlet of expression for me. I keep the style fluid and open so I can explore any influences or ideas, that appeal to me, whereas ∆Aimon has a much more consistent and solid aesthetic that we work within.

With ∆Aimon we approach everything as a duo so the subject matter and compositions reflect our relationship and the blend of our influences -my solo project tends to be inherently a lot more self-indulgent and often harsher in style because of my particular interests.

Q: Your debut-album “The Negative” originally released in 2016 and re-released plus remastered in 2021 was a very personal work. How was it to get back to this album and the themes that inspired you?

Brant: I actually had a really difficult experience going back to those works. “The Negative” came from some pretty dark thoughts and revisiting that headspace ended up taking a heavy toll on my frame of mind and emotional state. I definitely wasn’t expecting to be hit so hard with the ramifications of pulling up those sessions, but in the end I think it was really important and helpful for me to see it all from a relatively healthier perspective and to reflect on what I’ve accomplished since then -emotionally and artistically.

Q: Your new album “Earth Inferno” is directly inspired by the book of Austin Osman Spare. This is an interesting ‘artist’ as he got involved with different forms of artistic expression. I like him for his connection to  Symbolism and Art Nouveau, but you seem to be more inspired with the darker and occult side of the man. Tell us a bit more about it and especially the way you transposed the influences into music?

Brant: My introduction to Austin Osman Spare was through his occult writings and influence on Chaos Magick, so that’s where my mind went when I started working on the “Earth Inferno”-album. The album came about during quarantine at a time when police brutality, school shootings, alt-right rallies, political insurrection, and the numerous nation-wide protests were all boiling up to a breaking point. It’s all still incredibly pervasive, divisive, and intense everywhere, but the quarantine really seemed to push people past their limits. The themes in Austin Osman Spare’s “Earth Inferno” and my album share a similar distress over the bleaker side of the human condition and the nightmare of life. Spare’s own antisocial tendencies and way of condensing ideas into concise and blunt aphorisms has always been an influence on my writing as well -not to mention his specific occult work.

My first album was a lot more laden with magical significance, but there’s always a bit of it in my music as I’m a very ritualistic person and it’s an important way for me to process and develop.

Q: What have been the different stages, difficulties and maybe challenges you’d to go through to achieve this new album?

Brant: I Initially didn’t have any plans to work on a Sølve album at the time, as I had several other projects in the works, but sometimes inspiration just makes things happen. Within a few days I suddenly had the sketches for an EP underway and that quickly grew into a full length release.

As I mentioned, the circumstances regarding the political and social temperature was an important theme I wanted to convey but last year I went through an incredibly tragic loss of a close family member as well as the blessing of news that my wife and I were pregnant with our first child. These highs and lows had a profound impact and have me re-evaluating everything important to me. So the direction of the album changed pretty dramatically half-way through production. Everything took on a more directly personal context. Instead of focusing on the state of the world and my place within it, I found myself looking at it from the perspective of how deeply we are connected. How love and loss are intertwined. The cost of letting people into our lives is the heartbreak we endure when we lose them. Likewise, a new set of anxieties surfaced in regards to the world my daughter would inherit and all the insecurities and fears that come with it. The framework of “Earth Inferno”-shifted in a way I couldn’t have anticipated -a reflection of how my own philosophy and focus on life has shifted. It still carries a lot of the initial idea, but more intensely pointed.

Q: I think it’s nearly impossible to label your music, which also makes the strength and originality of your composition. How would you describe your album to people who never heard of Sølve before? And I’m wondering about criteria and references you’re using to compose and produce your music?

Brant: I struggle a lot with trying to describe my music to others. I’ve always listened to music in a sort of vacuum without associating it within any context, so I never really know how to categorize what I listen to or write. My brain doesn’t do well with trying to fit things into a framework and I find it really difficult to place music into any particular classification. I would say the elements I aim to bring to the forefront of my works are all emotional rather than stylistic, so I tend to describe it in those terms… ritualism weighed by melancholy -sentimental and sad. No idea if that helps anyone contextualize the music, but it’s how my reasoning works.

For what it’s worth, I’ve been heavily inspired lately by a lot of other difficult to categorize bands. Stuff like Health, Godflesh, Haunted Horses, Uniform, Witch Fever, and Profligate. All are artists that operate without fitting into any particular genre, and maybe that’s part of what is appealing to me. I can only describe what I write as an accumulation of decades worth of listening to a wide range of music -all pieced together from whatever speaks to me personally through all those years of absorbing sounds and styles.

Q: You’ve just released a new single, which is a cover version of “Blood And Tears” originally written by Danzig. What does the original song mean to you and how did you adapt the song into your own music universe? Any further plans?

Brant: I have a tradition of releasing new Sølve material every year on my birthday and always try to use it as an opportunity to do something outside of the usual style and themes that the project encompasses. Last year’s track was a rather emotionally heavy one (a cover of Lorn’s “Acid Rain”) recorded as a way to work through some of the grief I was experiencing -so this year it was really important for me to step outside of all the difficult subject matter I’ve been dwelling on lately.

Danzig happens to be an artist I’ve enjoyed since my teenage years and “Blood And Tears” is a song that I have a very strong nostalgic attachment to. It felt right to adapt a song that has such a positive personal significance but is still so moody and romantic. There is a bit more material from the “Earth Inferno” period that I’ll be putting out as a follow up EP -so I’ll be diving back into those heavy themes again, but in the meantime I’m thankful to have had the Danzig cover as a mental break.

Next up will be that satellite EP and then I’ll be following it with something on the noisier side in line with my Drone, Ambient, and Experimental work. That’s currently only in the beginning stages though, so we’ll see how that develops. Things will always evolve and change.

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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Out via Sister 9 Recordings (Europe), Little Cloud Records (North America) and Shyrec (Itay) on October 14th is the all new album by the Treviso, Italy-based two piece Kill Your Boyfriend called “Voodoo”. But before that the duo (Matteo Scarpa and Antonio Angeli) delivers the first single “The King” for which there is also a video.

The video for “The King” takes cue from the same words of Michael Ventura that inspired Voodoo’s A site: “…let themselves be possessed not by any god they could name but by the spirit they felt in the music…”. The band states: “We decided to stage some kind of final act, where the actors are left alone at the centre of a crumbling stage and are possessed by a spirit guiding them frantically towards an inescapable ending. The spasmodic dance is a clear reference to The King or Rock & Roll and the Voodoo symbols represent the connection between the earthly and the spiritual world.”

The new LP follows “Killadelica” bridging the gap between post-punk (Death In Venice, Evabraun, Pyramids, etc.) and contemporary psych-nouveau. They have replaced the synth bass with a bass-guitar, and made sure that the electronic and acoustic percussion are fuller and heavier.

Here’ sthe video for “The King”. Read the review of ‘Voodoo’.

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

(Photo by Gary Bandfield) Bauhaus have announced additional tour dates in Italy, Germany and the US. You can check all of the dates below, the new ones are indicated with a **.

Tickets can be ordered from Friday on via this link.

• June 6 – Alcatraz (Milan, IT) **
• August 22 – Zitadelle Spandau (Berlin, DE) **
• May 14 – Cruel World Festival (Pasadena, CA) – SOLD OUT!
• May 15 – Cruel World Festival (Pasadena, CA)
• May 17 – Arlene Schnitzer Concert Hall (Portland,OR)
• May 19 – Paramount Theatre (Seattle, WA)
• May 21 – The Masonic (San Francisco, CA)
• May 22 – The Masonic (San Francisco, CA)
• May 25 – The Mission Ballroom (Denver, CO)
• May 27 – The Marquee Theatre (Tempe, AZ)
• June 4 – Primavera (Barcelona, ES)
• June 8 – Release Festival (Athens, GR)
• August 4 – W Festival (Oostend, BE)
• August 28 – EDP Vilar de Mouros (Vilar de Mouros, PT)
• Sept. 6 – History (Toronto, ON) **
• Sept. 8 – Kings Theatre (New York, NY)
• Sept. 9 – Kings Theatre (New York, NY)
• Sept. 10 – The Met (Philadelphia, PA) **
• Sept. 12 – Anthem (Washington, DC) **
• Sept. 13 – MGM Music Hall (Boston, MA) **
• Sept. 14 – College Street Music Hall (New Haven, CT) **
• Sept. 16 – Masonic Theater (Detroit, MI) **
• Sept. 18 – Palace Theatre (Minneapolis, MN) **
• Sept. 20 – Southside Ballroom (Dallas, TX) **
• Sept. 21 – 713 Music Hall (Houston, TX) **
• Sept. 23 – Tabernacle (Atlanta, GA) **

New video

Last month, Bauhaus released the new song “Drink The New Wine” which was recorded last year during lockdown with the four members sharing audio files. The track employs the Surrealists’ ‘Exquisite Corpse’ device whereby each artist adds to the piece without seeing what the others have done. Bauhaus have used this technique in the past as well.

The title of the song refers to the very first ‘Cadavre exquis’ drawing rendered by André Breton, Marcel Duchamp, Jacques Prévert and Yves Tanguy which included words which when strung together made up the sentence, ‘Le cadavre exquis boiara le vin nouveau’ (‘The exquisite corpse will drink the new wine.’).

For the recording, the four musicians each had one minute and eight tracks at their disposal plus a shared sixty seconds plus four tracks for a composite at the end. All done without hearing what the others had laid down. The only common link being a prerecorded beat courtesy of Kevin.

Check it out below.

Bernard - Side-Line Staff

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

side-line.com

Paradox Obscur is a Greek duo driven by ‘Toxic Razor’ and ‘Kriistal Ann’. They’re composing a kind of Electro/Wave-Pop characterized by the use of only hardware equipment. After four noticeable albums they signed to Metropolis unleashing the album “Singles & Rarities’. The work sounds as a new exploration of Minimal-Electronics and will appeal for all lovers of vintage electro.

(Courtesy by Inferno Sound Diaries)

Q: How did you guys meet and what incited you to set up Paradox Obscur?

Paradox Obscur: We first met quite a few years ago at a student event. It was the period when we were looking to expand our horizons through concerts and contacts with like-minded people. Somewhere there, situations connected us and we discovered many commonalities in matters of interest in art. A few years later, life brought it like this, in a second meeting of ours, being now settled in our directions in life, we decided to follow a common project for our own personal pleasure and experimentation. Then things developed without any backward disposition on our part. It was what we call the right place, at the right time.

Q: You clearly have a very personal and retro-like approach in the composition and recording of your music; only hardware equipment while the songs are recorded in real time with a good-old multi-track recorder. Tell us a bit more about this way of working and in, which way do we have to see it as an antithesis to ‘modern technology’?

Toxic Razor: We are really into recording in real time, it enables us to give a live feeling to the compositions. We never use software synths, somemething that sounds too sterile and clinic.

Kriistal Ann: I do not believe that technology can work wonders on its own if I do not have the flame that feeds inspiration as well the perseverance to work on my idea. Okay, in many cases it loosens your hands, but what is the point if I do not identify, I do not become familiar with the theme I am composing. To play my theme so many times until I perfect it, to search for appropriate sounds, this time consuming process that merges me with my idea and makes me genuinely creative.

Q: Can you tell us a bit more about the equipment you’re using and in, which way does a lack of equipment affect your creative process (pros and cons)?

Paradox Obscur: Depending on the occasion it’s something that changes from time to time, but gear like the Virus TI Polar, the Korg MS2000 or the Roland JD-Xi are great to work with.

Q: You recently signed to Metropolis Records, which I can imagine must be a kind of consecration. How did you get in touch and what do you expect from a ‘bigger’ label?

Toxic Razor: Of course, our connection to Metropolis was something that brought us great joy and satisfaction. It’s the moment when more opportunities come your way; larger audiences can listen to your music and there is more interest from media.

Kriistal Ann: Our first contacts started with Metropolis was somewhere in 2018 where I was asked to participate with my personal project Kriistal Ann on a compilation called “Why Kill Time (When You Can Cover Cabaret Voltaire)” which was original idea by Mr. Chris Halstead, with the help of Mr. Athan Maroulis, who recommended me to Chris to participate in this.

A second contact was made in 2019 when Paradox Obscur was proposed to participate in an equally wonderful Metropolis compilation called “Dark Nouveau,” which was also compiled by Athan Maroulis.

All of these small steps contributed to the big leap. It is this well-known pattern of life that demands from us stoicism and patience, work and passion to eventually lead us further.

Q: Your new album is entitled “Singles & Rarities” so what are the singles and rarities all about? How did you achieve this work?

Paradox Obscur: Just to clarify that “Singles & Rarities” is not a best of compilation. “Singles & Rarities” is a collection of individual songs that we had written throughout the journey, with the aim to support some small exclusive compilations that had been released by independent blogs, labels and online magazines, with the exception of song “Tranquil” which is an unreleased track. There were fans that were asking where they can find these songs so it was about time to have them all gathered in one release. All of this was synchronized with the moment of the proposal from Metropolis and we decided to make this our initial release until we complete our next album.

Q: You’ve been involved together with Resistance Of Independent Music and are still active with other projects as well. What makes the difference with Paradox Obscur? And what are the further plans?

Toxic Razor: Side-projects are always a nice escape where I can try other things. For example, Deathfiend Baphomet is a project where I work in more blackened Industrial soundscapes under Metal influences that are both brooding and menacing.

Kriistal Ann: I believe that through our solo projects we have a greater freedom to express ourselves depending on the moment and the mood. I do not expect to get it somewhere or follow a line. I place all my influences; I experiment with sounds or instruments. My own work as Kriistal Ann is based on a variety of forms, filtered through my personal prism and a more internal vision.

Paradox Obscur: As for Paradox Obscur, we are already working on the next studio album and looking forward to doing some live shows once the Covid restrictions 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

Genre/Influences: Gothic, cold-wave, dark-pop, minimal-electro, dream-pop.

Background/Info: “Dark Nouveau” features a fine selection of twenty four bands from all over the world and dealing with ‘dark’ music. The compilation has been realized by Athan Maroulis (Spahn Ranch, Black Tape For A Blue Girl, NOIR ao). “Dark Nouveau” stands for the contemporary exposure of ‘dark’ music.

Artists: NOIR, FTR, Paradox Obscur, She Past Away, Ash Code, Hante, Dark Door, Antipole, Shadow Age, Balvanera, Skeleton Hands, Dancing Plague, Push/Button/Press, Night Fail, Canter, Decedent vs. Slighter, Seeming, The Harrow, Dead Leaf Echo, Twin Tribes, Weird Candle, The Shyness Of Strangers, Iamtheshadow, Inopera.

Content: Twenty four bands is an impressive tracklist to celebrate the newest formats of ‘dark’ music. The featured bands are covering an impressive canvas, which is moving from gothic and cold-wave to dark-pop and wave-pop. Somewhere in between you also will discover bands dealing with dream-pop, minimal electronics, but also a few artists clearly inspired by the cold-wave icons such as Joy Division, Cocteau Twins, The Cure ao.

+ + + : Athan Maroulis did a great job on this compilation. He brought a nice selection of artists together, but there’s an impressive list of great songs. From the Turkish goth sensation She Past Away to the phenomenal minimal-electro from Greek Paradox Obscur to the dark-pop from Argentina project Balvanera to the sexy French dark-wave revelation FTR to the raw electronics from Canadian duo Weird Candle to the Portuguese hybrid between Skeletal Family and Joy Division called Iamtheshadow, this compilation has a lot to offer. It also is an opportunity to discover less familiar bands and who knows, maybe further Metropolis artists. 

– – – : I don’t have a real minus point about this compilation, which is without a shadow of a doubt one of the best I’ve heard this year. It’s just a pity this  work is not available as a physical format.

Conclusion:  Most of the compilations today are a kind of shop window for the labels, but luckily there are still a few compilations bringing something new! That’s why “Dark Nouveau” is a must have!

Best bands: Paradox Obscur, FTR, She Past away, Balvanera, Weird Candle, Iamtheshadow, NOIR, Dancing Plague.

Rate: (8½).

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

About Metropolis Records

“Dark Nouveau” was compiled by Athan Maroulis, known for his work in Spahn Ranch, an electro-industrial group active in Los Angeles from 1992 to 2000, and for his later project Nøir.

Metropolis Records was set up in 1994 by Dave Heckman and built its American roster around acts including VNV Nation, Front 242, Front Line Assembly, Wumpscut, Project Pitchfork, KMFDM and Numb, several of which connect to the gothic and cold-wave lineage “Dark Nouveau” surveys.

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

In its fourth year, the Verboden Festival will be taking place April 11th-13th at The Astoria and April 14th at the Ricksaw Theater in Vancouver, BC (CA). Verboden was founded by Robert Katerwol of the EBM/Darkwave Vancouver based band Wire Spine and the festival features Darkwave, Post-Punk, and EBM artists from all across Canada and around the world.

Headlining Verboden this year are artists Boy Harsher, Light Asylum, and Mr Kitty. Verboden furthermore also features performances from up and coming Danish Post-Punk artists The Foreign Resort. Toronto EBM/Darkwave artist Kontravoid as well as local Vancouver artists such as The Gathering, SIGSALY, and Ivory towers.

The full festival line up looks like this: Boy Harsher, Light Asylum, Mr.Kitty, The Foreign Resort, Kontravoid, SPECIAL INTEREST, SIGSALY, Visit0r Youryoungbody, Physical Wash, Webdriver Torso, Oceanside85, DRI HIEV, Sex Park, Seventeen at This Time, Ex-SOFTESS, The Gathering, Voight, Total Chroma, Boys In Blush, Ivory Towers, Nouveau, Poly Dactic, Monashee, Brutes, Xybling, Redress.

Tickets can be ordered right here.

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