Ogre – SIDE-LINE

Beborn Beton release first single ‘American Girls’ from new EP ‘To the Stars’

Bernard - Side-Line Staff — Fri, 20 Sep 2024 12:10:32 +0000

(Photo by Chris Ruiz) In advance of their upcoming North America Tour 2024, synth pop trio Beborn Beton drop the first single “American Girls”, taken from their forthcoming new EP “To the Stars”, which is scheduled for release on November 22, 2024.

To The Stars by Beborn Beton

Beborn Beton’s Stefan Netschio comment: “The track ‘American Girls’ honours the strength and perseverance of women and acknowledges the ongoing struggle for true equality all around the globe. Despite the progress made, humankind still has a long way to go before women are valued and treated as equals in every aspect of life. We can hardly wait to perform this song live for the first time on our upcoming 10-date tour in North America this October.”

The EP “To the Stars” follows directly in the wake of their ninth album “Darkness Falls Again”. The EP holds three new tracks and four remixes. Here is the tracklist from the upcoming “To the Stars” EP.

Ticket to the Moon
American Girls
Progeny
I Watch My Life on TV (Club Mix)
My Monstrosity (EMMON Remix)
I Watch My Life on TV (Black Light Odyssey Remix)
My Monstrosity (Control Mix by Blac Kolor)

Beborn Beton North America 2024 Tour

03 OCT 2024 Chicago, IL (US) LiveWire Lounge
04 OCT 2024 Detroit, MI (US) UFO Bar
05 OCT 2024 Toronto, ON (CA) Ground Control
06 OCT 2024 Montreal, QC (CA) Cabaret Foufs
08 OCT 2024 Boston, MA (US) ManRay
09 OCT 2024 Arlington, VA (US) The Renegade
10 OCT 2024 Amityville, NY (US) Stimulate, Amityville Music Hall
11 OCT 2024 Wilmington, DE (US) Bar XIII
12 OCT 2024 Tampa, FL (US) Absolution Fest
13 OCT 2024 Los Angeles , CA (US) Cold Waves

About Beborn Beton

Beborn Beton was founded by vocalist Stefan Netschio, keyboard player and drummer Stefan Tillmann, and keyboard player Michael Wagner in 1989. Their first signs of life were three self-released tapes, “Pyre” (1989), “Scythe” (1991), and “Die Stahlbetontour” (1992).

Following their first two regular albums “Tybalt” (1993) and “Concrete Ground” (1994),the band joined renowned acts such as Wolfsheim and De/Vision on the Strange Ways Records label. In 1996 the full-length “Nightfall” was released, followed by “Truth” in 1997, and “Fake” in 1999.

“Rückkehr zum Eisplaneten” was released in 2000, Beborn Beton followed by the exclusive US release of a best-of double-album entitled “Tales from Another World” in 2002, which was followed by extensive touring in North America with Apoptygma Berzerk in the same year.

After the release of “Tales from Another World” (2002) and the associated touring, the band went on an extended hiatus.

It took 13 years, until the trio returned with a new album on Dependent Recordings: “A Worthy Compensation” (2015).

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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Aursjoen presents debut single and video: ‘Nytår’ – Out now

Bernard - Side-Line Staff — Tue, 10 Sep 2024 10:49:27 +0000

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

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

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

Strand by AURSJOEN

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

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

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

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

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

Strand by AURSJOEN

Bernard - Side-Line Staff

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Godflesh mastermind remixes new single of Vexagon: ‘Eyes Without A Face’ (JK Flesh Remix)

Bernard - Side-Line Staff — Thu, 22 Aug 2024 18:12:13 +0000

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

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

Here’s the original version.

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

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

Bernard - Side-Line Staff

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Escort of Endless Summer by Fanum and Ierophania: An Album Review

Bernard - Side-Line Staff — Tue, 20 Aug 2024 13:34:31 +0000

In the often unpredictable world of music, collaborations can either blend seamlessly or clash in a dissonant display.

With this album, we witness a masterful synergy that captures the essence of summer’s fleeting beauty and endless allure. The album is a journey through soundscapes that feel both familiar and novel, inviting listeners to immerse themselves in an experience that is as evocative as it is technically impressive.

A Fusion of Styles

There have been many amazing musical collaborations over the years, and this is definitely one to note.

Fanum, known for his meticulous production and genre-bending approach, brings a wealth of experience to the album. His previous works have often danced between the boundaries of electronic, ambient, and experimental music, creating intricate tapestries of sound. In contrast, Ierophania’s contributions are marked by an ethereal quality, often infused with elements of neo-classical and dream pop. The marriage of these distinct styles results in an album that feels expansive yet intimate, a delicate balance that is difficult to achieve but executed flawlessly here.

The opening track, Solstice Reverie, sets the tone for the album with its lush layers of synths and soft, reverberating vocals. It’s a track that feels like the first light of dawn, gentle and full of promise. Fanum’s production is immediately evident, with every sound meticulously placed to create a sense of space and warmth. Ierophania’s voice floats effortlessly above the instrumentation, adding a haunting yet comforting dimension to the track.

Themes of Transience and Nostalgia

As the album progresses, it becomes clear that Escort of Endless Summer is not just a collection of songs but a thematic exploration of time, memory, and the ephemeral nature of summer. Tracks like Ephemeral Rays and Twilight Mirage delve into these ideas with a melancholic undertone. The use of field recordings, such as the distant sound of waves and birdsong, further enhances the album’s connection to nature and the passing of time.

One of the standout tracks, Azure Horizon, perfectly encapsulates the album’s central theme. The song builds gradually, starting with a simple piano motif before expanding into a full-bodied composition that feels both nostalgic and forward-looking. The interplay between Fanum’s rich, textured production and Ierophania’s vocal melodies creates a sense of longing as if reaching for something just out of grasp—a feeling that anyone who has watched the sun set on a summer’s day can relate to.

A Sonic Landscape

The album’s production is nothing short of stunning. Fanum’s attention to detail ensures that each track feels like a carefully constructed world, with layers of sound that reveal themselves upon repeated listens. Ierophania’s contributions, whether through her vocals or her instrumentation, add a human touch to these sonic landscapes, grounding them in emotion.

The closing track, Endless Night, is a fitting conclusion to the album. It feels like the final moments of a long summer day, where the warmth of the sun lingers even as the night begins to take hold. The track is both a farewell and a promise—a reminder that while summer may end, its memories will linger long after.

A Triumphant Collaboration

Escort of Endless Summer is a triumph of collaboration, a testament to what can be achieved when two artists with distinct visions come together. Fanum and Ierophania have created an album that not only captures the essence of summer but also explores deeper themes of time, memory, and the fleeting nature of beauty. It’s an album that demands to be listened to in its entirety, a sonic journey that will resonate with listeners long after the final note fades away.

About Ierophania and Fanum

Ierophania is a Russian industrial and dark-ambient project. Side-Line reviewed the four-part “Book Of Memories” anthology in March 2022, covering material dating from 2005 to 2010 and released through Castle Of Dreams. The final chapter of that anthology, “Jordan,” was introduced as part of the same lineage as the collaborative album with fellow Russian project Fanum, “Escort of Endless Summer.”

Bernard - Side-Line Staff

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Elektroklänge interview – A love letter to ‘Autobahn’

Bernard - Side-Line Staff — Fri, 16 Aug 2024 08:12:13 +0000

On their second conceptual album “Motorik”, the Swedish minimalistic electro-pop act, ELEKTROKLÄNGE revives the vintage Kraftwerkian “Düsseldorf sound” with their topnotch synth-pop signature style. “Motorik” is a sonic journey inspired by KRAFTWERK’s groundbreaking “Autobahn” album, celebrating its 50th anniversary. Curiosity serves as the compass, and humour as the travel companion, as ELEKTROKLÄNGE explores and enhances the lyrical, musical, and conceptual themes presented in KRAFTWERK’s masterpiece… We hacked ELEKTROKLÄNGE’s “Bordcomputer” to better understand how we should best read/listen to all these tiny well-hidden details…

The release is available as download via Bandcamp and other services plus on CD via the Alfa Matrix webstore.

Motorik by ELEKTROKLÄNGE

S. “Motorik” is described as a sonic journey inspired by KRAFTWERK’s “Autobahn” album. What drew you to pay homage to this particular album, and how did it influence the creation of your own conceptual work?

F. “Motorik” is basically a love letter to “Autobahn”, a record that has meant a lot to us. “Autobahn” captured (and still captures) our imagination with its hypnotic rhythms and minimalist aesthetic. The electronic textures, melodic motifs, and thematic depth inspired us to explore similar themes in our own work while also paying homage to the iconic soundscapes and visionary spirit of Kraftwerk.

S. You mention curiosity and humour as key elements of “Motorik.” How do these themes manifest in the album’s lyrics, music, and overall concept?

F. For us, curiosity and humour have served as guiding principles in “Motorik”, shaping the album’s lyrical content, musical compositions and visual presentation. We definitely sprinkle in some lyrical and biographical Easter eggs throughout “Motorik” for attentive listeners. There might be a turn of phrase or a specific sound effect that subtly (and sometimes, perhaps, not so subtly) nods to “Autobahn” and other albums by Kraftwerk. Curiosity and humour add layers of depth and entertainment, encouraging listeners to engage with the music on multiple levels. A little bit like a journey down the autobahn, “Motorik” unfolds with twists and turns, surprises and revelations.

S. The album features tracks with titles like “Abfahrt,” “Bordcomputer,” and “AutoRadio.” Can you elaborate on the narrative or thematic journey these tracks represent as listeners progress through the album?

F. Each track on “Motorik” serves as a chapter in our sonic journey. “Abfahrt” sets the stage for the entire album, acting as the sonic ignition for the journey with its pulsating rhythms and playful melodies, evoking the excitement and anticipation of embarking on a journey. “Bordcomputer” (together with the first track “Vorprogrammierung”) explores the connection between man and machine, echoing the thematic exploration present in much of Kraftwerk’s work. As the album progresses, “Autoradio” introduces upbeat melodies and catchy synth hooks that evoke the sound of classic driving music. Just as drivers tune their car radios to find the perfect soundtrack for their journey, this track perhaps explores the significance of music as a companion on life’s road. Or, the lyrics could just be nods to different song lyrics by Kraftwerk.

S. ELEKTROKLÄNGE is known for reviving the vintage Kraftwerkian “Düsseldorf sound.” How do you balance staying true to this classic style while also incorporating your unique modern twist?

F. You could think of it as an ongoing, and sometimes lively, conversation between the past and the future, where Kraftwerk’s legacy paves the way for Elektroklänge’s sonic exploration. We might reimagine a particular melody, chord progression or rhythmic pattern, but recontextualize it within our own sonic and thematic framework. We believe that our commitment to the “Düsseldorf sound” ensures continuity, while our forays into unexpected sonic territories keep the journey exciting and somewhat relevant. We hope that listeners will appreciate the respectful references and subtle nods to the original while also recognizing the melody-driven retro-future sound that makes “Motorik” distinctly Elektroklänge.

S. “Motorik” aims to envelop listeners like passing landscapes on a journey. Can you describe the creative process behind crafting the repetitive yet evolving motifs and rhythms that define the album?

F. “Autobahn” functions as a cohesive journey and we wanted “Motorik” to achieve a similar effect, but through the lens of Elektroklänge. To achieve this, we developed a narrative arc that explores the themes of “Autobahn” from our perspective. This involved crafting a thematic flow between tracks on the album, ensuring they built upon each other and hopefully offer a fresh interpretation of the original concepts. On a song level, this meant meticulously crafting repetitive motifs and rhythms that would become the building blocks of the album. We built upon these motifs and rhythms, adding layers of texture and variation throughout each track. This involved introducing new sonic elements, such as shimmering synth pads or vintage speech synthesis.

S. With tracks like “Glitzerstrahl” and “Auf der schönen grauen Autobahn,” how do you use musical elements to evoke the imagery and feeling of a car journey?

F. We used a variety of musical elements to evoke the imagery and feeling of a car journey. Both tracks build on a steady, driving beat that creates a sense of forward motion and momentum. We also use different synth textures such as lush, evolving synth pads that represent the vastness of the open road ahead, while arpeggios and simple repeating melodies evoke a sense of hypnotic movement akin to watching the scenery fly by. Perhaps most evident on “Auf der schönen grauen Autobahn”, the compositional structure plays a big part. The track (just like the album itself) is structured to mirror the flow of a car trip by combining faster, more intense sections representing high-speed stretches with sections of a more meditative quality reflecting long stretches of highway.

S. What was the most challenging aspect of creating “Motorik,” and how did you overcome it to ensure the album captured the essence of both ELEKTROKLÄNGE and KRAFTWERK’s influence?

F. We hold immense respect for Kraftwerk’s pioneering work and their influence is undeniable in our music. The most challenging aspect was creating an album that paid tribute while retaining Elektroklänge’s distinct sonic identity. We tried to overcome this by focusing on reinterpreting, not replicating. We meticulously programmed sounds and textures that resonated with “Autobahn’s” core aesthetic while adding different layers that reflected our signature style. This involved a lot of experimentation and refinement to ensure each element served the music without cluttering the sonic space. We used “Autobahn” as a sort of blueprint, employing its themes and motifs to craft new compositions that reflect our own musical perspective. In that sense “Motorik” is a tribute to the past, reimagined for the present.

S. As you celebrate the 50th anniversary of “Autobahn,” what do you hope listeners take away from “Motorik,” and how do you want it to impact their perception of electro-pop and its roots?

F. We haven’t given much consideration to that question. But ultimately, “Motorik” isn’t just an homage; it’s an invitation. We invite listeners to explore the roots of what you call electro-pop and appreciate the enduring influence of these musical pioneers. We hope “Motorik” inspires a renewed appreciation for the power of minimalism and experimentation. We also want listeners to rediscover the potential of the concept album format, where music and ideas intertwine to create a more cohesive experience.

Bernard - Side-Line Staff

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Teleskop – In Orbit (EP – Digital/CD – Progress Productions)

Inferno Sound Diaries — Tue, 13 Aug 2024 07:00:00 +0000

The Swedish duo Jarmo Ollila and Jouni Ollila, better known as Teleskop, return with their third EP, “In Orbit”. This release features four tracks that stay true to the classic Swedish Synth-Pop tradition, with one track carrying a slight resemblance to the sound of Mesh. The EP is polished and stylish, with a retro flair that is both nostalgic and refreshing. It’s the kind of music that brings joy, evoking memories of legendary Swedish acts like S.P.O.C.K and Elegant Machinery. The question remains: when will we get a full album? (Rating:7½).

Listen to “Insomnia”:

Insomnia by Teleskop

Read the news on ‘In Orbit’.

About Teleskop

Teleskop is a Swedish synthpop duo consisting of brothers Jarmo and Jouni Ollila, who have previously been involved in acts including Daily Planet, Mr Jones Machine, MZ.412, Burg, and Pouppée Fabrikk. “In Orbit” followed their “One” EP; Side-Line’s news coverage at the time described it as the duo’s second EP under the Teleskop name, while this review counts it as their third. The EP was released as download, streaming, and on CD in a limited edition of 300 copies, with tracks “Insomnia”, “Lost Satellites”, “Porcelain Blue”, and “Capsules Of Light”.

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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Me The Tiger – Envy (Album – Digital/CD – Progress Productions)

Inferno Sound Diaries — Mon, 12 Aug 2024 19:00:00 +0000

Swedish band Me The Tiger makes a triumphant return with their fourth album, “Envy”. After the release of “What Is Beautiful Never Dies” in 2017, fans have eagerly awaited new material, and this year, the band delivers -marking their first release on home turf via Progress Productions. “Envy” may feature just 8 tracks, but nearly every one is a hit. The band’s signature Electro-Pop/Rock sound is highlighted by powerful choruses and invigorating guitar riffs. The songs skillfully oscillate between intense energy and soft, almost ethereal moments. Adding to the album’s appeal is Gabriella Åström’s remarkable vocal performance, blending fragility with passion. (Rating:8½).

Listen to “Post Denial War”:

Post Denial War by Me The Tiger

Read the news on ‘Envy’.

About Me The Tiger

Me The Tiger is a Swedish electronic trio formed in Falun, Sweden, in the spring of 2012, consisting of Gabriella Åström, Jonas Martinsson, and Tobias Andersson. The band released three full-length albums, including “What Is Beautiful Never Dies” in 2017, along with a series of singles, with their first two albums issued through RepoRecords.

“Envy”, the band’s fourth full-length, arrived seven years after “What Is Beautiful Never Dies” and marked their first release on the Swedish label Progress Productions. The album was preceded by the singles “Post Denial War” and “I Want it Back”. In 2024, Me The Tiger toured Europe, including a performance at Solitary Experiments’ 30th-anniversary festival in Berlin and their festival debut in Poland.

Inferno Sound Diaries

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Rosetta Stone presents new studio album ‘Under the Weather’ and releases title track as single – Out now

Bernard - Side-Line Staff — Thu, 08 Aug 2024 15:42:11 +0000

The cult goth band Rosetta Stone returns this month with a new album on Cleopatra Records on August 30. It is 25 years since the group debuted with the EP “Darkness and Light” after having released five cassette tapes and having developed a loyal following around their hometown Liverpool.

Now they release “Under The Weather”, which will be Rosetta Stone’s seventh studio album, and their first since 2020’s “Cryptology”. The new full length will be out on CD and vinyl.

The band’s new single and video for the title track “Under the Weather” is released today.

About Rosetta Stone

Rosetta Stone emerged from the vibrant musical landscape of the late 1980s in the UK. Founded in 1988 by Porl King and Karl North, the band quickly garnered attention for their dark, atmospheric sound and compelling live performances.

Porl King, the creative force behind Rosetta Stone, played guitar and took on vocal duties, while Karl North handled the bass. The band’s lineup saw various changes over the years, but these two remained the core members during the formative period. Drawing inspiration from gothic pioneers like The Sisters of Mercy and The Mission, Rosetta Stone carved out a niche with their ethereal melodies and brooding lyrics.

Their debut album, “An Eye for the Main Chance”, was released in 1991. Throughout the 1990s, Rosetta Stone continued to evolve, experimenting with electronic elements and darker, more complex compositions. Their subsequent albums, “The Tyranny of Inaction” (1995) and “Chemical Emissions” (1998), reflected this progression.

Despite lineup changes and the shifting musical landscape, Rosetta Stone maintained a dedicated following. After a brief hiatus in the early 2000s, Porl King revived Rosetta Stone, releasing new material and performing live again.

In 2019, the band released “Seems Like Forever”, marking a return to their roots while embracing contemporary production techniques. It was followed by 2020’s “Cryptology”.

Bernard - Side-Line Staff

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Click Interview with Data Void: ‘In Many Ways You Never Outgrow Your Early Influences’

Inferno Sound Diaries — Sun, 04 Aug 2024 17:00:00 +0000

Data Void emerged from the collaborative efforts of Don Gordon (Numb, Halo_Gen) and James Mendez (Jihad ao). This year, they released their debut album, “Strategies Of Dissent,” on Metropolis Records. The songs feature a Dark-Electro and EBM sound, yet there’s an overwhelming Cinematic vibe running through the work. It is a remarkable opus, and I had the opportunity to connect with Don and James, who revealed many details about their work and album. (Courtesy by Inferno Sound Diaries)

Q: The two of you have been in the music industry for a long time, but what has brought you together, and what has led to the origins of Data Void?”?

JM: The very beginnings of the project initially began back in June of 2020, where I initiated the idea of collaborating on a song to see how things would progress. In response, Don shared some early ideas that which evolved into the track “Seven Seconds”. The idea of collaborating on music together was something that came up after many different discussions we had (both music / non-music related) throughout the approximate year and half we remained in contact since meeting up in Southeast Asia where I met Don for dinner in Ho Chi Minh City where he was living at that time. From there, it wasn’t something we both knew we were going to pursue and continued working on more ideas/material which sort of played out organically throughout the entire process up to what you hear on the finished album.

DG: While there wasn’t an initial plan to release anything we realized quite quickly that there was something quite unique coming together out of the experiments. This led to discussion about possibly releasing some of the material as an EP which over time expanded into an album. The conceptual framework for the album emerged after the first couple of songs were finished. The name of the project was suggested by the alignment between themes we were exploring lyrically and articles that I was reading concerned with information data voids and misinformation/propaganda.

Q: I can imagine that such a new project must be very exciting. Did it feel that way for you throughout the entire writing and production process? How did the songs on the album come together?

DG: The album was developed through the online exchange of audio and MIDI files and lots of discussion. This meant that there wasn’t a lot of real-time interaction during the writing phase. The process would start with one of us sending a sketch of a groove or harmonic progression to the other person who would use this as a creative jumping off point. The first couple of exchanges usually led to quite marked departures and evolutions from the original source idea. This iterative back and forth allowed for unexpected ideas to be introduced and a more reflective approach to development of ideas. After structuring the primary instrumental components of a song, I would write lyrics and record a version of the vocals. These were forwarded to James who would then record an alternate variation. The most interesting elements from these different versions were then used as the basis for a song’s vocals. This resulted in some songs in which the main vocal part would alternate between James and myself in the verses and chorus (i.e. “Crash, Burn & Resurrect”), other songs where both vocal approaches were integrated throughout, and in some there would only be a single vocalist (i.e. “A Failure Of Language”, “This Night Goes On Forever”). While I executed the final mixes, these too would undergo revision based on discussion.

JM: I was really exciting to see how the ideas we started out with would evolve as they developed into full-length songs, and in turn how this would lead to a complete album. It was quite interesting to see how we both approached the song writing process, along with all technical aspects (i.e., sounds, textures, percussion, mixing elements, etc.).

Regarding how the songs came about on the album; one of us would start out by sending the other a short clip (~45s – 1m) that would entail several different sequences that represented the beginnings of an idea where the other would then add additional parts to compliment where the other left off. Going back and forth in this fashion until we completed the outline of what felt like the song should be. We would complete a rough draft of each song and then repeat the process again, starting out with more ideas until we eventually completed the next song and so on. As we continued working on each song, we would also discuss all of the details via email, chats, and video calls when things became a bit more complex, as this would save a lot of time in conveying our thought process.

We both use different DAWs (Logic Pro and Ableton Live) when writing music but also use several of the same virtual instruments / effects which helped make things a little easier when sharing files back and forth. We would share a combination of audio files, MIDI, VST patches, screenshots, configuration files, etc. so we could essentially mirror all of the individual sequenced tracks and song structures on both of our DAWs respectively as we continued to complete each song.

After we finished each song, Don would write lyrics and share them along with a rough sketch as to how they may be structured. The vocal structure would also undergo the same iterative approach going back and forth until we were content with the final outcome. After finishing three songs, we both reevaluated what we were going to do as far as a release was concerned and decided to continue working on more music until we felt we had enough songs to complete an entire album.

Q: The title of the album, “Strategies Of Dissent”, sounds intriguing and particularly relevant in the context of world politics. What is the album all about, and what inspired the lyrics?

DG: Lyrically and conceptually the album explores the themes of power, control and resistance to it, and the attraction for many to ‘lost causes’. Each song takes a different perspective, a different strategy if you will, to engaging with these themes. Not surprisingly, information spaces, misinformation, conspiracies, and technology figure into this with most of the songs having their basis in contemporary events and social/political currents. That being said, the lyrics were constructed so as not to come across as didactic, but instead to present these ideas at a more personal level.

“Nothing Changes” is intended as a ‘call to arms’ in response to the deception and erosion of individual control being exercised by big tech, corporations/banks and governments. The dilemma is that this is not some unified grand conspiracy but rather the outcome of a number of overlapping and competing self-motivated agendas.
“A Failure Of Language” and to a degree “What’s Left Unsaid” question the current collapse of language, the appeal of conspiracy theories and skepticism, and the increasing failure of our ability to communicate meaningfully and where this leads. A new Babel?

“Echoes Of Ritualised Performance”, while an instrumental track, was inspired by our need to repeat inherently negative social behaviors/tropes of the past and a seeming inability to learn from these… each echo a further degraded/distorted version of an initializing event from the past.

“This Night Goes On Forever” was conceived of as a reflection on the individual consequences for those who found themselves supporting and surviving a major conflict started for the wrong reasons, and the resultant aftermath of physical, psychological traumas and guilt that extend far past the event.

The 2020 Hong Kong protests and the 2021 coup in Myanmar resonated strongly with me after having lived in Southeast Asia for 20 years. So “Alien” was inspired by photos, reportage and interviews about these events and was an attempt to try and put yourself into the head of a person who has found their world suddenly and radically changed and themselves unexpectedly at the center of violence and/or as a symbol of resistance.
“The Goal Of Seven Seconds” was to evoke an anthemic quality while presenting a scathing critique of those who ‘sell dogma and deceit’ in order to incite an ill-conceived end of days for their own personal gain.

The tracks “Crash, Burn And Resurrect” and “Control” were written as a comment on the rise of extremist rhetoric and behavior.

Q: You’ve explained how this collaboration took shape, but can you tell us more about the chemistry between you?

DG: My sense is that the chemistry comes from our overlapping but distinct musical reference points and different approaches to our creative processes. It was the embrace of these differences that provided the creative dynamic that led to many of the interesting ideas as we developed over album.

JM: It was quite interesting for me to reconnect with Don 22 years after first meeting him in 1996 Austin, TX when Numb was on tour with FLA and Die Krupps. It became clear that we share some common perspectives and ideas about different things, which also happens to carry over into music. And because of our similar yet different musical preferences and approaches in our writing styles, this played a significant part into how the album turned out. As part of the musical journey when collaborating on the album, one thing I can appreciate is being challenged in a way that I would constantly be conscious of the writing style and mood I would contribute, to deliberately not write in the same fashion I am typically accustomed to and comfortable with. It certainly helped me take a different approach to writing for this project and in general.

Q: “As experienced musicians, do you still have certain influences or references when making and finishing a song? Also, how would you describe the album “Strategies Of Dissent”?

DG: In many ways you never outgrow your early influences as they are a baseline to which you add, refine and push-back against over the years. While I’m always listening to new artists and across genres, I find those early influences still subtly find their way into my more recent work.

“Strategies Of Dissent” is an album in the ‘old-school’ sense, a series of thematically connected songs that have been ordered in a manner so as to present the listener with a loosely structured narrative rather than just a collection of songs. I feel this provides a more interesting experience for the listener and allows them to get a better sense of where the project is coming from.

JM: Having been exposed to so many different kinds of music styles, genres, and artists over the years (to include the discovery of new bands regularly), there are many references I feel that have made their way (subconsciously) into music I’ve written years ago including some of the more recent work I’ve done. I think it’s inevitable.

With “Strategies Of Dissent” we set out to capture the intensity of early Electro-Industrial and integrate this into more contemporary Electronic music sound. The album as a whole, in my opinion, is homogeneous in that each song works well independently and thematically throughout the entire album.

Q: What does the future hold after this album? Do you have any concrete plans at the moment?

DG: We’ve been thinking about a follow-up release (EP?) with a combination of new material and dub versions of some tracks from “Strategies Of Dissent”. We’re also exploring the possibility for a version of Data Void to do some live European shows.

JM: We have discussed in passing the idea of working on some new material, whether that would be a new single/EP or possibly a new album at some point to also include some alternate versions of existing tracks. We’re also considering live alternate versions of the songs for some shows in Europe later this year and next.

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Beauty In Chaos has released their fourth album, ‘Dancing With Angels’ – Out now

Bernard - Side-Line Staff — Thu, 25 Jul 2024 08:30:26 +0000

LA-based collective Beauty In Chaos has released their fourth album, “Dancing With Angels”, via 33.3 Music Collective. The album, featuring eight tracks, comes hand in hand with the video for “Holy Ground“, featuring Patrik Mata of Kommunity FK.

Formed in 2018 by guitarist Michael Ciravolo and Grammy-nominated producer Michael Rozon, Beauty In Chaos is a revolving collective of artists. The new album features contributions from returning members and new collaborators, including Wayne Hussey (The Mission), Ashton Nyte (The Awakening), Kat Leon (Holy Wars), Cinthya Hussey, William and Sarah Faith (The Bellwether Syndicate), Leo Luganskiy (Strangelove), Julian Shah-Tayler (The Singularity), Cynthia Isabella, and Patrik Mata (Kommunity FK).

Ciravolo describes the album as both a “sonic regression and a sonic progression,” blending elements from their previous works with new influences. The album includes unique interludes, or “Halos”, that connect the tracks.

The lead track, “Diving For Pearls“, features Wayne and Cinthya Hussey, with a single version mixed by Tim Palmer. As of July 24, ‘Dancing With Angels’ is available on limited edition multi-color vinyl and CD from the Beauty In Chaos store, where the ‘Diving For Pearls’ limited edition CD single is also available. Digitally, the album can be found on Bandcamp, Apple Music and Spotify. The first 100 vinyl copies come with two posters signed by the artists. Vinyl and CD purchases also include the full digital version of the album (with Halos and two bonus tracks).

DANCING WITH ANGELS by BEAUTY IN CHAOS

Track List:

Present Tense ft. William Faith and Sarah Rose Faith
The Devil You Know ft. Kat Leon
Diving For Pearls ft. Wayne Hussey and Cinthya Hussey
Echoes and The Angels ft. Leo Luganskiy
Kiss Me (Goodbye) ft. Julian Shah Tayler
Hollow ft. Cynthia Isabella
Holy Ground ft. Patrik Mata
Made of Rain ft. Ashton Nyte

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Bronski Beat celebrates 40 years of ‘The Age of Consent’

Bernard - Side-Line Staff — Wed, 17 Jul 2024 09:40:37 +0000

(Photo via London Records) London Records will mark the 40th anniversary of the iconic Bronski Beat debut album, “The Age of Consent”, with a series of deluxe reissues available on October 18, 2024. Fans can pre-order these reissues at bronskibeat.tmstor.es.

In conjunction with the reissue, London Records has released a new remix of “Smalltown Boy”’” by Planningtorock. This artist, known for queering sound and visual art, has previously collaborated with Lady Gaga, Robyn, and Christine and The Queens. The remix can be listened to below.

Jimmy Somerville, reflecting on the album, said, “When there is something we do in our life that can have such an impact on other peoples’ lives, and to be told this by others, it’s humbling. ‘The Age of Consent’ is, and always will be, such a special part of my life.”

Planningtorock shared their thoughts on the remix as well: “I first saw ‘Smalltown Boy’ on telly back in 1984 when I was twelve. I remember it having a big impact on me even then. Just loved how it told the story so directly like a mini documentary but as a music clip sharing a gay experience that was sad to watch but at the same time so empowering. Those early years as a queer trans kid were so lonely for me and Bronski Beat made me feel less alone showing me how music can help you translate a painful experience into something liberating.”

Released in 1984, “The Age of Consent” was a pioneering album addressing LGBTQ+ rights and struggles. The album remains relevant today, reflecting ongoing issues faced by the LGBTQ+ community. Its original release included a listing of ages of consent worldwide, symbolizing both the progress made and the challenges still ahead.

The 40th-anniversary reissue will be available in various formats, including a 5-Disc Deluxe Edition (4CD+DVD), a 2CD set with new reworks, a 2LP set, a yellow 1LP edition, and a Super Deluxe Edition exclusive Blu-Ray. The deluxe edition features essays, remixes, rarities, and restored promo videos.

Tracklisting for the 4CD+DVD Deluxe Edition

Disc One: The Age of Consent – The Album Plus

Why?
It Ain’t Necessarily So
Screaming
No More War
Love and Money
Smalltown Boy
Heatwave
Junk
Need a Man Blues
I Feel Love / Johnny Remember Me
Smalltown Boy (DJ 7” Edit) – Bonus track
Why? (Remix) – Bonus track
It Ain’t Necessarily So (7” Version) – Bonus track
I Feel Love (7” Version) with Marc Almond – Bonus track
Run from Love (Radio Version) – Bonus track
Hard Rain (NME 7” Version) – Bonus track

Disc Two: Hundreds & Thousands – The Remix Plus

Heatwave (Harvey Goldberg Remix)
Why (Harvey Goldberg Remix)
Run from Love (Dominic Maita Remix)
Hard Rain (Harvey Goldberg Remix)
Smalltown Boy (Harvey Goldberg Remix)
Junk (Harvey Goldberg Remix)
Love and Money (Hundreds & Thousands Remix) – Bonus track
Infatuation / Memories – Bonus track
Close to the Edge – Bonus track
I Feel Love (Cake Mix) with Marc Almond – Bonus track
Cadillac Car (Extended) – Bonus track

Disc Three: Consent Extended – The 12 Inches Plus

Smalltown Boy (12” Version)
Why? (12” Version)
It Ain’t Necessarily So (12” Version)
I Feel Love (12” Version) with Marc Almond
Run from Love (US Club Remix ‘85) – Bonus track
Smalltown Boy (US Club Remix ‘84) – Bonus track
Red Dance
The Potato Fields
Puit D’Amour
Signs (And Wonders)
I Feel Love (Fruit Mix)

Disc Four: Ignore at Your Peril – The Rarities Plus

Smalltown Boy (Capital Radio Session, May ‘84) – Bonus track
Heatwave (Capital Radio Session, May ‘84) – Bonus track
Hard Rain (Capital Radio Session, May ‘84) – Bonus track
Why? (Early Version, March ‘84) – Bonus track
Crazy Maraquitta (Studio Session) – Bonus track
It Ain’t Necessarily So (Early Version) – Bonus track
Upside Down (Studio Session) – Bonus track
Screaming (Early Version, March ‘84) – Bonus track
The Power of the Gold (Studio Session) – Bonus track
Love and Money (Early Version) – Bonus track
First Church (Feel Love) (Studio Session) – Bonus track
Junk (Early Version 2) – Bonus track
Walking (Studio Session) – Bonus track
No More War (Early Version) – Bonus track
Go (You & Me) (Studio Session) – Bonus track
Close to the Edge (Early Alternate Extended Mix) – Bonus track
Heatwave (Early Version) – Bonus track
The Other Side of the Tracks (Studio Session) – Bonus track
Smalltown Boy (Early Version, March ‘84) – Bonus track

Disc Five: The First Chapter – The Videos Plus [DVD]

Official Music Videos
- Smalltown Boy (Restored Promo)
- Why? (Restored Promo)
- It Ain’t Necessarily So (Restored Promo)
- I Feel Love (Restored Promo) with Marc Almond
Top of the Pops Performances
- Smalltown Boy (BBC ‘Top of the Pops’, June ‘84)
- Why? (BBC ‘Top of the Pops’, September ‘84)
- It Ain’t Necessarily So (BBC ‘Top of the Pops’, December ‘84)
- I Feel Love (BBC ‘Top of the Pops’, April ‘85) with Marc Almond
Original TV Adverts
- The Age of Consent – TV Advert #1 (December ‘84) – Bonus track
- The Age of Consent – TV Advert #2 (January ‘85) – Bonus track

About Bronski Beat

Formed in 1983 in London, Bronski Beat was an influential British synthpop trio known for their groundbreaking music and outspoken advocacy for LGBTQ+ rights. The original lineup included Steve Bronski (keyboards, percussion), Larry Steinbachek (keyboards, percussion), and Jimmy Somerville (vocals).

Their debut single, “Smalltown Boy”, released in 1984, became an instant hit. The song’s poignant narrative about a young gay man facing homophobia and isolation resonated deeply with listeners. It climbed the charts, reaching number three in the UK. Later in 1984, Bronski Beat released their debut album, “The Age of Consent”. The inner sleeve listed the ages of consent for homosexual acts worldwide. The album produced other hits like “Why?” and “It Ain’t Necessarily So”.

In 1985, lead vocalist Jimmy Somerville left Bronski Beat to form The Communards with Richard Coles. Despite his departure, Bronski Beat continued, recruiting John Foster (also known as Jon Jon) as their new lead singer. The band released the album “Truthdare Doubledare” in 1986, which included the hit single “Hit That Perfect Beat”.

Throughout the late 1980s and early 1990s, Bronski Beat underwent several lineup changes, with the late Steve Bronski remaining the constant member. They continued to release music, though with less commercial success than their early years. In the 2010s, Steve Bronski reformed the band with new members and continued to perform and release new music.

Bernard - Side-Line Staff

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ETH reissues 2020 future pop solo debut ‘Somewhere But Here’ – Out now

Bernard - Side-Line Staff — Mon, 15 Jul 2024 07:08:12 +0000

Norwegian future pop artist ETH has re-released his first solo album, “Somewhere But Here”. Originally launched on CD in 2020, it’s now available on streaming services and Bandcamp.

Somewhere But Here by ETH (Egil Thomas Hansen)

About ETH

ETH is Egil Thomas Hansen from Supercraft. After nearly two decades in the progressive rock scene with bands like Texaco Stovner, Suspicious Minds, and Fjelltaake, Thomas co-founded the Norwegian future pop band Supercraft in 2007. Since 2009, Supercraft has released three albums, multiple EPs, and numerous singles.

In 2020, ETH debuted with “Somewhere But Here”. Since then, he has released a few singles and an EP. As 2024 unfolds, new ETH material is nearly finished, but the re-release of his 2020 album comes first.

The latest release from ETH is the three-track single “Cover Me,” featuring future pop versions of Depeche Mode classics “Puppets” and “Behind The Wheel,” and a piano rendition of “The Sun And The Rainfall”. Read the review of ‘Somewhere But Here’.

Cover Me by ETH (Egil Thomas Hansen)

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Funker Vogt – Death Seed (EP – RepoRecords)

Inferno Sound Diaries — Tue, 26 Mar 2024 08:00:00 +0000

Genre/Influences: Dark-Electro.

Format: Digital, CD.

Background/Info: German sonic ogre Funker Vogt is back. The new EP features new singer Bastian Polak (Intent:Outtake) while Gerrit Thomas and René Dornbusch took care of the composition. “Death Seed” is an appetizer to the announced new full length album.

Content: This EP sounds like the familiar, hard-hitting Electro stuff from Funker Vogt. We get 2 edits of the title song plus 2 edits of “Questions Their Answers” and the extra, hard, track “A Hundred Ways To Die”.

+ + + : I must say Bastian Polak sounds like the right casting to become the new singer of the band. His powerful and charismatic timbre of voice comes closer to the original singer Jens Kästel than to Chris L (the second singer). The title song is a powerful and melodic piece but the real ‘hit’ to me is the enraged “A Hundred Ways To Die”. I prefer both alternative mixes to the original edits of “Death Seed” and “Question Their Answers”.

– – – : Maybe these new songs will not become the biggest hits of this band but they’re still kicking stuff.

Conclusion: This new EP sounds already for a new chapter in the band’s history but also a cool teaser to the upcoming full length.

Best songs: “A Hundred Ways To Die”, “Death seed – Ackermix”, “Questions Their Answers – Answer Their Questions Mix”.

Rate: 7½.

Artist: www.funkervogt.de / www.facebook.com/officialfunkervogt

Label: www.reporecords.de / www.facebook.com/pages/Repo-Records/119590774857404 Read the news on ‘Death Seed’.

About Funker Vogt

Funker Vogt is a German electro-industrial project formed in Hameln in 1995 by vocalist Jens Kästel and programmer Gerrit Thomas. The name derives from the surname of a friend who served as a military radio operator, a reference reflected in the band’s war-themed lyrics and military imagery. The group’s debut album, self-titled “Funker Vogt”, appeared the same year, followed by “Thanks for Nothing” (1996) and “We Came to Kill” (1997) after signing to Metropolis Records.

Further albums followed through the 2000s and 2010s, including “Execution Tracks” (1998), “Maschine Zeit” (2000), “Survivor” (2002), “Navigator” (2005), “Aviator” (2007), “Blutzoll” (2010) and “Companion in Crime” (2013). Kästel left the band after a final show in Berlin in November 2013. Funker Vogt reformed in 2017 with new singer Chris L, releasing “Code of Conduct” (2017), “Wastelands” (2018) and “Element 115” (2021) before pausing again in 2021.

Funker Vogt announced its return on 1 January 2023, and on 5 December 2023 confirmed Bastian Polak as the new lead vocalist alongside longtime members Gerrit Thomas and René Dornbusch. The current lineup went on to release the album “Final Construct” in 2024, with “Death Seed” serving as the EP that introduced Polak on vocals.

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Sonar – Future Cries (Album – Hands)

Inferno Sound Diaries — Fri, 19 Jan 2024 08:00:00 +0000

#post_seo_title

Genre/Influences: Rhythmic-Noise, Industrial.

Format: Digital, CD, Vinyl.

Background/Info: Dirk Ivens (Klinik, Dive, Absolute Body Control, Mororik ao) and Eric Van Wonterghem (Monolith, Absolute Body Control, Klinik, Insekt ao) are back on track unleashing the ninth Sonar-album in history. “Future Cries” comes twenty seven years after the self-titled debut-album (when Patrick Stevens of Hypnoskull was involved and later on replaced by Eric Van Wonterghem) and nine years after their previous full length (cf. “Shadow Dancers”). It also is the first album released by Hands.

Content: It all feels like years have no impact on the sonic ogre called Sonar. The Belgian duo bring us back to the essence of heavy, merciless, Rhythmic-Noise. Hypnotic noise sequences and distorted rhythms are leading listeners into a frenetic dance although the work also features ‘softer’ and rather Minimal driven cuts. “Future Cries” features 12 short but raw, brutal, cuts.

+ + + : Definitely the most ‘extreme’ common project of Ivens – Van Wonterghem but also with a similar chemistry as for Absolute Body Control. This album will appeal to the early lovers of the project and also for a wider Industrial audience preferring a ‘softer’ and more minimalistic approach. I like the ‘no compromises’ attitude of Sonar; you’re either going to like it or not. There’s no way in between but I experienced this album as more diversified. It’s not just brutal Noise power but still more ‘controlled’ tracks like the great “You Get Yours” and “Turn You On”. “Elevator” sounds more into the ‘early’ style and will just blow you away.

– – – : Sonar has always composed short cuts and that’s sometimes a pity when listening to a great track. It however remains a ‘heavy’ sound format reminding Industrial music from the 90s.

Conclusion: “Future Cries” stands for a heavy and murderous come-back of Sonar.

Best songs: “Turn You On”, “You Get Yours”, “Elevator”, “Modern Touch”, “Hold On”.

Rate: 8.

Artist: www.facebook.com/TheKlinikDiveSonarAbsoluteBodyControl

Label: www.handsproductions.com / www.facebook.com/hands.official

About Sonar

Sonar is a Belgian duo of Dirk Ivens and Eric Van Wonterghem, both also active in Absolute Body Control, with Ivens known for Klinik and Dive and Van Wonterghem for Monolith. Patrick Stevens of Hypnoskull was involved on Sonar’s self-titled debut album before Van Wonterghem took his place. “Future Cries” is the ninth Sonar album, arriving twenty seven years after that debut and nine years after “Shadow Dancers”, and is the project’s first release through Hands.

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Skinny Puppy to split up for good after 41 years according to new interview

Bernard - Side-Line Staff — Sat, 02 Dec 2023 17:24:11 +0000

According to an interview with the Canadian industrial music pioneers, Nivek Ogre and cEvin Key, in LA Weekly (published on November 30), Skinny Puppy will split up after this tour. Skinny Puppy formed in Vancouver in 1982. The group is among the founders of the industrial rock and electro-industrial genres. Initially envisioned as an experimental side-project by cEvin Key (Kevin Crompton) while he was in the new wave band Images in Vogue, Skinny Puppy evolved into a full-time project with the addition of vocalist Nivek Ogre (Kevin Ogilvie).

Key acknowledges internal conflicts but emphasizes the joy and special nature of their last performances. Ogre from his side dismisses any notions of a future reunion: “People thinking that we’re gonna come back for a money grab in 10 years – it’s not gonna happen. In 10 years, I’ll be 70, so it’s definitely not gonna happen. But in five years or three years or whatever, it’s not gonna happen.”

The interview also reveals the complex dynamics between Ogre and Key, hinting at strained relations despite their mutual respect and admiration for each other’s talents. In the interview Key reflects on the band’s journey, expressing surprise at their longevity and satisfaction with their final tour. “I clearly remember saying in interviews back in the ’80s that there’s no way we’re gonna be doing this when we’re 60. So now we’re 60-plus, and it’s bizarre that we’re still going. (…) We have spent 40 years running that fine line between acrimony and getting work done.”

Talking about the past Key is quoted saying this about his work with the late Dwayne Goettel: “I only got to work with Dwayne for nine years, but we did manage to make a number of albums through that time. But the memory of working with him is unsurpassed.” As for highlights he mentions albums like “VIVIsectVI,” “Too Dark Park,” and “Last Rights” as creative high points.

Discomfort with the ‘industrial music’ label

Ogre shares his evolution as an artist and person since the band’s inception in 1983. Discussing the authenticity of his early work, he seems to be disillusionised with the current state of music, which he feels often prioritizes commercial success over genuine emotion.

Ogre and Key also discuss their discomfort with the ‘industrial music‘ label, noting how the genre has evolved and diverged from its original ethos. Ogre says more precisely this: “As far as the scene goes, it seems to have devolved into more of a metal vibe, for the most part. All of the stuff that I loved about industrial music that came out of Genesis, with industrial records, or even going back to Stockhausen, all of that kind of, just freedom to do whatever with whatever. That’s the thing that’s missing in industrial music.”

Despite their imminent split, both Ogre and Key have future projects lined up. Ogre is collaborating with Paul Barker and others on a new project, while Key has completed scoring for the video game “Silent Hill: Ascension” and is working on a new album with Bill Leeb.

About Skinny Puppy

Skinny Puppy formed in Vancouver, British Columbia, Canada, in 1982, originally a side project of cEvin Key (drums, electronics), then a member of the band Images in Vogue. Vocalist Nivek Ogre joined shortly after, and the pair’s self-financed 1984 cassette EP “Back & Forth” drew Vancouver label Nettwerk to sign them. Bill Leeb (bass synth, performing as Wilhelm Schroeder) joined in 1984 and left in 1986 to found Front Line Assembly, replaced by Dwayne Goettel (keyboards, sampling).

Key albums include “Bites” (1985), “Mind: The Perpetual Intercourse” (1986), “VIVIsectVI” (1988), “Rabies” (1989, with Ministry’s Al Jourgensen as producer and guitarist), “Too Dark Park” (1990) and “Last Rights” (Nettwerk/Capitol, 1992). Ogre left the band in June 1995; Goettel died of a heroin overdose two months later. Key and Ogre reformed in 2003 with producer Mark Walk, releasing “The Greater Wrong of the Right” (2004), “Mythmaker” (2007), “HanDover” (2011) and “Weapon” (2013).

The band announced its Final Tour in February 2023, coinciding with its 40th anniversary, and played its last show on 5 December 2023. In a November 2023 interview, Key and Ogre confirmed the split was permanent after 41 years, with Ogre stating: “People thinking that we’re gonna come back for a money grab in 10 years – it’s not gonna happen.” Skinny Puppy played its final show on 5 December 2023, ending a 41-year run that Nivek Ogre has said will not be followed by a reunion.

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Xotox – Ich Bin Da / Ich Funktioniere (Album – Infacted Recordings)

Inferno Sound Diaries — Tue, 14 Nov 2023 08:00:00 +0000

#post_seo_title

Genre/Influences: Industrial, Industrial-Techno, Industrial-Body.

Format: Digital, CD.

Background/Info: I might easily affirm Xotox is the main project from Andreas Davids. The German artist rapidly gained recognition with his Industrial music since 1998. He released an impressive number of albums -featuring collaborative releases, and now strikes back with his first new opus in three years. You’ll also hear 2 remixes right at the end of the album.

Content: I’ll directly go to the point; this is without a shadow of a doubt, the most diversified work of Xotox. Most of the tracks remain driven by Industrial-Electronics but you’ll also notice dancefloor driven Industrial-Techno pieces, EBM elements and even a kind of Industrial New-Beat cut. The work also features more elaborated cuts driven by cold sound sequences. You’ll notice numerous German- but also English samplings.

+ + + : Xotox is no longer dealing with the harsher, brutal, and unpolished side of Industrial music. Andreas Davids feels comfortable mixing different influences to his Industrial ‘ogre’ project. I like when he’s adding EBM bass lines mixed with surprising, heavy, drum sections(especially at the debut of the album) but I’m still into his ‘classic’ sound. The best cuts are however at the second part of the album. He’s experimenting with Industrial-Techno and minimal sound treatments. One of the most surprising cuts is a remix of “Robotorkrieg” by Sven Phalanx (who’s also releasing work together with Andreas Davids).

– – – : I can imagine the early die-hard fans of Xotox will maybe be less pleased by the evolution of the project touching ground with Industrial-Techno and EBM.

Conclusion: This is a pretty cool album which also comes as a celebration for the twenty fifth anniversary of Xotox.

Best songs: “Erkenntnis”, “Ich Bin Da”, “Leben und sterben für Musik aus Strom”, “Ich Funktioniere”, “Roboterkrieg – A Tribute To 25 Years Of Xotox by Sven Phalanx”, “Imaginary City – Bonus”.

Rate: 8.

Artist: www.facebook.com/xotoxmusic

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

About Xotox

Xotox is the solo-project of German artist Andreas Davids, started in 1998 as a power noise, industrial and EBM outlet. The project signed to Infacted Recordings and built a catalogue of albums moving between harsher rhythmic noise and more dancefloor-driven Industrial-Techno. Side-Line covered the announcement of “Ich bin da / Ich funktioniere”, released as Xotox marked its 25th anniversary, and later spoke with Davids for a Click Interview about the fusion of techno and industrial in his work.

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NIN’s Trent Reznor re-surfaces on deluxe vinyl reissue of 1990 debut album Pigface

Bernard - Side-Line Staff — Tue, 21 Mar 2023 15:07:28 +0000

After parting ways with the post-punk powerhouse Public Image Ltd. in 1985, drummer Martin Atkins found himself in high demand, collaborating with numerous bands such as NIN, Killing Joke, and notably, William Rieflin of Revolting Cocks and Ministry. Together, Rieflin and Atkins embarked on their most ambitious project to date: an industrial music supergroup called Pigface, bringing together the talents of their various associates.

In 1990, Pigface released their debut album “Gub,” which includes the original version of “Suck” featuring Trent Reznor. Reznor later re-recorded this track for the 1992 NIN EP “Broken.” With contributions from artists such as Chris Connelly of Revolting Cocks, David Yow of The Jesus Lizard, Nivek Ogre of Skinny Puppy, Paul Barker of Ministry, En Esch of KMFDM, and Steve Albini, “Gub” has rightfully earned its reputation as one of the most daring sound recordings ever created.

Atkins reflects on the album, saying, “This was such a liberating time-bringing together this extraordinary group of musicians and not worrying about the outcome (although, of course, we did). We had the luxury of working in the legendary Chicago Trax studios with the talented Steve Albini to capture and convey it all. It’s fascinating to think that Trent’s involvement was even a topic of debate-NIN wasn’t well-known yet, and some suggested we could save $150 on a round-trip airfare from Cleveland by not involving him. I vetoed the idea. Bill Rieflin and I came up with the concept for the project during warm-ups for Ministry’s cage tour, and the immense contribution of Francesca Sundsten’s iconic artwork to the project cannot be overstated.”

The album is now receiving a deluxe reissue from Cleopatra Records, showcasing Francesca Sundsten’s restored artwork and a gatefold image of Pigface’s original promotional picture, assembled by Chris Connelly. This reissue also offers bonus remixes and extra track versions for the first time in a single release. The CD edition comes in a premium digipak, while the vinyl version is available in an array of colors.

The tracklist:

Tapeworm with Steve Albini
The Bushmaster with Trent Reznor & David Yow
Cylinder Head World
Point Blank with Steve Albini, Chris Connelly
Suck with Trent Reznor & Paul Barker
Symphony For Taps
The Greenhouse with Chris Connelly
Little Sisters with Chris Connelly, William Tucker
Tailor Made with Steve Albini, Paul Barker
War Ich Nicht Immer Ein Gutter Junge? War Ich Nicht Immer Schoen Und Nett? Ich Zerpfluckte Niemals Eine Spinne-War Neimals Frech Und Stahl with En Esch
Blood and Sand with Chris Connelly, Matt Schultz
Weightless with Chris Connelly
Tonight’s The Night (Little Sisters Remix)
Winnebago (Induced Tapeworm Remix) with Nivek Ogre
The Bushmaster (Bushmaster Remix)
War Ich Nicht Immer Ein Gutter Junge? War Ich Nicht Immer Schoen Und Nett? Ich Zerpfluckte Niemals Eine Spinne-War Neimals Frech Und Stahl (Remix)
Suck (VX Remix)
Suck (Reverse Sitar Mix)

About Nine Inch Nails

Nine Inch Nails formed in Cleveland, Ohio, in 1988 as the recording project of Trent Reznor. Working as an assistant engineer at Right Track Studios and inspired by Prince’s practice of playing every instrument himself, Reznor recorded demos alone, programming drums and playing the rest, and performed under a band name despite being its sole permanent member. Nine Inch Nails played its first live show on 27 October 1988 in Pittsburgh, and released its debut album, “Pretty Hate Machine,” through TVT Records in 1989.

After a contractual dispute with TVT, Reznor signed with Interscope Records and founded his own imprint, Nothing Records, releasing “The Downward Spiral” in 1994 and “The Fragile” in September 1999. The band left Interscope after “Year Zero” (2007) and self-released the instrumental “Ghosts I-IV” (2008) through the Null Corporation before returning to major-label releases with “Hesitation Marks” (2013), “Bad Witch” (2018) and the companion albums “Ghosts V: Together” and “Ghosts VI: Locusts” (both 2020).

English musician Atticus Ross became an official member in 2016 after years of production work with Reznor, including their Academy Award and Golden Globe-winning score for David Fincher’s “The Social Network” (2010). Guitarist Robin Finck first joined in 1994 and has rejoined the touring band multiple times since; drummer Josh Freese first joined in 2005. Nine Inch Nails was inducted into the Rock and Roll Hall of Fame on 7 November 2020, alongside Ross, Finck and other past members. Trent Reznor founded Nine Inch Nails in Cleveland, Ohio, in 1988.

Bernard - Side-Line Staff

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Colossloth – Promethean Meat (Album – Cold Spring)

Inferno Sound Diaries — Wed, 19 Oct 2022 07:00:00 +0000

Genre/Influences: Rhythmic-Noise, Industrial.

Format: Digital, CD.

Background/Info: Wooly Woolaston aka Colossloth strikes back with his fourth full length album released by Cold Spring. He also released a few earlier albums before the Cold Spring period.

Content: I always linked Colossloth to heavy experiments in Noise. This album is not that different for the Noise influence, but the production became more rhythmic than ever before. From a pure anarchistic and improvised-like approach to heavier, rhythmed, pieces leading the listener into frenetic dance and transcendental sensation this work has a lot to offer.

+ + + : This is without a shadow of a doubt the hardest work by Colossloth and especially the accentuated rhythmic format sounds great. The work might appeal for lovers of true Noise improvisation but also for Rhythmic-Noise fans in need of dance. I like the heavy, repetitive, noise loops mixed with Industrial sound treatments leading you into trance. There’s also the more atypical “Dead Swan Song” which is slower and guided by ghost-like female vocals.

– – – : I’m less convinced by the debut part of the work which is more into pure improvisation.

Conclusion: This album sounds like being composed by a sonic ogre turning noises into dance.

Best songs: “Flowering Discipline”, “Dead Swan Song”, “Tethering The Constellation”, “Drownsize”.

Rate: 8.

Artist: www.facebook.com/colossloth

Label: www.coldspring.co.uk / www.facebook.com/coldspringhq

About Colossloth

Colossloth is the solo project of Wooly Woolaston, based in Leicester, England. His first album was released on the Belgian label Doom Structure in 2008, followed by an album on Doom Mantra Records in 2009 and one on Dark Meadow Recordings in 2011, before he signed to Cold Spring. “Promethean Meat” is his fourth full-length for Cold Spring, marking the first time Woolaston built the tracks around sampled and manipulated live drum recordings rather than his earlier, more purely improvised approach. Woolaston discussed the album’s evolution and themes in a Side-Line interview.

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Chamaeleon – The Game (Album – Insane Records)

Inferno Sound Diaries — Sun, 23 Jan 2022 08:00:00 +0000

Genre/Influences: Dark-Electro, Aggrotech.

Format: Digital, CD.

Background/Info: It took six years for the Greek duo of Chamaeleon to unleash their third full length album.

Content: The album features 10 songs plus 3 remixes. Chamaeleon strikes back with their harsh approach of mixing Dark-Electro and pure Dance/Trance leads. The influences create a true duality, but Chamaeleon is a sonic ogre without mercy. The songs (and vocals) are powerful, rough and brutal, but always danceable. The leads remind me of Culture Beat transposed into an Industrial dimension.

The remixes have been done by W.E.B. (with a remix of a song from the previous album), C-Lekktor and Roy Asylum.

+ + + : The Aggrotech approach of Chamaeleon can be linked to the sound formula of SynthAttack. I guess it’s not a coincidence that Chamaeleon has remixed SynthAttack in the past. Both projects have this surprising Dance/Trance touch running through their music and I would not be surprised if this work can become a ‘hot’ sensation. A few songs sound like a weird sonic challenge, mixing pure Dance/Trance leads reminding me of the legendary hit song “Mister Vain” with hard and mind-blowing kicks. Chamaeleon sounds crazy, but the tracklist stands for constant dancefloor stuff!

– – – : I expected a bit more out of the remixes. Don’t get me wrong, this album is good stuff, but some of the leads are a bit too cheap… but I’m afraid that’s part of the challenge and Chamaeleon…

Conclusion: Chamaeleon strikes back with a bang; perverted Dance music for Industrial clubs!

Best songs: “Mr Hyde”, “Go F#ck Yourself And Die”, “Rage”, “The Transaction”, “Vibe feat. Maria Xoniki”.

Rate: 8.

Artist: www.facebook.com/chamaeleonproject

Label: www.insane-records.com / www.facebook.com/InsaneRecordsEU Read the news on ‘The Game’.

The Game by Chamaeleon

About Chamaeleon

Chamaeleon is an aggrotech and dark electro duo formed in 2009 by vocalist Alex, joined shortly afterwards by his brother Nico, who works under the name Azie, on synthesizers and live backing vocals. The pair draw more on the Latin American school of aggrotech than on its German counterpart.

The first album, “Sick | Perverted”, appeared on Artificial Sun in 2013. Insane Records released “Evil Is Good” in December 2015, the EP “Suppression” the same year, the EP “Fear” in 2019 and the single “Scars Of Time” in 2020. During the same period the duo ran the side project Aftereffect, whose debut album “Krama” came out in 2019.

“The Game” followed in December 2021 on Insane Records, in a CD edition limited to 150 copies and in digital formats. It holds ten original tracks plus three remixes, by C-Lekktor, Van Roy Asylum and a metal reworking of “Suppression” by W.E.B.

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Norwegian Giants release ‘Fasan’ – an immensely diverse collaboration album

Jan Ronald Stange — Fri, 13 Aug 2021 14:16:29 +0000

(By our Norwegian correspondent Jan Ronald Stange) “Fasan” by Norwegian Giants is released on their own label Norwegian Giants, established in 2015. Tarjei Krogh is the main producer, having his wingmen Joakim DenGode and Markus Storm by his side. Their goal is to gather all kinds of vocalists and instrumentalists all over the globe to create new types of music and exciting combinations and variations, their motto being: We don´t follow trends, only our hearts!

Tarjei told us more about the project via chat and e-mail.

Side-Line: There’s a lot of collaborations on this album – care to take us through song by song, telling it’s story and who participated?

Tarjei Krogh: ‘Hello Aloha’ is a collaboration with a great Norwegian sound designer and artist, Continental Fruit. He is very into modular electronic equipment, which is easy to hear in his other releases available on various platforms. He tweaked one of our older tracks into something new and made it more refreshing.

‘Good God’ is a collaboration with Kim Castle and Lisa Rockfield, two vocalists and producers we will collaborate with more in the future. They have such open minds and have been producing rap songs, rock and lots of various electronica.

‘Mhmhm‘. Ten years ago I met this amazing young jazz singer/songwriter Renate Rubini. She had a significant voice reminding me of Janis Joplin, but a softer version of that. It took some years to make her like my electronic tracks, but we ended up recording lots of songs and are actually nearly ready with an album. You can find two of our earlier tracks on Spotify and two videos on YouTube if you look up “Cupid Rubini”.

‘You‘ is a collaboration with the brilliant talented Norwegian singer/songwriter Hanne Haugsand, also known as Tundra Mode and Psykosister. She has also been involved with Kant Kino and Anstalt, has participated in the Eurovision Song Contest and been on several big tv-shows in Norway. And the weird thing is, I have only met her two times. One of the times was when Nitzer Ebb and Skinny Puppy played live in Rockefeller, Oslo. Even took a picture of her and Ogre!

‘Shelter‘. Manuela Hofer is a digital artist and has a voice that stands out from the crowd. I was originally remixing a track with her ten years ago, and asked her to send me some vocals and ended up pasting her in on an older track . I met Isak Rypdal in my early 20’s and he was supposed to join our band Anstalt at that time, but we ended up being friends instead. I’ve been remixing his band Electro Spectre back in the days, and I just had to cut out some of their vocals to combine them with Manuela. I have never met Manuela in person, so thank God for the internet!

‘Here we go again‘. Some years ago I shared an office with the best rap managers in Norway. One of these guys had a girlfriend named Lisa who was very into electronic music, and we started sharing music online. This could have been a great collaboration, but we totally lost contact, telephone numbers and email. Luckily I got 4 vocals and just had to release the first one. Never met her either.

‘Move on‘. I met Elvebakk at a barbeque on our peninsula Nesodden, right outside of Oslo. We ended up discussing music and I was surprised he loved stuff like Thom Yorke, The Cure and Joy Division. A very kind being with a rich taste in music. He sent me some of his own stuff and I loved the characteristics in his voice. Strangely we ended up with a dance track. I hope to get him to participate in some downtempo stuff in the future.

‘Perpetual‘ is a dive into what always will be a big part of me, Electronic Body Music and Synth Pop. I tried many different vocalists on this track, but ended up keeping it almost instrumental. I used a lot of analog and some modular equipment on this one. It is one of my own favourites. I guess less is more sometimes.

S-L: What’s the connection between this album and all the Norwegian Beats releases on Spotify?

TK: Norwegian Beats was a way to inspire vocalists to contribute to our future releases. We have made 20 collections so far, but will in the future focus mainly on releasing our “real” albums. ‘Fasan’ is our first real album and the beats are up for grabs for anyone to contribute, so we can include new artists on our future releases. Norwegian Giants is supposed to be a mix of a label and a band – a big collective where anything is possible. Like if you combined Röyksopp, Gorillaz or Massive Attack with Mute Records and Ninja Tune. Maybe a bit outdated references, but these are the best examples that comes to mind when concerning brilliant work.

S-L: More releases ahead or other plans?

TK: We are doing things backwards, so we are now gonna make three EPs with remixes, radio versions and videos for three of the songs on the album ‘Fasan’. We also have a new album almost ready to be released early in 2022 named ‘1969’. We will also continue to search and find new artists to collaborate with in Norway and in Europe as well. And set sails like the vikings before us.

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

www.facebook.com/jrstange

156 / Knurl – Split (Album – Humanhood Recordings)

Inferno Sound Diaries — Tue, 29 Jun 2021 19:00:00 +0000

Genre/Influences: Industrial, Noise.

Format: Digital, Cassette.

Background/Info: This work is a split-album between Adel Sauto (156) and Alan Bloor (Knurl). Both artists have been active for a while, but especially Canadian Alan Bloor who has released an impressive discography.

Content: Both artists each released a single, nearly 20 minute, track. 156 deals with old-school Industrial music, which is mainly characterized by the numerous metallic sound treatments. The track is supported by a dense, obscure atmosphere creating an illusion of nearby danger. This track reminds me of Industrial music from the ’80, which remains the artist’s main source of inspiration.

Knurl deals with pure Noise. This track gives you the impression facing a true wall of sound, an overwhelming sonic ogre of harsh noises and buzzing sound waves. There’s less variation in the track, but some passages are clearly heavier than others.

+ + + : I really like the Industrial track by 156. “The Collapse Of It All – Pts I – III” is a composition reminding me of the real spirit of 80s Industrialists. I also enjoyed the progression of this cut, which during the final part is accentuated by a crescendo cadence. It gives you the feeling of a true transcendental apotheosis.

– – – : I was less inspired by the Knurl track, but I have to admit I never have been a huge lover of Noise. There also is a serious contract between both artists although both genres are clearly related.

Conclusion: This cassette reveals good-old Industrial music and pure Noise. I’m still addicted to the 80s Industrial scene and therefore clearly recommend discovering the sound universe of 156.

Best songs: 156:“The Collapse Of It All – Pts I – III”.

Rate: (7).

Artists: www.facebook.com/onefivesixband / www.facebook.com/alan.bloor.98

Label: www.facebook.com/humanhoodrec

About 156 and Knurl

156 is the project of Cuban-born, US-based artist Adel Souto. Its name references the Crowleyan concept of Babalon, described in occult numerology as number 156, and Souto has framed the project as a female-coded response to the patriarchal aspects of the music scene. Before 156 he was involved in Punk and Hardcore bands. His album “An Accidental Exorcism” (2020, No Part Of It) mixed Industrial, Dark Ambient and Experimental elements as an homage to minimalist horror-movie soundtracks.

Knurl is the noise project of Canadian composer Alan Bloor, originally from Windsor, Ontario and later based in Quebec. Bloor started in the early-1980s hardcore punk band Binge Of Violence before turning to solo noise work built from found objects such as fan blades, typewriters, scrap metal and car springs. Recording as Knurl since 1994, starting with “Initial Shock”, he has released more than one hundred albums and performed with Jim O’Rourke and Thurston Moore. This split brought the two projects together on Humanhood Recordings.

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Strobo.Lolita – Hysteria (Album – Hands)

Inferno Sound Diaries — Fri, 16 Oct 2020 18:30:06 +0000

Genre/Influences: Industrial-Techno, Rhythmic-Noise.

Format: Digital, CD.

Background/Info: Hands welcome a new artist to its impressive roster. Strobo.Lolita is a German female project unleashing its first official album, which is featuring fourteen songs.

Content: There are not that many female artists involved with industrial music, but “Hysteria” has enough power to compete with the male artists. The music is switching from pure good-old Rhythmic-Noise to Industrial-Techno. There’s no time for a break; Strobo.Lolita is a bulldozer you can’t stop although the lady now and then tries to refine her work with some minimal sound arrangements.

+ + + : “Hysteria” is the work of a sonic ogre! This album will ravish the die-hard freaks of Power-Noise and Rhythmic-Noise, but is still inspired by current Industrial-Techno music. So the album is rather diversified, regularly moving from one style till the other although everything sounds compact and related. I’ve a preference for the hard Industrial-Techno fmrta, which is reaching a top at “Der Teufel” and “Unordentliche Extreme”, which even has something transcendental. “Fetischisten” is another attention grabber revealing a solid bass line and samplings, which are just dealing with the title of the track. A very last and essential cut I want to mention is “Hin Und Weg”, which also is the last track of the work and is a true apotheosis.

– – – : Does Strobo.Lolita hesitate between the good-old Rhythmic-Industrial and Industrial-Techno? She feels comfortable with both styles although the work has something schizophrenic for moving from one to the other.

Conclusion: “Hysteria” could have been only released by Hands; this album will provoke a truly sonic earthquake and is a successful debut!

Best songs: “Unordentliche Extreme”, “Hin Und Weg”, “Pseudo-Halluzinogene Psyche”, “Der Teufel”.

Rate: (7½).

Artist: www.facebook.com/strobololita

Label: www.handsproductions.com / www.facebook.com/hands.official

About Strobo.Lolita

Strobo.Lolita, also known under the alias Die Tödin, is a German artist who joined the HANDS roster with remix work for Stahlschlag‘s “Annihilation” in 2019, before “Hysteria” arrived in 2020 as her debut full-length. The album’s title track also appeared on the label’s “Forms Of Hands 20” anniversary compilation the same year.

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Wolfhead59 – We Are Not OK (Album – D-Trash Records)

Inferno Sound Diaries — Tue, 15 Sep 2020 18:30:34 +0000

Genre/Influences: Industrial, hardcore, electro-punk.

Format: Digital, CD.

Background/Info: Wolfhead59 is driven by the London (UK) based duo Agnes de la Barthe and J. de Vil.“We Are Not OK” is the band’s official debut album.

Content: If you’re a bit familiar with the D-Trash label roster you know what to expect! Wolfhead59 brings a furious mix of industrial and hardcore. Some tracks remind me of the imaginary hybrid between Ultraviolence and Ambassador21. The lyrics are pretty rudimentary, just a few words, which are mainly repeated by the sexy, but harsh singing Agnes de la Barthe. J. de Vil is also doing some back vocals. A very few cuts are a little less elaborated with some extra sounds and I even noticed a kind of tune running through “Girls”. The tracks are rather short, but full of energy.

+ + + : Wolfhead59 is a real nice surprise, but you definitely have to be experienced with this kind of stuff. The album sounds like having been composed by a sonic ogre, revisiting industrial music to create a harsh and perverted sound. The enraged, shouting vocals have something evil, which is matching with the music. This is industrial music composed by punks! The song “Napalm Disco” also is the right definition to get an idea what this band is all about. But the most noticeable song is for sure “Girls”, which sounds to me as a potential hit because of its simple tune adding a bonus to the song.

– – – : I don’t have real minus points here, but I think it would be interesting to get a few more songs with an extra tune or extra explicit, leading sequences.

Conclusion: Music can be hard and disturbing and yet giving you a great feeling! “We Are Not OK” is a funny contradiction for a successful debut album.

Best songs: “Girls”, “We Are Not OK”, “1711”, “Combat Yoga”.

Rate: (8).

Artist: www.facebook.com/LondonNapalmDisco

Label: www.facebook.com/dtrashrecords

About Wolfhead59

Wolfhead59 is a London, UK-based duo of vocalist Agnes de la Barthe and Jay de Vil (also written J. de Vil). The pair met when de Vil played in a punk band and de la Barthe was promoting gigs, and later became a couple as well as musical partners.

Wolfhead59 released its official debut album, “We Are Not OK”, through American label D-Trash Records in 2020.

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Mirland – Antagonist (Mini-Album – Læbel)

Inferno Sound Diaries — Sat, 14 Mar 2020 21:30:50 +0000

Genre/Influences: Electro-industrial, EBM, IDM.

Format: Digital, CD.

Background/Info: John R. Mirland has been –and still is, involved with multiple music projects. I once discovered him with the electro-minimal project Holm/Mirland, but of course also together with Claus Larsen as Am Tierpark and Mirland/Larsen while he’s now also busy under the Negant moniker and the band Bitter Distrust. He also moved on releasing new productions under his own name, “Antagonist” having been released in 2018 (!). The work has been introduced as an EP while it rather looks as a good-old mini-album featuring six cuts.

Content: John R. Mirland is a musician with multiple ‘sonic faces’. He can write the finest pop melodies or experiment with pure electronic-minimalism, but he now again transposes himself into a kind of industrial ogre. “Antagonist” takes off with a subtle fusion between EBM bass lines and harder, industrial kicks, but quite progressively the work starts to become harsher and definitely electro-industrial like. The songs feature a few spoken samplings and electronic treatments like reminding us of the artist’s love for electronics;

+ + + : The opening song “Disappointment” is a brilliant piece of electro-industrial music carried by a solid bassline. I like the way this song evolves towards a harsher final. Quite progressively the songs get harder and more industrial wise. But there’s always a subtle touch to achieve the songs and that’s what I also like at the hard-banging “Cleanse” and “Antagonist”. The last cut is more experimental, but here again the final part of the song became harder and more industrial-driven.

– – – : “Antagonist” is a fully enjoyable release, but just missing an absolute hit!

Conclusion: Mirland confirms to feel comfortable with different genres, but the common point remains the electronic basis. “Antagonist” probably is one of the artist’s hardest productions ever released!

Best songs: “Disappointment”, “Cleanse”, “Antagonist”, “Guillotine”.

Rate: (8).

Artist: https ://mirland .dk /

www .facebook .com /jrmirland

Label: https ://laebel –music .dk / www .facebook .com /laebelmusic

About Mirland

Mirland is the solo-name project of Danish musician John R. Mirland, also known for Am Tierpark (with Claus Larsen), Negant, M73, Mirland/Larsen and the electro-minimal project Holm/Mirland. “Antagonist” was released in 2018 as a six-track mini-album on Laebel. Mirland followed it with the album “Compromise Is Defeat” in 2022 and the single “Plasticity / So Cold” the same year, both on Je M’En Fish.

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Fractal Age – Modern World (Album – Scanner / Dark Dimensions)

Inferno Sound Diaries — Fri, 24 Jan 2020 20:30:00 +0000

Genre/Influences: Electro-pop, wave-pop.

Format: Digital, CD.

Background/Info: Fractal Age is a new German formation set up by ex-reAdjust-member Markus (programming & keys), Jens of Chainreactor (programming) and Sascha (vocals).

Content: I didn’t know what to expect from this trio, but I probably expected something different because of Jens’ from Chainreactor involvement. Fractal Age is not a new sonic ogre, but sounds more inspired by electro-pop formats. It’s a kind of power-pop composition featuring wafting, melodic leads, hopping rhythms and a flavor of melancholia. The title song has been remixes by Chainreactor.

+ + + : If “Modern World” has something pretty electro-pop like it clearly appears to be a unique format revealing songs supported with a dark and melancholic sphere. The work is powerful, but remains melodic through the use of classical leads. “Apart” is a brilliant song resulting in a truly climax thanks to a great melody line. I also have to mention “Glimpses Of Reliance”, which is another major song.

– – – : Fractal Age has accomplished a noticeable debut, but maybe has to inject a little bit more diversity in its future compositions.

Conclusion: I can’t say this album is an absolute must have, but it’s a cool and excellent debut. So I’m really looking forward to see how this new project will evolve.

Best songs: “Apart”, “Glimpses Of Reliance”, “The Credits Of My Life”, “Red”, “Someday”.

Rate: (7½).

Artist: www .facebook .com /FractalAge

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

About Fractal Age

Fractal Age is a German electro-pop act formed by ex-reAdjust member Markus (programming, keys), Jens of Chainreactor (programming) and singer Sascha. “Modern World” is the trio’s debut album, released via Scanner / Dark Dimensions. Fractal Age continued the same partnership on the albums “Another Way” (2022), “Faded Blossom” (2023) and “Energy & Entropy” (2025).

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Mono No Aware – Mujoo (CD Album – Hands)

Inferno Sound Diaries — Mon, 13 Jan 2020 19:30:35 +0000

Genre/Influences: Rhythmic-noise, industrial, industrial-trance.

Background/Info: The German sonic ogre is back on track unleashing the seventh album since “Kitanai Yatsu” (2000).

Content: Operator Leif Künzel moves on mixing heavy industrial loops and pure rhythmic-noise patterns. There also is a more electronic touch emerging from a few songs while a minimal approach is also noticeable at a few other cuts. The power remains constant, but the rhythm can sometimes become a little slower. The work also features remixes by Hypnoskull and Cubic Nomad.

+ + + : “Mujoo” is more than simply power; it sometimes feels as ‘controlled power’ but with overwhelming noise blasts. I like the explicit passages with minimal treatments like little bleeping sequences. The last few tracks are more into trance and electronics and I especially recommend listening to “Oh Boy” and “Pounding”. I can’t say that Mono No Aware has reinvented itself on these few tracks, but there’s a wider spectrum of influences that has been covered. Another highlight is the remix of “Impulse Response” by Cubic Nomad transposing the original edit into a heavy, danceable cut with filtered bleeps.

– – – : If you’re not into heavy rhythmic-noise assaults, this album will maybe appeal to you for its trance-industrial part, but globally speaking it remains a brain-damaging experience!

Conclusion: Mono No Aware remains extremely powerful, but still revealing a refreshing touch.

Best songs: “Pounding”, “Impulse Response – Cubic Nomad Remix”, “Oh Boy”, “A Good Decision”, “X”, “ISX”.

Rate: (8½).

Label: www.handsproductions.com / www.facebook.com/hands.official

About Mono No Aware

Mono No Aware is a German power-noise and industrial project run by Leif Künzel. Early member Stefan Böhm left around 2002 to focus on S.I.N.A.; Künzel has run the project alone since. Its discography began with “Kitanai Yatsu” (2000) and continued through “Kika No Sekai” (2002), “Kataku” (2005), “Ketoujin” (2008), “Pachinko To Hanbaagaa” (2010), “Tatemae” (2012) and “Oto” (2017) before “Mujoo” (2019) on Hands.

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SynthAttack – Join Us (CD Album – darkTunes Music Group)

Inferno Sound Diaries — Mon, 16 Sep 2019 19:30:24 +0000

Genre/Influences: Dark-electro, aggrotech.

Background/Info: “Join Us” is SynthAttack’s fourth album since the opening full length “To The Floor” (2015). The band is still driven by the creative spirit of Martin Schindler. “Join Us” features ten songs plus seven remixes by other artists.

Content: SynthAttack can be the best compared to an imaginary dance-ogre. The songs are boosted by electro-adrenaline made by heavy, danceable kicks, cold electro sequences and trance-like leads. The vocals feature this cavernous expression while a few cuts reveal female backings. SynthAttack is the perfect fusion between dark-electro and dance/trance music.

Remixes have been accomplished by Aesthetic Perfection, Centhron, Agonoize, ES23, Grendel, CygnosiC and Nachtmahr.

+ + + : SynthAttack clearly composes music for the dancefloor. Each new opus sounds as a sonic bomb to get fans into frenetic dance. It’s not that different for “Join Us”, which is an invitation to move. The heavy, boosting kicks together with the trance-like leads can’t leave club visitors enjoying dark-electronics unmoved. The songs reflect constant power, which feels a bit like a transcendental trip. Songs like “Join Us”, “Enjoy The Pain”, and “Addicted To The Thrill” will definitely convince you from the band’s potential and dance skills. Next to the new songs you also get an impressive list of famous artists/remixers. I here have a little preference for the remix of “Final salvation” by ES23.

– – – : SynthAttack remains a kind of challenge. The fusion of dark-electronics with some commercial-like trance leads is sometimes pretty risky and maybe a bit cheap. I’m especially referring to “Final Salvation”, which reminds me of the lead of Culture Beat’s mega-hit “Mr. Vain”. Despite of the great artists invited to remix I don’t experience this section as a real bonus to the album. The original songs are definitely better!

Conclusion: SynthAttack makes no prisoners blowing everything down! Music is their religion, the dancefloor their temple to convince new adherents!

Best songs: “Join Us”, “Enjoy The Pain”, “Addicted To The Thrill”, “Until The Dawn”, “Final Salvation – ES23 Remix”, “Join Us – Aesthetic Perfection Remix”.

Rate: (8).

Artist: www .facebook .com /synthattack

Label: www .darktunes .com / www .facebook .com /darkTunesMusic

About SynthAttack

SynthAttack is a dark-electro duo from Hannover, Germany, driven by Martin Schindler alongside singer Nici. Since the 2015 debut “To The Floor” the project has built a catalogue on darkTunes Music Group, including “Harsh Is Back” in 2018 and “Join Us” in 2019. The band went on to release the EP “Harsh Will Never Die” in 2020 and the album “Damnation” in 2021, and has performed at festivals including Wave-Gotik-Treffen, Amphi Festival and E-Tropolis.

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Centhron – Dystopia (CD Album – Dark Dimensions / Scanner)

Inferno Sound Diaries — Sun, 25 Aug 2019 18:30:43 +0000

Genre/Influences: Dark-electro.

Background/Info: German Centhron has already been active since 2001 and this year unleashed their eight official studio album. The main source of inspiration is around ‘dystopia’, which in a way became the symbol of the world actually living in.

Content: The sound and influences on “Dystopia” are easily recognizable. Centhron is one of those ‘pure’ dark-(h)electro formations, which don’t make real compromises. The songs are harsh and ultra-danceable while led by heavy, distorted vocals (still sung in German) and carried by traditional icy leads. There clearly is a serious part of rage emerging from the album. One of the songs (cf. “Blut Unserer Mütter”) is featuring female vocals, which injects a softer touch to the enraged tracklist.

+ + + : Centhron didn’t change their winning sound formula and simply moves on there where previous works stopped. “Dystopia” is an extremely dark and heavy production, which will be pleased by the dark-electro community. There are several dancefloor cuts featured at the album, but I’ll especially keep the title song in mind, which clearly sounds as their latest potential hit. The songs are well-crafted and revealing a considerable improvement compared to the earlier –although promising, work of the band.

– – – : Some of the leads are a bit easy- and cliché like.

Conclusion: Centhron became a recognized and established band, which on “Dystopia” reinforce their status of ‘dark dance-ogre’!

Best songs: “Dystopia”, “Rabenschwarz”, “Blut Unserer Mütter”, “Sieg Oder Untergang”.

Rate: (8).

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

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

About Centhron

Centhron is a German dark-electro band active since 2001; “Dystopia” was its eighth studio album. Centhron continued on the Scanner / Dark Dimensions label group with “Fylgja” in 2022, followed by “Einheit C” in 2023 and “Liebe Is Krieg” in 2025.

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ICD-10 – Differential Diagnosis (CD Album – Hands)

Inferno Sound Diaries — Wed, 07 Aug 2019 19:30:56 +0000

Genre/Influences: Industrial-trance, industrial-techno.

Background/Info: Henning Hinck and Daniel Himmelreich are already active for several years now under the ICD-10 moniker. While this is their official debut album as solo-project they already released the album “Divinity/Unity/Nothingness” together with label mates Phasenmensch, with whom they seem to have a friendly relationship. “Differential Diagnosis” reveals 13 tracks from the German duo.

Content: The techno virus is seriously contaminating the industrial music scene. ICD-10 are clearly driven by techno and trance inspiration, which they crafted into a darker and harder industrial approach. Heavy kicks, vibrating bass tones and a few spoken samplings will get you into dance! One’ of the tracks is featuring Phasenmensch.

+ + + : Dark-techno music is getting more and more common today. This is not only dark-techno music, but a perfect merge with harder, industrial fields. I especially like the transcendental sensation emerging from most of the tracks, but I especially have to mention “Squeeze”, which stands for pure frenetic dance stuff! The work also has something sophisticated and that’s already what I heard on their work together with Phasenmensch. This input is more IDM-like, but the basis remains industrial-trance!

– – – : I sometimes regret the songs are not harder and maybe a little bit more industrial or rhythmic-noise driven.

Conclusion: ICD-10 appears to be a real sound ogre when it comes to get people dancing on industrial-trance stuff!

Best songs: “Squeeze”, “Complex Shape feat. Phasenmensch”, “Dark Channels”, “Centerline”.

Rate: (7½).

Artist: www .facebook .com /ICD 10 RhythmicNoise

Label: www .handsproductions .com / www .facebook .com /hands .official

About ICD-10

ICD-10 is the German rhythmic noise, IDM and industrial-techno project formed in 2013 by Henning Hinck and Daniel Himmelreich, later joined by Thorsten Felix. Before “Differential Diagnosis”, the pair released the joint album “Divinity/Unity/Nothingness” with label mates Phasenmensch. ICD-10 followed up with a Click Interview the following month and the 2021 album “Irregular Cerebral Device”.

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Porn – The Darkest Of The Human Desires – Act II (CD Album – Echozone)

Inferno Sound Diaries — Sat, 02 Mar 2019 19:00:32 +0000

Genre/Influences: Industrial-metal, metal-rock, dark-rock.

Background/Info: The French band is back on track and released two years after “The Ogre Inside – Act I” the second part of their trilogy based on the enigmatic character of ‘Mr Strangler’. It’s all about our darkest thoughts that you allow to enter your mind.

Content: Just like on their previous album, Porn takes off with a real hard and violent song. It reveals the influences of the band, which is mixing metal-, rock- and gothic music. Porn remains faithful to their ‘heavy’ sound, but also brings softer and especially more emotional pieces. This sensibility can be also heard in the production of the vocals, which always remains powerful. The work started a violent way and comes to an end with a more melodic-like final cut.

+ + + : First there’s the artwork of the album; a great and terror-like front cover, perfectly illustrating the main theme of the album, which also is a wink to serial killers. It matches with the violent sound of Porn and especially their debut song “Choose Your Last Words” is absolutely mind-blowing! The guitar playing is the essence of the work, but I also have to mention the great electronic arrangements. The work has something apocalyptic and tormenting!

– – – : There are a few cool songs featured, but I’m still convinced Porn is missing the ‘absolute’ hit. That’s maybe why they’re still a bit in the shadow of the bands they’re compared with such as NIN, Type O Negative, Marilyn Manson ao.

Conclusion: There always is a beast hiding deep inside of us, but with Porn this beast has been awaken and transposed into a blood-thirsty monster… a sonic ogre!

Best songs: “Choose Your Last Words”, “Evil Six Evil” “Abstinent Killer”.

Rate: (7).

Artist: www .facebook .com /PORNtheband

Label: www .echozone .de / www .facebook .com /EchozoneMusic

About Porn

Porn is a French band formed in 2002, fronted by vocalist Lyric. Earlier full-lengths include “A Decade In Glitter And Danger” (2009), “From The Void To The Infinite” (2011) and “Deconstruct” (2015).

“The Darkest Of The Human Desires – Act II” is the second part of a trilogy that opened with “The Ogre Inside” in 2017 and closed with “No Monsters In God’s Eyes – Act III” in 2020, released via the German label Echozone.

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ohGr still waiting for almost $100,000 in funds from PledgeMusic

Bernard - Side-Line Staff — Mon, 04 Feb 2019 08:28:40 +0000

UPDATE: PledgeMusic looking for outside investors to keep the boat afloat, co-founder Benji Rogers back on board

A lot of artists have chosen to go the indie way, some leave their label and start things up themselves, distribution, production etc. others look for an extra buck by getting outside funding. All fine until your funding solution becomes a true nightmare. And that’s exactly what a lot of bands using PledgeMusic are facing including ohGr.

The electro-industrial band ohGr for instance launched a funding campagn via PledgeMusic in 2017 for its fifth full-length album, “TrickS”. Via the service Nivek Ogre wanted to cover recording costs and this by offering exclusive updates an direct pre-sales of the album. 8 months after ohGr’s campaign ended, the band is still waiting for PledgeMusic to pay almost $100,000 in funds. Funds it needs to pay for production of merchandise its fans have already purchased. As a result the only thing that has been available was a digital version of the album on July 18 2018, not really great when you also started a tour without being able to offer the actual album for sale.

ohGr is in the meantime also trying to explain the situation to its funders as you can see below.

As it seems many other bands also face a similar experience. Billboard contact the company who said this: “We accept responsibility for the fact that we have been late on payments over the past year. PledgeMusic is working tirelessly on this issue, and we are asking our community for their continued support and patience.” The problem with PledgeMusic is actually that it invested the funds gathered by band’s back into the company instead of using seperate funds for this. A clear breach of trust as PledgeMusic’s terms and conditions clearly stipulate that funds collected by PledgeMusic for a campaign “will be held on account for the Artist.”

PledgeMusic also released a full statement:

PledgeMusic has always been committed to serving artist and fan communities. It was established by artists and was born of a need to change the way in which the traditional music industry operated. It was designed to help artists and their teams at every level, and we believe that PledgeMusic has become an essential part of the evolving landscape of the music industry.

That said, we deeply regret that recently we have not lived up to the high standards to which PledgeMusic has always held itself. We acknowledge that many artists have and continue to experience payment delays. These delays to artists are unacceptable–not only to them, but to us.

Since its beginning, PledgeMusic has successfully serviced over 45K artists from emerging acts to some of the biggest names in the industry. We’ve supported 60 Grammy-nominated artists and helped springboard 100s of unsigned bands to successful careers. Our efforts have assisted over 375 artists with chart position on the Billboard Top 200. Our platform has provided close to $100m of revenue to its artist community.

Mid 2017, new investors came into PledgeMusic with the goal of strengthening the company and improving the value proposition for artists and fans. After substantial investments in the business over the past 18 months, we believe we have made good progress to that end, but it hasn’t been enough. That said, the company has cut its operating expenses nearly in half over the past year. We’ve overhauled key parts of our financial and operating systems, while adding talent to our roster and making enhancements to the platform like our Vinyl Store, D2C artist store-fronting and our data analytics.

While the company has made progress, we still haven’t reached our goals. PledgeMusic has been in discussions with several strategic players in the industry who have interest in the PledgeMusic platform. We are evaluating a number of transactions with those potential partners, and we plan to announce details of this in the next 60 days. It is our expectation that payments will be brought current within the next 90 days.

We accept responsibility for the fact that we have been late on payments over the past year. PledgeMusic is working tirelessly on this issue, and we are asking our community for their continued support and patience.

A story which is to be continued…

Bernard - Side-Line Staff

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Watch the new PORN music video for new song ‘Here For Love’ right here

Bernard - Side-Line Staff — Wed, 23 Jan 2019 16:03:29 +0000

Gothic metal/industrial-rock artists PORN have released the music video for their new song “Here For Love”. “Here For Love” is taken from their new album “The Darkest of Human Desires-Act II” and the video follows Mr Stranger and his minions as they do what they enjoy the most, torturing their prey.

In 2017, PORN released its third album “The Ogre inside.- Act I”, the first act of a trilogy based on the enigmatic character Mr Strangler. On February 22nd PORN will release their new album “The Darkest of Human Desires-Act II”, which continues the story of Mr Strangler.

The new album is the first collaboration between PORN and Tom Baker, who mastered many mythic albums: “Antichrist Superstar” by Marylin Manson, “Downward Spiral” by Nine Inch Nails, “Psalm 69” by Ministry, “Hellbilly Deluxe” by Rob Zombie and so on.

PORN released its debut album in 2004 and an EP a year later, which are currently available together on “A Decade In Glitter And Danger”. These were followed by a 2nd album in 2011 “From the Void to the Infinite”, plus the 2015 covers and remixes compilation “Deconstruct”, which followed the publication of the band’s founding member’s (Philippe Deschemin) first novel, “Contoyen”.

Bernard - Side-Line Staff

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Distortion Six – Sacrifice (Digital EP – Ant-Zen)

Inferno Sound Diaries — Wed, 09 Jan 2019 19:00:06 +0000

Genre/Influences: Power-noise, industrial.

Background/Info: “Sacrifice” can be seen as a kind of sonic addendum to the new album “Ferocious”. The Norwegian sonic ogre Nichlas Shermann reveals four more exclusive cuts.

Content: The influences and sound formula haven’t changed. “Sacrifice” stands for a sonic tornado mixing pure and somewhat vintage-like power-noise together with a brutal and unpolished hardcore techno touch. It’s the kind of production creating a kind of gateway between both genres.

+ + + : “Sacrifice” stands for pure power-noise; the kind of sound that makes no compromises and just moves straight forward. The violent and distorted sounds are making no prisoners. I like the little ‘shamanic’ touch, which mainly emerges from “Bonus” and, which clearly brings hard-industrial and hardcore-techno together.

– – – : The sound formula used by Distortion Six brings nothing really new and rapidly becomes repetitive. Conclusion: Distortion Six is the kind of project that will mainly appeal for the power-noise die-hard fans. This EP is pure power while the album is more diversified.

Best songs: “Bonus”, “Erect”.

Rate: (7).

Artist: www.facebook.com/DistortionSIX

Label: www.ant-zen.com / www.facebook.com/antzen.official

About Distortion Six

Distortion Six is the power-noise and industrial project of Norwegian artist Nichlas Schermann. After the self-released “Keep Fucking The Slag” in 2012, the project signed to Ant-Zen for “Fierce” in 2017 and “Ferocious” in 2018. “Sacrifice”, reviewed here, followed the same year as a companion EP.

Distortion Six continued with the digital album “Norze” in 2019 and the album “Skade” in 2021, both on Ant-Zen.

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Porn – The Ogre Inside Remixed (CD Album – Echozone)

Inferno Sound Diaries — Mon, 24 Dec 2018 20:30:18 +0000

Genre/Influences: Industrial, metal-rock.

Background/Info: Porn last year released their third full length album “The Ogre Inside”, which revealed the hard industrial/metal-rock approach of this French band. While this work also is the first part of a trilogy, Porn strikes back before the second chapter with a remix-album.

Content: Six songs from original tracklist have been picked up and exposed to the remix skills of An Erotic End Of Times (6 remixes), Aura Shred (3 remixes), Heartlay (2 remixes) and Thot (1 remix). Four remixes have been made from the title song. Each band has tried to put their own stamp on the original version.

+ + + : You clearly will recognize the original songs while the remixes add something extra. And I especially refer to the great work done by An Erotic End Of Times, which is a side-project of Porn. They added something electronic to their sound, which however remains pretty ‘industrial’-like. The remixes of “Close The Window” and “Sunset Of Cruelty” are worthy of examination. I also noticed a cool remix from the Belgian project Thot.

– – – : I’ll never become a huge fan of albums filled with remixes. I however have to admit this one is not bad at all, but it first of all is a record for the band’s die-hard fans.

Conclusion: The album gave me the opportunity to discover An Erotic End Of Times, but also a few cool remixes. But if you like Porn, you better get back to the original “The Ogre Inside”-album.

Best songs: “Sunset Of Cruelty – An Erotic End Of Times Remix”, “Close The Window – An Erotic End Of Times Remix”, “She Holds My Will – An Erotic End Of Times Remix”, “You’ll Be The Death Of Me – An Erotic End Of Times Remix”.

Rate: (7).

Artist: www.facebook.com/PORNtheband

Label: www.echozone.de / www.facebook.com/EchozoneMusic

About Porn

Porn is a French industrial/metal-rock band whose third full-length, “The Ogre Inside” (2017, Echozone / Les Disques Rubicon), is remixed here by An Erotic End Of Times, Aura Shred, Heartlay and Thot. Porn followed with “The Darkest Of The Human Desires – Act II” in 2019 and “No Monsters In God’s Eyes / Act III” in 2020, completing the trilogy begun with “The Ogre Inside”.

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Porn returns with ‘The Darkest of Human Desires – Act II’

Bernard - Side-Line Staff — Thu, 13 Dec 2018 18:02:29 +0000

In 2017, Porn released its third album “The Ogre inside.- Act I”, the first act of a trilogy based on the character Mr Strangler. The story that goes with it: Mr Strangler expresses his dark impulses without limitations and has no boundaries. With his crew, he commits murders and massacres. He also invites everyone to make a step forward and invites you to express your darkest desires and join his death cult.

In the second act, “The Darkest of Human Desires – Act II “, you can hear some of the most scariest serial killers and murderers : Richard Ramirez , Ed Kemper, Charles Manson, Richard Schaeffer or Jeffrey Dahmer.

The new album is the first collaboration between Porn and Tom Baker, who mastered many mythic albums including “Antichrist Superstar” by Marylin Manson, “Downward Spiral” by Nine Inch Nails, “Psalm 69” by Ministry, “Hellbilly Deluxe” by Rob Zombie and so on.

Bernard - Side-Line Staff

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OGRE and Dallas Campbell announce new fictitious synth horror soundtrack ‘All Hallows’ II’ – check the preview

Bernard - Side-Line Staff — Thu, 08 Nov 2018 11:25:13 +0000

“All Hallows’ II” is a full-length studio album by Robin Ogden (OGRE) and Dallas Campbell. The sequel builds upon the previous instalment of ‘All Hallows’’.

Robin and Dallas collaborated online using FaceTime, Dropbox and Sid Meier’s Civilization V. Joined by their shared passion for all things analog, tape machines and esoteric vintage synths, “All Hallows’ II” draws on the duos combined nostalgia for the halcyon years of Carpenter and Goblin-esc soundtracks, cheap horror movies and sweet synth scores.

The soundtrack is the fourth instalment of their many transatlantic collaborations and includes – and here we enter the fiction part – the unaltered case files of the events of 1983 and what really happened at The Shepard Institute For Psionic Inquiry, by examining the interviews, reports and artefacts, which are included both digitally with the release and physically with physical versions of the soundtrack.

The soundtrack features 24 tracks and will be released both digitally and on cassette with a special edition physical package of “All Hallows’ II” including a hard print copy of the story component and a ‘found artefact’ meditation cassette. A separate selection of B-sides and cuts entitled: “All Hallows’ II: Coda” will follow the release.

Below is a first preview.

All Hallows’ II by OGRE and Dallas Campbell

Bernard - Side-Line Staff

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Skinny Puppy co-founder Nivek Ogre hospitalized with broken jaw after being attacked hours before going on stage

Bernard - Side-Line Staff — Fri, 14 Sep 2018 12:09:10 +0000

Bad luck for Nivek Ogre who was attacked and beaten unconscious hours before his show as ohGr in Philadelphia on September 11th. Ogre suffered a broken jaw and other injuries.

Ogre revealed what happened when it was time for the encore, as you can hear below. ohGr are currently touring in support of their latest album “Tricks”.

Bernard - Side-Line Staff

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Virgin In Veil – Twisted Thrills (CD Album – Danse Macabre)

Inferno Sound Diaries — Sat, 17 Feb 2018 20:30:56 +0000

Genre/Influences: Death-rock, post-punk, cold-wave.

Background/Info: They claim to compose death-rock music and are now back on track unleashing their second full length. Finnish formation Virgin In Veil gained some recognition with the debut full length “Deviances” (2016), which brought them to play at several places in the world and some noticeable festivals.

Content: “Twisted Thrills” features 10 songs for only 24 minutes! The songs are short and dynamic. Driven by a speed cadence, some parts of the work remind me of Killing Joke, but you also will notice punk elements. The deep resonating bass play has this late 80s spirit. The guitar brings this work to a higher dimension while the synth parts add the final touch.

+ + + : Virgin In Veil is not what I would call an 80s copyist, but they bring the magic of the new-wave and post-punk alive with power and a very personal touch on top. That’s probably what they call ‘death-rock’. I like the rawness of the production, but also the dark sphere supporting the songs. The guitar playing is one of the band’s main strengths.

– – – : The tracks are pretty similar and especially very short. I don’t have anything against short tracks, but it doesn’t leave that space to elaborate the production and that’s a pity.

Conclusion: Virgin In Veil makes me think to a steamroller; fast, powerful and merciless! So you know there’s nothing that can stop this sonic ogre, which doesn’t mean that I enjoyed the entire album.

Best songs: “Another Shattered Dream”, “Night Time”.

Rate: (6½).

Band: https ://virgininveil .com / www .facebook .com /virgininveil

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

About Virgin In Veil

Virgin In Veil was a deathrock band from Helsinki, Finland, formed in January 2015 by Jacques Saph and William Freyermuth. The group’s catalog runs from a 2015 demo through the debut album “Deviances” (2016) to “Twisted Thrills” (2017) on Danse Macabre, followed by “Permanent Funeral” (2019) before the band ended in 2021.

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SynthAttack – Harsh Is Back (CD Album – darkTunes Music Group)

Inferno Sound Diaries — Sun, 21 Jan 2018 19:30:41 +0000

Genre/Influences: Dark-electro, aggrotech.

Background/Info: Set up in 2015, Hannover based SynthAttack became an instant success. Master Schindler has now released his third full length featuring 10 new cuts plus 7 remixes.

Content: The sound formula hasn’t changed. Driven by pumping kicks, carrying melody lines, aggrotech sequences and harsh produced vocals “Harsh Is Black” will take you on a murderous dance-ride. The songs are pretty similar and clearly composed for the dancefloor.

The remixes have been accomplished by AlienNation, [X]-RX, Chamaeleon, Kryonix, Alien Vampires, Device Noize and Sindikhate.

+ + + : If you like dark-danceable underground electronics, “Harsh Is Back” will definitely become a praised album. SynthAttack has found this secret formula to get people dancing. Music can be simple and yet very efficient. The secret of SynthAttack is the perfect osmosis between hard, pumping beats, elevating melody lines and harsh vocals of the ‘commander’. I’ve a preference for the title song and “The Beauty Of Violence” while there also is a noticeable cut composed together with Suppressor.

Among the remixes I recommend the work accomplished by [X]-RX, Alien Vampires and Sindikhate.

– – – : The songs are pretty similar; there’s no real innovation. The lyrics clearly aren’t the main topic of SynthAttack. The texts are totally cliché, but simply made to keep in mind and get some rhymes.

Conclusion: SynthAttack is a kind of dance-ogre and for sure a band DJ’s will play for the greatest pleasure of the clubbers.

Best songs: “The Beauty Of Violence”, “Unleash The Beat vs. Suppressor”, “Harsh Is Back”, Life Is A Bitch”, “Life Is A Bitch – Sindikhate Rmx”.

Rate: (8).

Band: www .facebook .com /pg /synthattack

Label: www .darktunes .com / www .facebook .com /darkTunesMusic

About SynthAttack

SynthAttack is a dark electro and aggrotech project from Hannover, Germany, driven by Martin Schindler, who handles production, lyrics and live vocals. Side-Line first covered the act in July 2017 with the Face The Beat profile piece “Side-Line introduces SynthAttack – listen now to ‘Afterlife (Suppressor Remix)’.” The debut album “To The Floor” appeared on darkTunes Music Group in 2015, followed by “Synthattack – Club Takeover” in 2016 and “Harsh Is Back” here in 2017.

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Distortion Six – Fierce (CD Album – Ant-zen)

Inferno Sound Diaries — Wed, 20 Dec 2017 19:15:32 +0000

Genre/Influences: Industrial, power-noise.

Background/Info: Nichlas Schermann is a Norwegian artist who started his First experimentations early 2000. He released a few productions and now joined Ant-zen, which might be seen as a recognition and consecration for his work.

Content: “Fierce” brings us back to the essence of hard industrial music, commonly known as ‘power-noise’. I’m not that surprised Distortion Six got inspired by Converter. The work is a heavy and merciless exposure of rough industrial sounds and noisy rhythms. Some tracks have been accentuated by electronic sounds. A few tracks progressively move into a trance experience. One of the tracks has been composed together with Vore Complex while the final track is a remix from a Vore Complex track by Distortion Six.

+ + + : If you like the good-old power-noise sound, this Norwegian sonic ogre will satisfy your expectations. There’s an interesting twist between industrial ‘old-style’ music and a more contemporary touch moving into trance. “Gazer” is a great cut illustrating this approach. I also have to mention the more elaborated “Funkfreak”. But the ultimate song is the more into electro-like “Hana Ken” feat. Vore Complex (an English project which also did a great job reworking/remixing songs of Throbberstalk). This track is also featuring vocal parts, which creates a ghost-like effect.

– – – : “Fierce” is a dangerous sonic experience you can’t expose to everyone. It remains a particular genre of music, which will only appeal for the die-hard fans of power-noise.

Conclusion: Distortion Six stands for sonic terrorism; an experience that has to be played at loud volume and, which will get you into trance!

Best songs: “Hana Ken feat. Vore Complex With Blossom”, “Funkfreak, “Gazer”, “Funkfreak – Slaughter Rmx”, “Touch”.

Rate: (7½).

Label: www .ant –zen .com / www .facebook .com /antzen .official

About Distortion Six

Distortion Six is the solo power-noise project of Norwegian musician Nichlas Schermann. Schermann self-released the first album “Keep Fucking The Slag” in 2012 and “Act Of Retribution” in 2015, then played the Oslo festival ElektroStat that November, as reported by Side-Line at the time.

German label Ant-Zen then issued “Fierce,” reviewed here, on CD in 2017, followed by “Ferocious” in 2018, the EP “Sacrifice” the same year and “Norze” in 2019. Schermann went on to release “Skade” in 2021, “Rive” in 2022 and the albums “Torquetur” and “Malleus Maleficarum” on the American label Phage Tapes in 2022 and 2023.

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Porn – The Ogre Inside (CD Album – Echozone)

Inferno Sound Diaries — Sun, 05 Nov 2017 20:00:40 +0000

Genre/Influences: Industrial, metal-rock.

Background/Info: French formation Porn was set up in 1999 by Philippe Deschemin. All over the years he was joined by numerous musicians while Porn only released a few albums. “The Ogre Inside” is the third full length of the band and the first one in six years.

Content: The sound of Porn is clearly mixing different elements. The result is what we would commonly call industrial-rock. It’s the kind of music appealing for fans of Marilyn Manson, Type O Negative and related bands. After a rather powerful beginning lead by passionate vocals Porn also reveals a softer side, which even becomes a tiny bit emotional-like.

+ + + : The opening cut is the right way to put Porn back on the map. This is a heavy industrial-rock like song with some electronic arrangements. There’s a real nice twist between both elements while the enraged vocals are totally matching. The guitar playing is the main strength of this work.

– – – : “The Ogre Inside” is not exactly bringing anything new. It’s an efficient work although a little but predictable.

Conclusion: “The Ogre Inside” stands for a rather successful return of Porn although it’s not exactly an album that will enter into history.

Best songs: “Sunset Of Cruelty”, “Death Does Not Last Forever”.

Rate: (6½).

Band: www .facebook .com /PORNtheband

Label: www .echozone .de / www .facebook .com /EchozoneMusic

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Shift – Abandon (CD Album – Cold Spring)

Inferno Sound Diaries — Mon, 16 Oct 2017 18:15:46 +0000

Genre/Influences: Death-industrial, noise-ambient.

Background/Info: Shift was set up in the late 90s by Swedish artist Martin Willford. He released several productions, which were mainly characterized by a harsh and death-industrial inspired approach. The new work has been accomplished together with some guest artists revealing 4 new cuts. The album is also available on vinyl format (released on Unrest Productions).

Content: The key to understand the sonic universe of this album hides in its title. “Abandon” is a terrific feeling, which has been transposed into an extreme sonic creation. Shift appears to be a kind of sonic ogre, transforming sounds into harsh, boiling noises. Resonating sounds and industrial guitar parts are accentuating “Abandon”.

+ + + : This work is quite diversified although characterized by heavy noises creating a state of terror. The tracks have been progressively built up although to reach an ultimate apotheosis. That’s precisely what happens on the final cut “Armed, Disturbed, Hostile” accentuated by a slow cadence. When you’re just reading the titles you directly can imagine the tormented atmosphere hanging over the album. This sensation is empowered by the heavy, vibrating sound waves, which when played at a higher volume will give you goose bumps.

– – – : “Abandon” is a fully enjoyable album, but it doesn’t really reveal anything new. I got the impression to have already heard this kind of work before.

Conclusion: Shift is not releasing new albums on regular basis, but this new opus definitely belongs to the band’s best productions to date!

Best songs: “Armed, Disturbed, Hostile”, “Recaptured II”.

Rate: (8).

Label: www .coldspring .co .uk / www .facebook .com /coldspringhq

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TenHornedBeast – Death Has No Companion (CD Album – Cold Spring)

Inferno Sound Diaries — Mon, 09 Oct 2017 18:30:50 +0000

Genre/Influences: Drone, doom, dark-ambient.

Background/Info: In a previous life Christopher Walton was involved in the ritual project Endvra. He later on set up TenHornedBeast, which became a rather instant successful project in its genre. This new opus reveals three long during cuts.

Content: TenHornedBeast composes the kind of music you better get familiar with before trying “Death Has No Companion”. It’s an icy, obscure composition leading the listeners throughout endless sonic corridors. Gongs and drones are resonating throughout the imaginary walls of this cellar music while obscure atmospheres create an anguishing visual appeal.

+ + + : The tracks have been meticulously built up. The repetitive sound waves are accentuating a kind of countdown leading you towards an imaginary exit… or the gate of afterlife. “Death has No Companion” is an antidote to ‘feel-good’ music, but still a relief if you get nervous of sweet, sugar-like music tunes. TenHornedBeast stands for a sonic apocalypse, which has been fully accomplished on the debut cut “The Wanderer”.

– – – : I think this album sounds pretty cool, but it’s only missing a truly climax. Even if the cuts have been meticulously built up, they slowly starts to get a little bit monotonous at the end.

Conclusion: TenHornedBeast is a sonic ogre, which will bring you terror and fright. “Death Has No Companion” sounds such as the icy blast of death.

Best songs: “The Wanderer”.

Rate: (7).

Band: http ://tenhornedbeast .blogspot .be / www .facebook .com /TenHornedBeast -274177469259190

Label: www .coldspring .co .uk / www .facebook .com /coldspringhq

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S.K.E.T. – Capitalism-Continuing Crisis (CD Album – Hands)

Inferno Sound Diaries — Wed, 16 Aug 2017 18:30:18 +0000

Genre/Influences: Industrial-techno, power-noise.

Background/Info: It took 8 years to S.K.E.T. to accomplish their fourth full length album. The German project never disappeared from the industrial radar, but except live performances the fans had to wait quite a long time to welcome this new opus.

Content: This new work sounds more sophisticated than any previous production. S.K.E.T. remains a kind of industrial ogre, but the industrial basis and sometimes power-noise approach has been mixed with elements like techno, broken beats, classical industrial noises and transcendental passages.

This work is more complex than before and I think to might confirm that S.K.E.T. has reinvented –or at least seriously reworked, their sound.

+ + + : “Capitalism-Continuing Crisis” is hard industrial work dealing with political/social themes. It first of all reveals a band that has evolved in sound and especially in their influences. The tracks are more sophisticated and even complex. But in the end it all remains hard and dynamic while carried by dense sound layers. From breakbeats to frenetic rhythms this album is filled from start till the end by merciless cadences. You sometimes get into trance while other passages are supported by dark atmospheres. I like this diversity and complementarily between all the influences. This work is refreshing industrial composition

– – – : The complexity of some tracks might be less accessible than the ‘earlier’ work of S.K.E.T. So in the end you might be patient and listen a few times to the album before really getting into it.

Conclusion: S.K.E.T. strikes back with great sound intelligence and overwhelming power. This album definitely is their strongest and especially most accomplished and classy work to date!

Best songs: “Dump In Funny Money”, “Terrorized To Consume”, “Civil Disobediance”, “Dash National States!”, “New Dawn”.

Rate: (8½).

Band: www .sket –hq .de / www .facebook .com /SKET -293822676250

Label: www .handsproductions .com / www .facebook .com /hands .official

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kETvECTOR – Fig. 23 (CD Album – Rustblade)

Inferno Sound Diaries — Wed, 09 Aug 2017 19:30:12 +0000

Genre/Influences: Experimental, cinematographic.

Background/Info: “Fig. 23” is the return after a long hibernation of kETvECTOR. Set up and driven by Justin Bennett (Skinny Puppy, Askew, Bahntier ao) and Stefano Rossello (Bahntier, Detune-X), it took nine years for this duo to achieve a new album. It clearly appears to be a ‘tour de force’ as they invited an impressive list of guests and -singers like Edward Ka-Spel, Nivek Ogre, Buzz McCoy ao.

Content: “Fig. 23” sounds definitely experimental and into soundtrack experiments. The songs are pretty diversified although carried by a solid cinematographic basis. Some passages are pretty evasive while other cuts are into bombast carried by sensual rhythms. It now sounds very electronic and then more into psychedelic experiments.

There’s a similar diversity in the vocals, which have been sung by different singers. From the half spoken style of Edward Ka-Spel to the sensuality of Suz you directly notice a different approach.

+ + + : “Fig. 23” is an unusual release and that’s an aspect always have liked and supported when listening to music. You clearly feel a kind of reflection behind the composition and the choice of the guest musicians/singers. That makes this work pretty unique and definitely experimental… even a bit avant-garde. It’s the kind of work that needs a few listenings before you really can seize a part of it. The selection of the guests definitely is a real good reason to pay attention to this work.

– – – : I can’t say that there’s a real strong coherence between all tracks. It sounds a bit fragmented, like a sonic puzzle. There’s no real climax running through this work, which more appears to be a part of a wider artistic concept.

Conclusion: The main characteristic of what we commonly call ‘visionary’ and/or ‘avant-garde’ music is that it always takes time before people might realize the real strength and beauty of the work. I’m not that convinced for the moment, but the least I can say is that kETvECTOR has released a very personal work.

Best songs: “Forgotten Time”, “Nuova Epoca”.

Rate: (6½).

Band: www .facebook .com /ketvector

Label: www .rustblade .com / www .facebook .com /rustbladerecords

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Ministry releases 6-track live vinyl EP ‘In case you didn’t feel like showing up’ including Nivek Ogre of Skinny Puppy, Martin Atkins of Pigface, and singer Chris Connelly – get your copy now

Bernard - Side-Line Staff — Wed, 10 May 2017 18:00:55 +0000

Out in a week from now is a six-song live documentation of Ministry’s 1989-90 North American tour, ironically titled “In case you didn’t feel like showing up”. The EP is being released on vinyl and if you want one of the limited copies, place your order right here.

The material on “In case you didn’t feel like showing up” is drawn exclusively from the two albums which are considered to be their best (namely “The Land of Rape and Honey” and “The Mind Is a Terrible Thing to Taste”). The live lineup itself includes some special guest namely Nivek Ogre of Skinny Puppy, Martin Atkins of Pigface, and singer Chris Connelly. Connelly for example is singing lead vocals on “So What” while you can hear Ogre roaring in front on “Thieves”.

All the songs have been given an extra guitar sound wall compared to their studio counterparts. Here are the 6 songs featured: “The Missing”, “Deity”, “So What”, “Burning Inside”, “Thieves”, “Stigmata”.

Bernard - Side-Line Staff

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Justin Bennett (Skinny Puppy / Askew) and Stefano Rossello (Banter / Detune-X) return with Ketvector project incl. Nivek Ogre, Edward Ka-Spel etc.

Bernard - Side-Line Staff — Mon, 27 Feb 2017 19:00:24 +0000

Ketvector, created by Justin Bennett (Skinny Puppy / Askew) and Stefano Rossello (Banter / Detune-X), is back with the follow-up to it’s 2008 debut “The Infinite Regress”. The new album “Fig. 23” is described as being a conceptual voyage through jazzy electro noir, trip-hop inspired psychedelia, and experimental noise sculptures.

Unlike the first release, this new offering features vocal and musical collaborations by other artists such as Nivek Ogre of Skinny Puppy, Edward Ka-Spel of The Legendary Pink Dots, Groovie Mann and Buzz McCoy of My Life With The Thrill Kill Kult, Ryan Wildstar and Doriandra Smith of EXP, and many more.

This very limited set is available right here on vinyl (with an attached CD holding 4 bonus tracks).

Below is a track from this album:

Bernard - Side-Line Staff

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Classic KMFDM album ‘Symbols’ reissued as 2LP vinyl set – order it here

Bernard - Side-Line Staff — Tue, 17 Jan 2017 19:30:36 +0000

KMFDM (short for Kein Mehrheit Für Die Mitleid and not Kill Mother Fucking Depeche Mode) has decided to complete a vinyl remaster of their classic 1997 album “Symbols”. You can order this very limited vinyl set right now exclusively from this website.

“Symbols” featured quite an impressive list of contributors who joined Sascha Konietzko. The list included Ogre (Skinny Puppy), Tim Skold (Shotgun Messiah), Raymond Watts (Pig), Bill Rieflin (Ministry), Michel Bassin (Treponem Pal), Nina Hagen and Abby Travis.

The material itself was recorded in Seattle, Washington, and marked the introduction of Tim Skold who would become a full-fledged member for the albums “Adios” and “Attak”. The album track “Stray Bullet” received mainstream media attention for the wrong reasons, namely after the Columbine High School Massacre, because the song’s lyrics were posted on the website of Eric Harris. The song was also in the background of one of the videos posted by Pekka-Eric Auvinen on YouTube prior to the Jokela school shooting.

Check the track “Megalomaniac” below:

Bernard - Side-Line Staff

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Skinny Puppy’s 2013 album ‘Weapon’ sees limited vinyl reprint – available now

Bernard - Side-Line Staff — Tue, 24 May 2016 19:13:56 +0000

“Weapon” was the twelfth studio album by electro-industrial band Skinny Puppy. It was released on May 28, 2013 via Metropolis Records on CD and now sees a vinyl reprint in a limited edition. You can order your copy right now.

The stunning new album was inspired by the band’s learning that their music was being used as torture at Guantanamo Bay. As work on the album progressed, the general concept of weapons became a theme. Given this view, the pop undertones of the album’s opening “Wornin’ ” and the compelling counterpoint of the vocals stood as a commentary on what the band called “the concurrent glorification of the gun culture and simultaneous horror at the devastation the gun can cause”.

For those who didn’t know, the album titles reveal an anagram when you arrange the capital letters in the tracks. They will read “CULLLT”, and the O from the bonus track “Overdose” can be added to the message, making it read “OCULLLT”. Ogre’s side project with Mark Walk (Ohgr) used the same method to conceal a message in their first two albums.

Bernard - Side-Line Staff

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She Spread Sorrow – Rumspringa (CD Albums – Cold Spring)

Inferno Sound Diaries — Sat, 28 Nov 2015 21:19:07 +0000

Genre/Influences: Industrial, noise, ritual-deathscape.

Content: Some of you will possibly know Alice Kundalini from her involvement in the heavy power-electronic project Deviated Sister TV. This Italian female artist also set up a solo-project called She Spread Sorrow and has joined the Cold Spring Records roster to unleash this debut album featuring 6 cuts.

The work takes off with dark vibrating sounds, which make me think of an ambient storm of noises and analogue-like manipulations. The work progressively evolves into harder passages, revealing the noise addiction of Kundalini. She’s one of the few female artists involved into this kind of sound. It’s an extreme, but fully enjoyable sensation if you’re into this kind of sound.

“Rumspringa” is a kind of imaginary sonic pot filled with boiling noises. The work is joined by echoing low tones and dark atmospheres plus the ghost-like vocals of Alice. The vocals are spooky and sometimes fragmented, which creates a nice twist with the sonic manipulations. It’s a disturbing sonic creation, which is reinforced by the artistic creation of the different pictures you’ll find in the digipak. It reflects feelings of loneliness and abandonment, but you also can feel some deeper and perverted themes as well.

She Spread Sorrow is not exactly a kind of ‘feel-good’ music, but that’s precisely what this kind of industrial & noise creation stands for. Kundalini calls it a ‘ritual deathscape’, which I think perfectly, symbolizes the sound she’s dealing with. This creation comes to climax and I dare to say a sonic orgasm at “Inertia Malaise”, and especially on “Chastity”. This last title feels a bit like the brutal intrusion of a young and innocent girl’s chastity. Bleeping signals have been lost in a fictive mouth of a sonic ogre while the spoken words accentuate the sensation of total despair.

The work comes to an end by one more spooky and noise-minded creation entitled “Seven Daughters”. The obscure atmosphere running throughout this song is quite representative of the global work.

Conclusion: “Rumspringa” is a fully accomplished debut work revealing the talent and I dare to say ‘noise-refinement’ of this Italian artist.

Best songs: “Chastity”, “Inertia Malaise”, “Spring Of Regret”.

Rate: (DP:8)DP.

Band: www.facebook.com/shespreadsorrow

Label: www.coldspring.co.uk / www.facebook.com/coldspringhq

Inferno Sound Diaries