Orchestral Manoeuvres in the Dark (OMD) will mark the 40‑year milestone of their breakthrough LP “Crush” with an expanded reissue due 10 October 2025 on UMR/Virgin. “The deluxe edition is “a wonderful opportunity for us to re‑assess the album,” singer and bassist Andy McCluskey says.

“Crush” was originally released on 17 June 1985 and produced by Stephen Hague. Featuring the singles “So In Love” and “Secret,” the record reached No. 13 on the UK Album Chart and gave OMD their first Billboard Hot 100 hit. The 2025 reissue will be available as 2CD, 2LP black or coloured vinyl and digital editions; an exclusive clear‑vinyl 2LP is offered through the band’s UK webstore.

The collection has been remastered from the original analogue tapes and contains seven previously unreleased tracks, including “Wheels of Steel”, “Lana Turner v.1”, “Hold You (Rough)”, “Choral”, “Lana Turner v.2”, “Drift (Demo)” and “All or Nothing (Demo)”. The 2CD edition pairs the original album (“So In Love”, “Secret”, “Bloc Bloc Bloc”, “Women III”, “Crush”, “88 Seconds In Greensboro”, “The Native Daughters of the Golden West”, “La Femme Accident”, “Hold You” and “The Lights Are Going Out”) with a second disc of rare material.

Alongside the unheard songs, this disc includes B‑sides and remixes such as “Concrete Hands”, “Firegun”, “Maria Gallante”, “Drift”, “Secret (Extended Mix)”, “So In Love (Special American Dance Remix)”, “So In Love (Extended)”, “La Femme Accident (12″ Mix)” and “Concrete Hands (Extended)”. All previously unreleased selections were mixed by OMD co‑founder Paul Humphreys.

Each format includes a booklet featuring rare photographs and liner notes by journalist Jason Draper, drawn from recent conversations with McCluskey. McCluskey says the period around “Crush” was marked by intense touring and studio pressure, yet he remains proud of the album’s lyrical themes and “confidence and energy”.

The deluxe editions are available to pre‑order now via the band’s UK webstore (including the clear‑vinyl 2LP). Fans in the United States, Canada and Mexico can order from OMD’s USA webstore for local shipping rates.

About Orchestral Manoeuvres in the Dark (OMD)

OMD formed in Meols, Merseyside, England, in 1978 when teenagers Andy McCluskey (vocals/bass) and Paul Humphreys (keyboards/vocals) moved on from their earlier project the Id. The pair combined an experimental, minimalist ethos with pop melodies, helping to pioneer the synth‑pop genre influencing bands like Depeche Mode, Pet Shop Boys, …

They released their debut single “Electricity” in 1979, initially distributing it independently before signing to Dindisc/Virgin in 1980.

Through the early 1980s the band gained popularity with the anti‑war song “Enola Gay” and the album “Architecture & Morality”, which produced three hit singles. A shift toward a more radio‑friendly sound on 1984’s “Junk Culture” paved the way for U.S. success; the following year’s “Crush” cemented that breakthrough. After Humphreys, keyboardist Martin Cooper and drummer Malcolm Holmes departed in 1989, McCluskey continued OMD with a new line‑up until the group disbanded in 1996. McCluskey then co‑founded pop trio Atomic Kitten, while Humphreys formed the duo Onetwo.

OMD reunited in 2006 with McCluskey, Humphreys and Cooper, later adding drummer Stuart Kershaw. The reformed group revisited their early experimental sound while continuing to release new albums and tour internationally. Over their career, OMD have sold more than 40 million records and achieved 14 top‑20 albums in the UK.

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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The British synth-pop group Orchestral Manoeuvres in the Dark (OMD) have reissued their 1984 album “Junk Culture” in a newly remastered vinyl edition, released today.

The reissue is pressed on 180‑gram black vinyl with the source material newly remastered from the original ½ inch reels and cut at half speed by Miles Showell at Abbey Road Studios.

The edition retains the original 10-track listing:

1. Junk Culture
2. Tesla Girls
3. Locomotion
4. Apollo
5. Never Turn Away
6. Love and Violence
7. Hard Day
8. All Wrapped Up
9. White Trash
10. Talking Loud and Clear

The new version follows previous half-speed reissues of OMD’s earlier albums “Architecture & Morality” and “Dazzle Ships.”

About OMD’s “Junk Culture”

Originally released on April 30, 1984, by Virgin Records, “Junk Culture” marked a stylistic shift for OMD following the commercial and well-receivced 1983 album “Dazzle Ships”. Co-produced with Brian Tench, the album moved toward a more mainstream pop sound while integrating Latin, funk, and Caribbean influences.

“Junk Culture” became the band’s fourth consecutive Top 10 album in the UK and produced several charting singles, including “Locomotion”, “Tesla Girls”, and “Talking Loud and Clear.”

Frontman Andy McCluskey referred to the album as “the catchiest, poppiest album [OMD] ever made.”

About Orchestral Manoeuvres in the Dark (OMD)

Orchestral Manoeuvres in the Dark (OMD) are an English electropop band formed in 1978 in Meols, Wirral, Merseyside, by co-founders Andy McCluskey (vocals, bass guitar) and Paul Humphreys (keyboards, vocals). Pioneers of the synth-pop genre, OMD blended experimental electronic sounds with pop sensibilities, helping shape the UK’s synth-pop movement and influencing artists like Depeche Mode, Pet Shop Boys, and Erasure. Their innovative approach introduced the “synth duo” format to British music, combining minimalist electronic textures with melodic hooks.

OMD emerged from the ashes of their earlier band, The Id, with McCluskey and Humphreys initially experimenting under the side project VCL XI, inspired by German electronic pioneers Kraftwerk. Adopting the deliberately name Orchestral Manoeuvres in the Dark (chosen over the tongue-in-cheek alternative “Margaret Thatcher’s Afterbirth”), they debuted live in October 1978 at Liverpool’s Eric’s club, accompanied by a tape deck nicknamed Winston. Their first single, “Electricity” (1979), was released on Factory Records.

Their self-titled debut album (1980) brought a minimal synth-pop style with war-themed lyrics. The re-recorded single “Messages” became their first UK hit. OMD’s breakthrough came with their 1980 anti-war anthem “Enola Gay”, a global hit from their second album, “Organisation”. Their third album, “Architecture & Morality” (1981), is considered a landmark, yielding three international hits: “Souvenir”, “Joan of Arc”, and “Maid of Orleans”. However, their experimental 1983 album “Dazzle Ships” polarized fans and critics, nearly derailing their career despite later being hailed as a “tortured masterpiece.”

After “Dazzle Ships”, OMD shifted toward a more accessible pop sound with albums like “Junk Culture” (1984), “Crush” (1985), and “The Pacific Age” (1986). Their 1986 single “If You Leave”, featured in the film “Pretty in Pink” cemented their place in the US market. By 1989, creative differences led Humphreys, drummer Malcolm Holmes, and saxophonist Martin Cooper to leave, forming The Listening Pool, while McCluskey continued under the OMD name, releasing the successful “Sugar Tax” (1991) with new musicians. The band disbanded in 1996, with McCluskey focusing on songwriting for acts like Atomic Kitten.

OMD reformed in 2006 with the classic lineup of McCluskey, Humphreys, Holmes, and Cooper, returning to their experimental roots. Albums like “History of Modern” (2010) and “English Electric” (2013) revitalized their sound, with singles like “Metroland”.

Celebrating over 40 years, OMD have sold over 40 million records, with 15 million albums and 25 million singles. Their most recent album is 2023’s “Bauhaus Staircase”.

Some interesting facts:

• Their first synthesizer was bought from McCluskey’s mother’s mail-order catalog for £7.76 a month, paid with dole money.
• The “Electricity” single inspired Vince Clarke to pursue electronic music, shaping the sound of Depeche Mode and Erasure.
• A red telephone box in Meols, referenced in their song “Red Frame/White Light,” received a blue plaque in 2019 for their 40th anniversary.

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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(Interview by Janos Janurik) Ever since I got into online music journalism, I’ve always been interested in the background characters around my favourite musicians’ releases that add something important to the product we, the fans end up with.

With this in mind, over the years I have interviewed personalities such as Anton Corbijn (photographer of Depeche Mode and many other music greats), Gareth Jones and Mark Saunders (producers and mixmasters of Depeche Mode and Erasure amongst others).

About eight years ago I had the honour of helping to promote Vince Clarke’s then newly founded mini-record label (VeryRecords) and his releases. In addition to the artists whose albums have been released there in recent years, I also got in contact with Mat Smith, who, like me, is a freelancer – readers of Electronic Sound and Clash know him well – and works as a publicist for VeryRecords as well as being commissioned by Erasure and Mute for a number of press pieces. He also wrote the sleevenotes in the booklet of the new “Cowboy” Deluxe-Edition.

In addition to his journalistic work, he also has his own project “Mortality Tables”, which has just released a new mini-album on cassette and as a digital download. Last November, at the premiere of Vince Clarke’s solo album in London, I had the pleasure of meeting Mat in person and we had a lively chat about our shared passion for music. Knowing how important this project is to him, I approached him and asked him a few questions about it. 

But then life, or rather death, intervened. I didn’t mean this as a cheap shot, but it was indeed a sad event that forced me to make changes to the interview I had with my friend and colleague almost three weeks ago. Now that the aforementioned label is going on holiday, and before I do the same, I would like to bring this exciting musical venture (“The Engineer”) to your attention – and this interview with the man behind it.

SL: Tell us briefly about how you became interested in music. Have you had any musical training, have you learnt to play any instruments? Do you remember the first record you bought?

I grew up in a house where music seemed to always be playing, either on the radio or on my parent’s stereo. My mother listened to a lot of ABBA. Nothing about that was exceptional, particularly. When I used to go to friends’ houses, they always seemed to have the TV switched on, which felt strange to me. My family chose music, and I’ve surrounded myself with it ever since. 

I tried to play the recorder, which was the instrument that most of us learned as kids. My parents gave me a blue one for Christmas one year. I couldn’t play a single note. I briefly learned the basics of notation at school but very quickly forgot all of it. In early high school music classes I was more interested in recording real-life sounds into the Casio keyboard and using those to make compositions. Not long after that, I started making sample-based electronic music on my Amiga 500.

The first album I owned was Nik Kershaw’s ‘Human Racing’. I was given for my birthday the year it was released, along with a Sanyo portable cassette player. I played that album constantly. I wore out the cassette player after two weeks but I still have the ‘Human Racing’ tape and it still sounds incredible to me. 

SL: When did you discover electronic music? And who was the first electronic artist who introduced you to the world of electronic music?

My father is responsible for switching me on to electronic music. There were three pivotal events, and they all relate to times I was with my father.

The first was one evening when my mother was at her restaurant job, and my father was looking after me. I was playing with Lego in the lounge and Gary Numan was performing ‘Cars’ on TV. That performance completely captivated me.

The next was driving around in my father’s car while he did his second job as a debt collector. A friend at work had recorded two tracks from OMD’s ‘Architecture & Morality’ album onto a cassette for him. The songs were ‘Joan Of Arc’ and ‘Maid Of Orleans’, and we’d listen to them over and over.

The third was Soft Cell’s ‘Non-Stop Erotic Videotape’, which he brought home from work one day. That was pretty mind-blowing for a five-year old, and I can only imagine he didn’t realise what it was. It was definitely not suitable for a kid of my age, but, looking back, I don’t remember the imagery – I only recall the music. 

So I owe my father a huge debt for how he shaped my music tastes at a very early age. He was also the one who brought home a cassette copy of ‘The Innocents’ by Erasure and gave it to me. He had no idea quite what he started that day. 

SL: When did you start writing journalistic texts for Mute Records and its artists? What was your first article for Mute and about which artist, which release?

I began a blog called Documentary Evidence in 2003, which was focused on my personal Mute Records collection. I’d just write about the releases from a mostly non-musical perspective, explaining how they made me feel. I still write reviews like that today for Electronic Sound. I also got really interested in telling the stories of specific releases or artists, and that led me to interview people who released music through Mute, or were somehow connected to the label. I have a natural curiosity and inquisitiveness, and that seems to mean people like talking to me and opening up. 

From there I started writing for Clash, and then Electronic Sound and some other places. In 2017 I got asked to chair a panel discussion with Anton Corbijn, Daniel Miller, Paul A. Taylor and Steve Claydon (Add N To (X)) at Rough Trade East in London, about the visual identity of Mute. The first written Mute commission I got was to write a press biography for Chris Carter’s ‘Chemistry Lessons Vol. 1’. I couldn’t believe they asked me to do that, and I couldn’t believe I was being paid to write for the label I loved so much. The team at Mute liked what I did and I’ve been given a few more things to do since then, as well as with the team at BMG who look after the Erasure reissue programme, and Erasure themselves. 

SL: Did Vince Clarke’s VeryRecords label and the associated promotion give you any impetus for your own project, which you called “Mortality Tables”?

Indirectly, yes, but perhaps not in the way you might expect.

My task with VeryRecords was to assemble the press releases. It was the first time I’d worked behind the scenes of a release, where I’d often get involved before the album was even mastered, or before the artwork had even been considered. So I’d be talking to the artists – Reed & Caroline, Alka and Brook – at a very early stage, generally when Vince felt that the album was finished enough for me to listen and for me to start engaging the artists.

It took a while for me to realise this, but the process of working with the artists to write a press release became a collaboration – between all of us, and between my words and their music. I wasn’t just a writer but part of the collective effort to put this music out into the world. I did the same with Nick Hook’s Calm + Collect label, working on releases by Gareth Jones, Spiritual Friendship and others.

In 2019, when I began forming Mortality Tables, I envisaged it as a creative community of collaborators. You can definitely draw a line between that and the ideas that began to form as I worked with VeryRecords and its artists. I also took a lot of inspiration from Vince, who didn’t feel that he needed to only focus on the music that people would expect him to release. That sense of freedom, which Daniel Miller also brought to Mute, directly fed into what Mortality Tables has become. I wanted something where I could work with people making sound art as well as people making images. It had to have artistic breadth. 

I wanted Mortality Tables to be like a gallery, with a portfolio of artists in vastly different disciplines. That’s why Neil Coe deigned the first sleeve image to look like the description of an artwork on the wall of a gallery.

SL: The name of the project refers to the work of actuaries who measure the statistical probability of life insurance payouts. You do something like this in your everyday working life, don’t you?

That’s right. I work with insurance companies all around the world, and have done for over twenty years. I find lots of parallels between the worlds of insurance and electronic music, and the kinds of people I engage with in both of my jobs.

The story goes that I was meeting a friend in a café in Bloomsbury in London one morning. He runs a record label, which is another big inspiration for Mortality Tables. He wishes to remain anonymous, but he is actively involved, in the sense that he must approve anything we decide to do. I call him the Creative Consultant.

So I was meeting him and he had an LP of one of his releases to give me. He asked me if I had a bag to put it in, and I reached into rucksack and retrieved a tote bag. It was from the Institute and Faculty of Actuaries and had been given to me by an actuary a few years before. The Creative Consultant saw the bag with its logo and Latin inscription (‘e peritia ratio’ – ‘reason from experience’) and asked what it meant. I replied, “It’s all mortality tables and shit like that.” The name stuck.

We created our first Mortality Tables Product that morning. It’s called FORKTALK and is a conversation between two friends. We do not publish the details of our conversations. Its entry in the Mortality Tables Catalogue is MTP0.

SL: Dave Clarkson, who is mostly active in electronic and experimental music and Wonderful Beasts, a sound art/electronic music duo consisting of the anonymous Xqui and Carl Knott (boycalledcrow, Spacelab) were your first artists, right? How did you get in touch with them?

The release that moved Mortality Tables from something conceptual to something ‘real’ was ‘Two Meditations For Freya’ by Goodparley (whose name has now changed to Please Close Your Eyes). That was in 2022. It signalled what I wanted Mortality Tables to be: I would come up with ideas and hand them to someone to ‘respond’ to.

That concept has stayed consistent through the first two years of Mortality Tables. I’ll come up with an idea and pick someone to get involved. At the last count, there are at least fifty people who are collaborators. And it isn’t just sound projects – Mortality Tables encompasses sound, art, and words. And insurance. 

However, all rules in creativity are there to be broken, and I broke my own rules in 2023 with the release of Dave Clarkson’s ‘Ghosts Of Christmas Past (Music From Vintage Toys)’. I had nothing to do with the concept of that album, so I guess that’s a bit like Mortality Tables acting like a traditional record label, which is a description I never want to use. The same is true of Andrew Brenza and Alka’s ‘pod’ and boycalledcrow’s ‘Kullu’. However, all these releases only existed because of an earlier collaboration, and that’s how I got myself comfortable with releasing these projects. You’ll see a few more of those types of projects from Mortality Tables over the next few years. 

In answer to your question about how I find artist, it’s actually really straightforward. Anyone involved with Mortality Tables is someone whose music I’ve written about. As for how I choose an artist for a particular project, that’s mostly a case of matching a collaborator to an idea that feels aligned to what they would usually do. However, some of the most enjoyable projects are where the artist is working a long way outside of what they might normally do.

SL: After artists like Andrew Spackman, Rupert Lally, Simon Fisher Turner and Veryan, two years ago you released a strange and experimental piece called “On Mortality, Immortality & Charles Ives”. The piece is a spoken word piece in which you read out the Mortality Tables’ manifesto: “In life, our one true certainty is death.” This narration, recorded by Gareth Jones, was then sent to Vince Clarke who recorded a musical response to the text, which forms the soundtrack to the release. How did you come up with this, somewhat absurd, idea?

I had bought a copy of a book by Alex Danchev called ‘100 Artists’ Manifestos – From The Futurists To The Stuckists’ at the Scottish National Gallery of Modern Art in 2021. I read each of the manifestos from groups like the Surrealists, Dadaists and Situationists as if they were short stories, and it became a really profound experience. On the back of ‘Two Meditations For Freya’, people had started to ask me what Mortality Tables was all about, so it seemed completely natural (and not absurd at all) to write a manifesto.

Mostly it was designed to help me understand why I was doing this, and then I decided to explain it to everyone else. That’s when I asked Gareth to record my narration. At the same time I approached Vince and an anonymous sound artist called venoztks to create sound pieces to accompany it.

The listener can judge whether it successfully explains what this is all about, or not. It does explain why the composer and actuary Charles Ives is so critical to the evolution of Mortality Tables. In fact, the second Mortality Tables Product to be made available was a postcard containing an illustration of Ives in front of a mortality table from 1874, the year of Ives’s birth. That piece was a collaboration with Savage Pencil who had illustrated a lot of the Blast First sleeves.

SL: Released on June 16th, the 40-copy limited edition cassette “The Engineer” is a charity project for Alzheimer’s disease featuring Vince Clarke, Penelope Trappes, Chris Illingworth, Barney Ashton-Bullock, Lara Jones, Simon Fisher Turner, Hattie Cooke, Gareth Jones, Veryan and others. The title character is your father, isn’t he? Is that why you chose Father’s Day as the release date? Tell us a bit about this project!

The title character, the engineer, is based on my father. This project dates back ten years, probably longer, a long time before Mortality Tables was an idea.

I wrote a short story that tried to deal with my feelings about my father as he approached retirement. He lived for work, had no hobbies or friends, and I envisaged him struggling to cope with the concept of stopping work. I was angry when I wrote it, but I was also scared for him. It’s fiction, but it’s rooted in his reality. His actual retirement was very different to what happens in the story. He was diagnosed with Alzheimer’s in 2018, and that’s why we’ll donate all profits from ‘The Engineer’ to the Alzheimer’s Society. Sadly he passed away shortly after ‘The Engineer’ was released. 

When I published the story on my blog, an electronic musician called Laica (Dave Fleet) offered to create some music inspired by the story. He composed a beautiful piece but the project never got completed. A few years later, I came up with a different idea, which involved someone narrating the story with a piece of music behind it. That version also never got off the ground at all, but I liked the idea of asking someone to narrate the story. That’s when I asked Barney Ashton-Bullock if he would do it. He has a brilliant speaking voice, and it was perfect for this story.

It was Gareth Jones who suggested the idea of having different artists respond to different sections of narration. He said it was a bit like the Surrealist game ‘Exquisite Corpse’. I think of Gareth as my spiritual guru. He has a way of unlocking ideas, and freeing you from obstacles that are only there because you’ve put them there. ‘The Engineer’ wouldn’t exist in this form if it wasn’t for Gareth. 

From there, it was a case of picking the collaborators and asking them to respond to a specific 30-second section of narration. No one heard the full story, and no one asked to hear the whole thing. The order the artists agreed to say yes determined which section they got. The only rule I gave them was that their sound response needed to last exactly thirty seconds. 

There are two editions of ‘The Engineer’. One is a digital file that combines the narration and sound responses. The other is a cassette that splits the narration and responses apart. That means the only place you can hear Vince Clarke’s sound response without Barney’s narration is on the cassette, which has now sold out. 

SL: Barney Ashton-Bullock (the creator of Andy Bell’s “Torsten” projects), Vince Clarke, as well as Reed Hays, Alka and Gareth Jones will be familiar to most of our readers, but who are the other contributors? 

Again, everyone involved is someone I’ve written about. When I came up with my collaborator list for this, it was important to me to achieve some sort of diversity. So a lot of the artists here are electronic, but you have artists covering everything from pop to sound art. That was deliberate.

I also wanted diversity of textures. That’s why I included Charlotte Keeffe, Chris Illingworth from GoGo Penguin and Luce Mawdsley. When you put all 29 sound responses together as a single piece, it sounds like a right fucking mess. As the responses were coming in over a 30-month period, I realised that the sprawling, messy quality was a lot like my father’s Alzheimer’s – ideas form, are quickly forgotten before they develop, and are then replaced by something else. That wasn’t planned, at all, but now I can see it was a subconscious idea that must have been there from the moment that Gareth suggested involving lots of artists. 

SL: What plans and ideas are currently circulating in your head? Will it be something journalistic or another Mortality Tables release?

I’m always writing, and I’ve got a few big things underway right now, including something for a label I’ve done a few pieces for before.

In terms of Mortality Tables, now that ‘The Engineer’ has been released, all activities will he paused until later in the summer. We’ve released a huge number of Products in just over two years and I need a break. We’ll return later in the summer with Season 03 of LIFEFILES, which is an ongoing project where artists respond to my really basic field recordings.

We’ll also release a single from Please Close Your Eyes, an album from Andrew Spackman and the full version of Andrew Brenza and Alka’s ‘pod’ collaboration. I’ve been working on one of several projects inspired by Charles Ives, ‘Central Park: A Picture-In-Sounds’, which will be issued as a ‘score’ in October, along with some additional performances of the piece. We’ll begin work on another large-scale collaboration called ‘The Impermanence Project’.

Other things will happen. Other things will not.

More information on Mortality Tables releases.

Use code janos for a 10% discount off anything in the Mortality Tables Catalogue. 

I would like to end this article with a personal message from Mat Smith, who asks the readers and the music listeners to support, if they can, the Alzheimer’s Society, which has received the proceeds of the tape release mentioned in the interview. If you feel able to, please donate to alzheimers.org.uk directly.

János Janurik

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

(By our Norwegian correspondent Jan Ronald Stange. Photos Tarjei Krogh / band)
Bérèche You follows up the first three Spring of 2024 singles with a full album on several streaming platforms, released by Crab Key Records last Friday, May 10th – and promise more to come the next months.

Isak Rypdal is back again with a brand new album to continue the Crab Key Studio music journey, and the first album called “Business Of Love” is exactly what it sounds like; a hymn to making music, electronic music, and the joy of making new exciting tracks.

On the new album Isak has collaborated with his good friend, the talented songwriter Cassiel Agrippa, who’s been involved in Electro Spectre and other previous work from Crab Key Studio for a long time, creating visual media such as artwork in addition to live photography for the bands.

Madil Hardis – the second collaborator

Madil Hardis is yet another talented contributor on the album.

Isak: “Madil is a trained singer and well-known on the international electronic music scene. She has done a lot of solo releases and collaborations worldwide; -particularly known from collaborations with such as Ashbury Heights and Mondträume.” Her last release is the beautiful album “Natural Darkness”.”

Isak Rypdal has a wide musical career since the early 90’s with bands likes Doctor No, Freeloader and Electro Spectre. Music from Doctor No and Freeloader has been chart topping in Norway and heavily rotated on international radio such as BBC Radio 1 in UK. Live shows includes playing at “We Love The 90’s” and more than a 100 live shows around the world. With Electro Spectre Isak has been so fortunate to be able to support bands such as OMD, Marsheaux, Zeromancer, Covenant, Melotron and Mesh, to mention a few.

Buy & listen to the album at Spotify /  TIDAL / Apple Music / Bandcamp /  YouTube, or play it here. Do also check out the video below.

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

(Photo via OMD) OMD (Orchestral Manoeuvres in the Dark) have announced the North American dates for the North American leg of their Bauhaus Staircase Tour. The Glaswegian six-piece Walt Disco will once again be joining as their special guests for this leg of the tour, after being the opening act for the band in Europe.

OMD is promoting their latest album “Bauhaus Staircase“, the fourteenth studio album by the English electronic band. Released on 27 October 2023 by White Noise Records (and by 100% Records in the UK and Ireland), it is their first album in six years since “The Punishment of Luxury” (2017). The record was largely inspired by world politics during the late 2010s and early 2020s. Its release was preceded by three singles: the title track, “Slow Train”, and “Veruschka”.

Tickets for the North American leg of the Bauhaus Staircase Tour will go on sale on Friday at 10am local time.

OMD tour dates

EU dates

• Tuesday 27 February, 7:00 Pm: Belfast, Uk – Ulster Hall
• Wednesday 28 February, 7:00 Pm: Dublin, Ireland – 3Olympia Theatre
• Friday 1 March, 6:30 Pm: Manchester, Uk – O2 Apollo Manchester
• Saturday 2 March, 6:30 Pm: Manchester, Uk – O2 Apollo Manchester
• Sunday 3 March, 6:30 Pm: Liverpool, Uk – M&S Bank Arena Liverpool
• Tuesday 5 March, 6:30 Pm: Leeds, Uk – First Direct Arena
• Wednesday 6 March, 6:30 Pm: Edinburgh, Uk – Usher Hall
• Friday 8 March, 7:00 Pm: Glasgow, Uk – Glasgow Royal Concert Hall
• Saturday 9 March, 6:30 Pm: Newcastle Upon Tyne, Uk – O2 City Hall, Newcastle
• Sunday 10 March, 7:30 Pm: Sheffield, Uk – Sheffield City Hall
• Tuesday 12 March, 7:30 Pm: Leicester, Uk – De Montfort Hall
• Wednesday 13 March, 7:00 Pm: Nottingham, Uk – Royal Concert Hall Notts
• Friday 15 March, 6:30 Pm: Wolverhampton, Uk – Wolverhampton Civic Hall
• Saturday 16 March, 6:00 Pm: Swansea, Uk – Swansea Arena
• Sunday 17 March, 7:00 Pm: Southend On Sea, Uk – Southend Cliffs Pavilion
• Tuesday 19 March, 7:00 Pm: Bristol, Uk – Bristol Beacon
• Wednesday 20 March, 7:00 Pm: Oxford, Uk – New Theatre Oxford
• Friday 22 March, 7:00 Pm: Portsmouth, Uk – Portsmouth Guildhall
• Saturday 23 March, 7:30 Pm: Ipswich, Uk – Ipswich Regent Theatre
• Sunday 24 March, 6:30 Pm: London, Uk – The O2
• Tuesday 26 March, 7:30 Pm: Brighton, Uk – Brighton Dome
• Wednesday 27 March, 6:30 Pm: Eastbourne, Uk – Winter Gardens

South Africa

• Thursday 18 April, 9:00 Am: Cape Town, South Africa – Green Point Stadium
• Saturday 20 April, 9:00 Am: Johannesburg, South Africa – Marks Park

North America

• Wednesday 11 September, 7:00 Pm: Vancouver, Bc, Canada – Orpheum Theatre
• Thursday 12 September, 7:00 Pm: Seattle, Wa, Us – Moore Theatre
• Friday 13 September, 7:00 Pm: Portland, Or, Us – Roseland Theater
• Sunday 15 September, 7:00 Pm: Oakland, Ca, Us – Fox Theater
• Tuesday 17 September, 7:00 Pm: Las Vegas, Nv, Us – House Of Blues – Las Vegas
• Thursday 19 September, 9:00 Am: Los Angeles (La), Ca, Us – Greek Theatre
• Friday 20 September, 8:00 Pm: Los Angeles (La), Ca, Us – Greek Theatre
• Saturday 21 September, 7:00 Pm: San Diego, Ca, Us – Balboa Theatre
• Sunday 22 September, 7:00 Pm: Salt Lake City, Ut, Us – The Union Event Center – Salt Lake City
• Wednesday 25 September, 7:00 Pm: Denver, Co, Us – Paramount Theatre
• Friday 27 September, 7:00 Pm: Dallas, Tx, Us – Majestic Theatre
• Saturday 28 September, 7:00 Pm: Austin, Tx, Us – Austin City Limits Live At The Moody Theater
• Sunday 29 September, 7:00 Pm: Houston, Tx, Us – Bayou Music Center
• Friday 4 October, 7:00 Pm: Minneapolis, Mn, Us – First Avenue
• Saturday 5 October, 7:00 Pm: Chicago, Il, Us – Riviera Theatre
• Sunday 6 October, 7:00 Pm: Royal Oak, Mi, Us – Royal Oak Music Theatre
• Tuesday 8 October, 7:00 Pm: Toronto, On, Canada – History
• Wednesday 9 October, 7:00 Pm: Cleveland, Oh, Us – House Of Blues – Cleveland
• Thursday 10 October, 7:00 Pm: New York (Nyc), Ny, Us – Terminal 5
• Saturday 12 October, 7:00 Pm: Huntington, Ny, Us – The Paramount
• Sunday 13 October, 7:00 Pm: Boston, Ma, Us – Citizens House Of Blues – Boston
• Tuesday 15 October, 7:00 Pm: Glenside, Pa, Us – Keswick Theatre
• Wednesday 16 October, 7:00 Pm: Washington, Dc, Us – Lincoln Theatre
• Friday 18 October, 7:00 Pm: Atlanta, Ga, Us – Buckhead Theatre
• Saturday 19 October, 7:00 Pm: Orlando, Fl, Us – The Plaza Live
• Sunday 20 October, 7:00 Pm: St Petersburg, Fl, Us – Jannus Live

Bernard - Side-Line Staff

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

side-line.com

Update: Geir Jenssen has co-written two of the tracks on “Radiant Green”.

(Photo by Knut Åserud) Good news from Norway as the cult band Bel Canto will release an all new album on April 26th, called “Radiant Green“. “Radiant Green” comes after more than two decades of studio silence since their last album “Dorothy’s Victory” already dates from 2002.

“Radiant Green” will be out digitally and on CD and double vinyl. The material was mixed by Matias Tellez and Gilles Martin. For Martin it means his comeback after having produced the first 3 albums of the band, the last being “Shimmering, Warm & Bright” from 1992. Martin’s production helped establish Bel Canto’s distinctive sound in the early days.

Here’s a first teaser which the band released.

The band also released the cover artwork for the new album.

About Bel Canto

Bel Canto, originally a trio but now a duo, features Anneli Drecker as the lead vocalist and was initially under the Crammed Discs label.

The ensemble originated in Tromsø in 1985, established by Geir Jenssen (handling synthesizers and programming), Nils Johansen (playing synthesizer, violin, bass, and guitar), alongside vocalist Anneli Drecker. Their musical influences span a wide range, including Orchestral Manoeuvres in the Dark (OMD), David Bowie, artists from 4AD, Clannad, Kate Bush, Laurie Anderson, David Sylvian, Yellow Magic Orchestra (YMO), Ryuichi Sakamoto, Depeche Mode, and the Blue Nile.

In 1986, the trio relocated to Brussels, releasing their debut album, “White-Out Conditions,” through Crammed Discs a year later. Following their second album, “Birds of Passage” (1990), Jenssen departed to pursue a successful solo career as Biosphere, leaving Drecker and Johansen to achieve a commercial breakthrough with “Shimmering, Warm and Bright” in 1992. By this time, their music had transitioned from ethereal dream electropop to a synth-based pop sound enriched with world music elements.

Anneli Drecker occasionally paused her involvement with Bel Canto to focus on solo projects and collaborations with other artists and bands, including Röyksopp and a-ha, in addition to her work in film and theater. Nils Johansen, meanwhile, composed music for film and television and continued his involvement with his other band, Vajas.

In 2010, following a reunion concert in Oslo, Side-Line interviewed the original members, who revealed they were working on a new album, although tensions were apparent. Ultimately, Geir Jenssen left the band once more, and the project was left unfinished.

A previously unreleased track from 1988, “Flowerbeds,” surfaced in 2009 on the Norwegian compilation “Maskindans: Norsk synth 1980–1988,” released by Hommage Records. In 2017, Bel Canto graced the stage at Øyafestivalen in Oslo, delivering a performance that spanned their hits in a set lasting nearly an hour. During an interview, Drecker expressed the band’s enthusiasm for more live performances and the potential for new music.

In June 2022, Anneli Drecker and Nils Johansen shared news of their ongoing work on a forthcoming Bel Canto album.

Bernard - Side-Line Staff

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

side-line.com

Out via Bureau B on February 9th is the all new Karl Bartos (former member Kraftwerk) soundtrack “The Cabinet of Dr. Caligari” which includes narrative film music and sound design for Robert Wiene’s classic 1920 psychological thriller. The film comes digitally restored in 4K by the Friedrich-Wilhelm-Murnau-Foundation.

Musician and writer Karl Bartos has long been an admirer of Weimar-era culture. During his time in Kraftwerk, he helped create the stunning track ‘Metropolis’, directly inspired by a band viewing of the classic 1927 Fritz Lang film of the same name. The original orchestral music composed for “The Cabinet of Dr. Caligari” by Giuseppe Becce had long been lost and in 2005, after watching the film, Bartos imagined what it would be like, to create an entirely new one in the 21st Century in his home studios in Hamburg.

“The Cabinet of Dr. Caligari” is his first piece of film music and sound design. The release is planned on double vinyl and digipak CD.

Now with crystal clear images, digitally restored by the Friedrich-Wilhelm-Murnau-Foundation, the film is visually the best quality it has ever been, and now comes with Bartos’ soundtrack.

About Karl Bartos

Born in Germany in 1952, sound, music and culture have been a lifelong fascination for Karl. He studied at the Robert Schumann Conservatory in Düsseldorf, played at the Deutsche Oper and was in several experimental bands before he joined Kraftwerk for their Autobahn tour of the US in 1975. He co-composed tracks and performed with the band until 1990 and is featured on the seminal albums “Radio-Activity” (1975), “Trans-Europe Express” (1977), “The Man-Machine” (1978), “Computer World” (1981), “Electric Café” (1986) and “The Mix” (1991).

After leaving Kraftwerk, he first formed the band Elektric Music (2 albums in 1993+1998), collaborated with Bernard Sumner (New Order), Johnny Marr (The Smiths) for their Electronic band project and with Andy McCluskey (OMD), and released two well-regarded solo albums (2003 & 2013).

In 2021, Karl Bartos was awarded the Early Influence Award / Kraftwerk as a member of the ‘classic line-up’ and inducted into the Rock and Roll Hall of Fame. His autobiography “The Sound of the Machine – My Life in Kraftwerk and Beyond” was published in 2022 worldwide.

Below is the original film, albeit in less good quality for reference.

Bernard - Side-Line Staff

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

side-line.com

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

Format: Digital, CD.

Background/Info: While the Mesh fans are waiting for years now for a new studio album, front man Mark Hockings unleashes his debut solo-album. Blackcarburning saw the daylight during lockdown. Hockings originally wanted to write his own music and finally, accidentally, became a singer. After several singles we get “Sleepers” featuring fourteen songs.

Content: You rapidly notice Hockings’ unique and passionate timbre of voice but “Sleepers” also features 4 guest singers (Neil Francis, Mari Katmann, Howie Venton and Janne Marvannen from Lakeside X). The album reveals a talented musician dealing with achieved, catchy and sensitive Electro/Indie-Pop. The work remains similar to Mesh but also to 80s Pop formations like OMD. The work is diversified moving from darker passages to sweet, evasive, cuts.

+ + + : Mark Hockings took me by surprise. The talented singer of Mesh also is a brilliant musician who perfectly knows how to compose danceable Electro-Pop cuts driven by elevating choruses at one side and sensitive tracks at the other side. “Sleepers” sounds as an intimate composition revealing outstanding songs like “Guilty”, “The Mirror” and “Losing Our Way”. The way the songs have been built up to reach their ultimate point is fully accomplished. And Hockings also chose talented guest singers.

– – – : The link with Mesh is obvious but who cares.

Conclusion: Surprising but brilliant, styled and elevating Electro-Pop!

Best songs: “Guilty”, “The Mirror”, “Losing Our Way”, “All About You”, “Breaking Bones”.

Rate: 8½.

Artist: www.blackcarburning.com / www.facebook.com/blackcarburning

Label: www.facebook.com/copint Read the news on ‘Sleepers’.

About Blackcarburning

Blackcarburning is the solo project of Mark Hockings, singer of the UK electro-pop band Mesh, based in Bristol. He launched the project during lockdown, writing, singing and programming the material himself. The debut album, “Watching Sleepers”, was released by COP International on 23 June 2023, recorded and mixed at The Summerhouse in Bristol, and features guest vocalists Neil Francis, Mari Kattman, Howie Venton and Janne Marvannen of Lakeside X.

Inferno Sound Diaries

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

www.side-line.com

OMD is set to debut the music video for “Veruschka,” a sneak peek from their upcoming album “Bauhaus Staircase,” tonight at 7pm UK time / 8pm CET on YouTube. Andy McCluskey will be live online, providing commentary during the video premiere and interacting with fans.

The band’s forthcoming studio album, “Bauhaus Staircase,” is slated for release on October 27th, available in CD, vinyl, cassette, and digital formats. In a recent interview, McCluskey hinted that this could potentially be OMD’s final studio album, although that remains to be confirmed.

OMD has also previously released a music video for “Slow Train,” which you can watch below.

Bernard - Side-Line Staff

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

side-line.com

(Photos by Brian Griffin, Interview by Janos Janurik for Side-Line) Brian Griffin was responsible for the visual perception of Depeche Mode for a while in the early eighties. He made record covers so interesting, you wanted to own them before you even heard the music. He also photographed one of the most famous record covers from pop history for our favourite group. He waited with his finger on the shutter release – then the perfect moment had come. The final result was then voted the best photo of the 1980s by LIFE magazine. Several years later, the music of “Only When I Lose Myself” was accompanied by his mystical video clip. And now his unforgettable artwork is being collected for Depeche Mode and these pictures, which are actually beautiful impressions of a wonderful journey through time, deserve to be immortalised in an album forever.

Brian Griffin book on Depeche Mode

The photo book is called “MODE” and made by one of the most important British photographers of his generation, who is also a poet and performance artist, Brian Griffin. I was very honoured when he responded positively to my contact request. In 2009, I had the opportunity to interview Anton Corbijn on the occasion of his exhibition opening in Budapest and now I was privileged to have the interview below with Mr Griffin, whose work I have admired since my teenage years. I asked him about his years with Depeche Mode and about this elaborate photographic book project. Enjoy the read!

SL: For more than 35 years, Anton Corbijn’s name has been closely associated with Depeche Mode as the band’s artistic director. From image photos to video production to stage design, he has done everything for the visuals and for the strong band branding. He took over this role in 1986, in the ‘Black Celebration’ era, when you were last responsible for the cover design. Did you meet him back then, did you exchange ideas?

BG: I have never met Anton. Maybe after more than 35 years of Anton, Depeche Mode needs a change to freshen up. What ideas could I exchange with Anton…?

SL: Your work with Depeche Mode began in 1981 when you created the album cover for their debut album. How long had you been in the pop biz? Which famous artists have you worked with?

BG: I had been in the Pop business for only 2 years. It was only a small part of my photographic output when I shot “Speak And Spell”. In fact it remained that way throughout the 80’s. I worked with Iggy Pop, Queen, OMD, Echo & The Bunnymen, Kate Bush. Elvis Costello, John Foxx, Billy Idol, Devo, Ultravox and the list goes on and on. I think something like 200 to 300 record covers.

SL: Ultravox – a musical role model for Vince, Martin & Co – released their masterpiece ‘Vienna’ even before your collaboration with the newly established Depeche Mode, who were signed by Daniel Miller to his recently created Mute label. The record sleeve for ‘Vienna’ was also your work and it shows – at least for me – a bit of similarities to Depeche Mode’s ‘Speak And Spell’ album cover. With Ultravox you used wrapping paper for the cover photo and with Depeche Mode a plastic foil. The difference is that with ‘Vienna’ you wrapped the band Ultravox itself with wrapping paper and with ‘Speak And Spell’ a swan was wrapped in a plastic bag. Did you want to visualise the ‘cool’ synthesizer sound – described by some critics as ‘plastic pop’ – of these two bands?

BG: I really loved the sound of the synthesiser from when I first heard Krautrock, and still do. However with “Speak And Spell” and “Vienna” I was not influenced in any way that can be connected with my use of wrapping paper or plasticated foil.I just did what I felt would be a good idea at the time.

SL: The album cover with the swan is perhaps not your most famous and most recognised work. But the subsequent album cover of ‘A Broken Frame’, which you photographed for Depeche Mode in 1982, has already stood the test of time. Almost everyone knows the story behind this breathtaking photo of the woman in the wheat field with the sickle in her hand, but maybe there are still ‘little stories about this big subject’ that you have rarely told… So what would be your personal story in connection with this record cover?

BG: “A Broken Frame” is probably one of the most famous photographs on earth. I am so proud that I had the talent to produce that photograph. The secret being is there is something or someone watching over me. I have always felt that.

SL: The next time you were commissioned to do a Depeche Mode album cover, you had to go to Switzerland, to the Alps. The once again socialist realism photo was shot on top of the famous Matterhorn. By the way, my favourite photo of you would be the cover photo for the single ‘Love In Itself’ from that era. It was 40 years ago. Looking back, how strong do you find this artistic period?

BG: I never listened to Depeche Mode’s music prior to photographing the covers for them. This period was certainly one of my most creative, especially with my ability in employing artificial light.

SL: The next chapter of Depeche Mode’s adventure in the world of ‘Industrial Pop’ was the ‘Some Great Reward’ album, to which they also owe their world fame. A young married couple in the middle of an industrial estate, perfectly fitting the album motto ‘The world we live in and life in general’. Romantic-dark, like Martin Gore’s lyrics. Most of the songs were about love, but not in the style of traditional pop music. They were self-experienced love and life stories of Martin Gore, in which thousands of fans could define themselves. Depeche Mode has been using this magical recipe for pop songs ever since, with great success. If you could just name one favorite song of Depeche Mode, which song would it be?

BG: “Somebody”

SL; Another milestone in the band’s history was the ‘Black Celebration’ album. The main songwriter, Martin Gore, has repeatedly emphasized that he counts the most important and significant period of the band from the release of this record. Most fans also count this ‘black and gloomy’ album among their personal favourites. You came up with your last cover design idea for Depeche Mode for this record. If I’m not mistaken, the final cover art wasn’t exactly the same as your concept art. Please tell us a bit about this cover story!

BG: All is revealed in my new book MODE.

SL: And now a few words about your band portraits of Depeche Mode. Were the boys – from a photographer’s point of view – treatable? Anton Corbijn once said that Alan Wilder showed the most interest in his work as a photographer/director at that time, the others almost didn’t care what he wanted to get out of a clip or a photo. And how did the band behave in front of your camera?

BG: Their attitude towards me was very similar to what Anton experienced. I preferred that attitude believe it or not, and found it most inspiring.

SL: You also shot a clip for Depeche Mode, the music video for ‘Only When I Lose Myself’. At that time the band was experimenting with other directors, because they had only worked with Anton Corbijn for more than 10 years and wanted to change the routine a bit. How did you get into the picture? Did you get a free hand in the production? What memories do you have of the shooting?

BG: It was wonderful in every way. I gave up photography for film making from 1991 to 2003. “Only when I lose Myself” is one of the best tracks by DM, it is also one of my best films by far. Daniel Miller freaked out when he saw the rough edit, as he had left me to let the creative juices flow. He made us cut the film drastically, but its strengths still shine through!

SL: Speaking of Anton, he has already released two photo albums (‘Strangers’, ‘Depeche Mode by Anton Corbijn’) about Depeche Mode, the latter shortly before Andy Fletcher’s death. Why did you wait so long with your photo album (‘MODE’)? You were part of the band growing up and also contributed to their image.

BG: My friend Vaughn George inspired and encouraged it to happen.

SL: This beautifully designed photo book of yours is the result of a huge fundraiser from the fans. I don’t think you could ask for more recognition as an artist. Please tell us about this project!

BG: This book “MODE” has been made with very little financial reward, and financed by the generosity of the fans. They have not been exploited, but have been rewarded with a beautiful book.

SL: According to your info mail, the photo album ‘MODE’ will eventually be available in stores. Where can the book be ordered by those who did not participate in the fundraising?

BG: This book is self published and distributed by me and will not be available to be purchased in bookshops. For people who did not pledge to the Kickstarter of “MODE”, you can buy the book by visiting the the shop section of my website.

SL: Depeche Mode are currently on tour with their latest album, ‘Memento Mori’, which – albeit unintentionally – is heavily affected by Fletch’s death. When did you last meet the band – with or without Fletch? How will you keep them in your memory?

BG: I met Martin at the Olympic Stadium gig in London before lockdown. I will remember Depeche Mode as the band that inspired me to produce some of my finest album cover photographs.

Side-Line also covered Depeche Mode’s ‘Untitled’.

About Depeche Mode

Depeche Mode formed in Basildon, Essex, England, in 1980, initially under the name Composition of Sound. The lineup that became Depeche Mode came together that year around Vince Clarke (keyboards, guitars), Andy Fletcher (keyboards, bass) and Martin Gore (guitars, keyboards), with Dave Gahan joining shortly after as lead vocalist. The band adopted the name Depeche Mode at a gig at the Bridge House in Canning Town on 24 September 1980, where Mute Records founder Daniel Miller saw them and signed the group.

Depeche Mode’s debut single, “Dreaming of Me,” was recorded in December 1980 and released on Mute in February 1981, followed that October by the debut album “Speak & Spell.” Vince Clarke left the band that November, going on to form Yazoo and later Erasure; Alan Wilder joined on keyboards in 1982 and became an official member from the 1983 single “Get the Balance Right!” The band’s catalog through the 1980s includes “A Broken Frame” (1982), “Construction Time Again” (1983), “Some Great Reward” (1984), “Black Celebration” (1986) and “Music for the Masses” (1987), the latter turning the band into arena headliners in the US off the back of their Rose Bowl concert, later documented in the film “101.”

“Violator” (1990) and “Songs of Faith and Devotion” (1993) marked the band’s commercial peak, but Wilder departed in June 1995, continuing his own project Recoil, leaving Gahan, Gore and Fletcher as a trio. The band released “Ultra” (1997), “Exciter” (2001), “Playing the Angel” (2005), “Sounds of the Universe” (2009), “Delta Machine” (2013) and “Spirit” (2017) as a three-piece, touring with long-serving live members Christian Eigner (drums, keyboards, since 1997) and Peter Gordeno (keyboards, bass, since 1998). Alongside the band, Gahan released solo albums “Paper Monsters” (2003) and “Hourglass” (2007), and Gore released “Counterfeit²” (2003).

Depeche Mode was inducted into the Rock and Roll Hall of Fame on 7 November 2020. Andy Fletcher died on 26 May 2022, and Gahan and Gore continued as a duo, releasing “Memento Mori” in 2023 with Eigner and Gordeno again on the road. The band has sold more than 100 million records and placed 54 singles on the UK charts. Brian Griffin’s photography dates to the band’s early-1980s period, alongside director Anton Corbijn’s later, longer-running visual collaboration with the group.

János Janurik

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

OMD is set to release their 14th studio album, “Bauhaus Staircase”, on 27th October through White Noise Records. This new release will be a continuation from their 2017 album, “The Punishment of Luxury”, and represents their fourth album since the band’s 2006 reformation.

During the UK’s COVID-19 lockdown in 2020, Andy McCluskey, OMD’s frontman, wrote the majority of “Bauhaus Staircase”. Concurrently, the band’s mixing of the album experienced a delay as Paul Humphreys, another key member, welcomed parenthood. It’s also worth noting that this upcoming album will incorporate older, previously unfinished tracks from the band’s archives.

McCluskey has indicated in an interview that “Bauhaus Staircase” willprobably be OMD’s final studio album. But that remains to be seen of course, never say never.

The title track, “Bauhaus Staircase”, is available now as a single.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Italo-Disco, Electro-Pop.

Format: Digital.

Background/Info: “The Garden” is the debut full length of Swedish project Carl Eric. Some songs of the album have been previously released as singles and EP’s.

Content: The debut song is directly revealing the sound and influences of this artist who’s dealing with pure Italo-Disco. The production is touched by catchy and melodic structures carried by a danceable kick. The album features multiple cool, retro-tunes while I also noticed  a few more Electro-Pop driven parts reminding me of OMD. The vocals have something sweet and sexy which is totally fitting with the sound.

+ + + : The opening cut “Lady Of Dusk” is a real great Italo-Disco song which could have been originally composed in the 80s. It’s a true earworm. “Beatbox Of My Heart” is another song in a similar vein. Globally speaking this is an accomplished production which especially for a debut album is a great surprise and discovery. This is music to make people happy.

– – – : I regret the album only features 9 songs; some pieces being a bit too sweet but there’s no reason to complain here.

Conclusion: Carl Eric is a new and sexy project which will appeal for lovers of Italo-Disco. Let’s keep an eye on this artist.

Best songs: “Lady Of Dusk”, “Beatbox Of My Heart”, “Close The Light”, “Hey You”, Fashion Blitz”.

Rate: 8.

Label: https://hyperfollow.com/studiohagbyhemmet

About Carl Eric

Carl Eric is a Swedish Italo-Disco and Electro-Pop project based at Studio Hagbyhemmet, a recording studio in Nora, Sweden, that also hosts Le Volt, Northern Loner and The Girl & The Robot. Several songs on “The Garden” had already appeared as standalone singles and EPs before the album, which is Carl Eric’s debut full-length.

Inferno Sound Diaries

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

www.side-line.com

The solo synthwave project of Peter Endall, Suburban Spell presents the new single and video “Bright Gold Cross”, a teaser for the forthcoming “Falling Down” EP. The track’s title directly alludes to the long-lasting repercussions of poor decisions and succumbing to guilty pleasures. The accompanying video was crafted by Melbourne’s Dingo Cross Films, with production and direction by Paul Puccio and Cassie Dart.

From April 25, “Bright Gold Cross” will be accessible on various esteemed digital platforms, such as Spotify, Apple Music, and Bandcamp. However, the video is already available for viewing today on Side-Line.

Suburban Spell, Peter Endall’s solo venture, melds numerous 80s synth-pop influences with a touch of noisy grind. Drawing inspiration from new wave’s golden era and 70s-80s electronica, his music is undeniably influenced by artists like Ultravox, OMD, Visage, Jean-Michel Jarre, The Cars, Gary Numan, and New Order.

Peter Endall explains that “the song ‘Bright Gold Cross’ symbolises absolution within a Christian religious context and how it can be employed to erase years of abhorrent behaviour. Absolution is a process that forgives mortal sins and allows one to perish in a ‘state of grace’, eventually gaining entry to heaven. This essentially serves as a ‘get out of jail free card’ for those inclined to exploit it.” He adds, “The peculiar circumstances of my childhood upbringing and the religious cult in which I was raised during those years have had a somewhat quixotic effect on me and Suburban Spell. Exposed to a belief system that ultimately proved to be flawed and maintained an inconsistent set of values throughout my formative childhood years, these challenges consistently resurface when creating music for the Suburban Spell project.”

Peter’s former band, Schizo Scherzo, was active during Melbourne’s vibrant 80s music scene, performing alongside acts such as The Eurythmics, Pseudo Echo, Real Life, and Fergal Sharky. Re-emerging on the music scene as Suburban Spell, Peter has discovered his niche in contemporary Australian electronica.

The “Falling Down” EP is set for release on June 23.

The “Falling Down” EP follows one year after his “Split Levels – Remixes” EP, a collection of reimagined tracks from his “Split Levels” album. The remixes feature goth-rock/post-punk legend William Faith (Christian Death, Mephisto Walz, Shadow Project, Faith & The Muse, The Bellwether Syndicate), as well as New Zealand’s Robots In Love, Australia’s Ontic, Pittsburgh’s Tragic Impulse, and Italian artist Kurs.

Bernard - Side-Line Staff

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

side-line.com

“Dazzle Ships,” the fourth studio album from the English electronic band Orchestral Manoeuvres in the Dark (OMD), is set for reissue with additional demos and rarities. Originally released on 4 March 1983 by Virgin Records under the fictitious Telegraph label, the album’s title and cover art were inspired by Edward Wadsworth’s Vorticist painting, “Dazzle-ships in Drydock at Liverpool,” which featured dazzle camouflage.

The 12-track album served as the follow-up to OMD’s commercially successful 1981 release, “Architecture & Morality.” “Dazzle Ships” showcased a departure in sound for the band as they struggled with writer’s block and pressure from the record company to replicate their previous album’s success. The record is renowned for its experimental content, particularly its use of musique concrète sound collages and shortwave radio recordings to explore Cold War and Eastern Bloc themes. The album also delves into the rise of technology in society. It produced two singles, “Genetic Engineering” and “Telegraph.”

Although “Dazzle Ships” was initially a commercial disappointment, it eventually gained a cult following and inspired numerous recording artists. Music journalists have come to recognize the album as an underrated, misunderstood, and ahead-of-its-time work. Despite the later recognition, the band embraced a more radio-friendly sound on the follow-up album “Junk Culture” (1984).

Already re-released once in 2008, the expanded reissue of “Dazzle Ships” now includes bonus demos and rarities compiled and mixed by OMD’s Paul Humphreys. The album is available in three formats:

• Limited Edition black 180g 2LP vinyl in the original bespoke die-cut sleeve, including a lithograph print of the album artwork
• Colored 2LP vinyl in a standard gatefold sleeve (blue and silver color)
• CD

The 2008 reissue featured the following extra tracks:

1. “Telegraph” (The Manor Version 1981)
2. “4-Neu” (“Genetic Engineering” single B-side)
3. “Genetic Engineering” (312MM version)
4. “66 and Fading” (“Telegraph” single B-side)
5. “Telegraph” (extended version)
6. “Swiss Radio International”

The new version offers these additional tracks:

1. “Telegraph” (Very Early Demo / 1982)
2. “Silent Running” (Demo)
3. “Sold Our Souls” (The Avenue Demo)
4. “Shakespeare ’82”
5. “Untitled Instrumental ’82”
6. “In Heaven Above” (4- NEU Demo)
7. “Telegraph” (Live 1984)

Here’s the teaser 3-track release on Spotify.

Bernard - Side-Line Staff

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

side-line.com

Metroland’s Passenger S his first solo album, “The Colour Temperature” (2020), and its companion remix album “The Cubic Temperature”, were extremely well received by the electronic music scene. Three years later 808 Dot Pop returns with three albums in one on Alfa Matrix.

Both “AM 1350” and “FM 88.2” are available only on compact disc while “MW 720” is available as a download only. The two CD albums are complementary conceptual releases and are also produced and mixed like a broadcasting where all songs float into each others to guarantee the ultimate radiophonic experience. The download album has seperate tracks that stand on their own.

The project is driven by his passion for vintage sounds and draws inspiration from renowned acts such as Orbital, Komputer and the pioneers of Kraftwerk. The sound is characterized by warm sequences, melodic synth layers, and robotic vocoders. The entire auditory experience is enhanced with the addition of analog drums, paying homage to a legendary drum machine.

Passenger S: “The idea for a pop radio show initially started when I asked (and also received) permission from OMD’s Andy McCluskey in person to cover their track ‘Radio Waves’. However, since the original was so darn good, the decision was soon taken to drop the cover idea. Still the interest to take a deeper dive into the matter of radio waves remained. A further push by Gary Hunter (Kraftman), who co-wrote on several songs, did finally lead to the birth of a new concept around the 1920’s crystal radio and the inventions of Guglielmo Marconi, who paved way for many things in our modern era.”

Guest singer on the release is Lis van den Akker who you can hear on the titles “Marconi”, “The Detector” and “Distant Voices”.

You can check the download only version of “MW 720” below.

Here’s the official videoclip for “Marconi”.

2 new singles available as well

You can also downbload 2 new singles: “FM 101.4” and “AM 685”. “FM101.4” and “AM 685”.

The 3-track EP “FM 101.4” holds the single version of “Marconi” (aptly entitled ‘on the radio’) backed with the song “The Detector”, which also features the voice of Lis Van Den Akker. The 4-track maxi EP “AM 685” holds two extended versions, a remix with a clear wink to Passenger S and his love for a particular 80s band and his favourite 12inch (one of their 1983 songs was the very start of the entire concept), and an exclusive 3rd song entitled “Voices”, all referencing to the album’s concept.

Check out the singles below. They are available for immediate download via Bandcamp.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Metroland’s latest album, “0,” is now available on CD, double blue vinyl, and for download. During the pre-sale, those who pre-ordered the double vinyl received a complimentary “X” album CD. This exclusive 75-minute anniversary release features five mega mixes, each representing one of their five studio albums and highlighting the vintage synth music of Belgium.

The “X” album is now solely available as an independent album at the standard album price, on CD via the Alfa Matrix webstore and as a download via Bandcamp.

Both the vinyl and CD versions of “0” contain 12 tracks each, with Metroland making a conscious effort to differentiate them through subtly distinct artwork and varied track listings, showcasing that they are not just an ordinary computer pop band.

About Metroland

Metroland, a Belgian electronic duo, is known for their unique blend of minimalistic, melodic synthpop and a passion for transportation and urban themes. Formed in 2012, the duo consists of Passenger A and Passenger S, who have managed to make a name for themselves in the electronic music scene with their meticulously crafted soundscapes and engaging live performances.

Passenger A, a talented keyboardist and sound designer, and Passenger S, a skilled programmer and composer, met in the late 1990s while working at a local record store. Bonding over their shared love for electronic music pioneers like Kraftwerk, OMD, and Depeche Mode, they began to collaborate on music projects. This collaboration eventually led to the formation of Metroland.

Metroland’s debut album, “Mind The Gap,” released in 2012, received critical acclaim and solidified the duo’s reputation as a noteworthy electronic act. The album’s concept centered on urban living and public transportation, featuring tracks like “Enjoying the View” and “Inner City Transport,” which demonstrated the duo’s talent for crafting immersive, atmospheric soundscapes that encapsulate modern city life. In our review of “Mind The Gap,” we said: “Metroland’s music flawlessly merges catchy melodies with inventive sound design, channeling the essence of classic electronic acts while forging a fresh and contemporary soundscape.”

In 2015, Metroland unveiled their second album, “Triadic Ballet.” Drawing inspiration from the Bauhaus movement, this album delved into a more experimental and artistic realm, examining the confluence of art, design, and technology. Songs like “Zeppelin” and “Design” displayed the duo’s dedication to pushing electronic music boundaries while remaining true to their origins. The Electricity Club commented on “Triadic Ballet”: “Metroland demonstrates their capacity to evolve and innovate, while maintaining their roots, making this album a must-listen for electronic music enthusiasts.”

“Things Will Never Sound the Same Again,” Metroland’s third album, was released in 2016 as a homage to the late Louis Zachert, a dear friend and mentor of the duo. The album showcased a deeper, more introspective facet of Metroland, with tracks like “Under the Roof” and “Cube” delving into themes of loss and memory. Release Magazine remarked: “Metroland’s ‘Things Will Never Sound the Same Again’ is a poignant tribute to their friend, revealing an emotional depth and introspection seldom witnessed in electronic music.”

In 2018, Metroland returned with “Men in a Frame,” an album inspired by the realm of photography. Collaborating with various photographers, Metroland crafted a one-of-a-kind audio-visual experience, pairing each song with a specific photograph. Tracks like “Shades of Pale” and “Exhibition” underscored the duo’s prowess in evoking vivid visual imagery through their music. Peek-A-Boo Magazine praised the album: “The unparalleled audio-visual experience of ‘Men in a Frame’ cements Metroland’s position as an inventive and groundbreaking electronic duo.”

Side-Line also covered Metroland’s ‘Industry’.

Eldrina Mich

As Eldrina Mich I work as a go-between and a devil’s advocate when it comes to Side-Line. If our own staff needs to be interviewed then ask the questions no one else dares to ask.

www.side-line.com

Genre/Influences: Electro-Pop.

Format: Digital, CD.

Background/Info: After having released two singles Swedish duo Unroyal unleashes their new album. This is the band’s second opus but the first one released by Progress Productions.

Content: The sound is easy to define: pure Synth-Pop music with a solid 80s flavor on top which now and then might remind OMD. The songs are a mix of melancholia and sensation of happiness.

+ + + : I first got the impression ‘nothing special, nothing new’, but quite progressively Unroyal took me by surprise. The songs are masterly written and professionally produced. The vintage touch emerging from string parts and other, typical, 80s influences like sweeps create a refreshing sensation. The band also has a talented singer while I also have to say a word about the lyrical content. The lyrics are definitely important. I first noticed a rather funny way to express things -like on “Burn Your Records” but still a delicate, touching and poetic way -like on “Shapes Of Daylight”.

– – – : The album isn’t maybe featuring an ‘absolute’ hit but we do get non-stop cool songs.

Conclusion: Unroyal is a great and talented discovery in the wider fields of Synth-Pop.

Best songs: “Burn Your Records”, “The Other Side Of Me”, “Shapes Of Daylight”, “After Life”, “The Cruelest Design”.

Rate: 8½.

Artist: www.facebook.com/unroyalsounds

Label: www.progress-productions.com / www.facebook.com/progresspro

About Unroyal

Unroyal is a Swedish synth-pop duo. The act released two singles before its debut album, followed by “This Is Louder”, the band’s second album and first release via Progress Productions, in November 2022. No further discography has been confirmed at this time.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Ambient-Electro, Cinematic.

Format: Digital.

Background/Info: One year after the debut album “Stories Without Words” we get the second opus by Lights A.M. This Norwegian project is driven by Erlend Eilertsen -known from Essence Of Mind. Side-Line first covered the “Clouds” album announcement in July 2022.

Content: Lights A.M moves on with the Cinematic/Ambient style of the debut album. The songs have a retro feeling reminding me of Ambient pioneers but also Electro-Pop legends like OMD. The songs are driven by a slow cadence while the major evolution is the addition of vocal parts.

+ + + : This is what I should call a ‘beautiful’ album. Songs that will lead you to dream and bring you to prosperity. It’s a Cinematic experience constructed by vintage sound treatments and melody lines which might remind you of the evasive side of OMD. The addition of vocals is for sure a bonus.

– – – : This album sounds cool for a while but -and just as for the debut album, rapidly starts to repeat itself. I’m missing a climax and/or variation. This album appeals to visual arts to reinforce the sound.

Conclusion: I have mixed feelings listening to this work; great and entertaining music but repeating itself over and over again.

Best songs: “Another Life”, “Wide Awake”, “Right On Time”.

Rate: 7.

Artist: www.lightsaftermidnight.com / www.facebook.com/lightsaftermidnight

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix

About Lights A.M

Lights A.M is a Norwegian project driven by Erlend Eilertsen, also known for his work with Essence Of Mind. The project debuted with the album “Stories Without Words” before returning with “Clouds” via Alfa Matrix, announced in July 2022 alongside the video for “Another Life“. Later releases have seen the project reissue its first two albums on CD and expand the catalog with the single “Not Ready For This” and a second volume of “Stories Without Words”.

Inferno Sound Diaries

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

www.side-line.com

(Picture by Howard Jones PR) The Howard Jones Acoustic Trio embark on a 13-date UK tour at The Bath Forum on October 14, 2022. The tour will showcase an intimate stripped-down trip through Howard’s 30-year music career. The acoustic trio will feature Howard Jones on electric piano, guitarist Robin Boult (Roger Daltrey, Dave Stewart, Fish) and Nick Beggs (Kajagoogoo, Belinda Carlisle, John Paul Jones) on chapman stick.

“I am really excited about the trio tour we have planned for 2022,” says Howard. “Nick and Robin are dear friends and world class musicians and I love performing with them. After touring the trio in America, I thought the time was right for us to bring the fun of this acoustic show back home. I will play a range of songs from the HoJo canon including the hits old and new as well as some deep cuts and fan favourites.”

About Howard Jones

John Howard Jones is a Welsh musician, singer and songwriter. After a BBC Radio 1 session, Jones obtained support slots with China Crisis and Orchestral Manoeuvres in the Dark (OMD) before signing to Warner Music Group (WMG) in mid-1983.

He became famous with a string of hit synthpop singles in the UK between 1983 and 1986 including “What Is Love?”, “New Song”, and “Things Can Only Get Better”.

Bernard - Side-Line Staff

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

side-line.com

OMD have announced the release of “Architecture & Morality (The Singles)” in celebration of the album’s 40th anniversary. Ahead of their UK tour in which they will be playing “Architecture & Morality” in full, they will be releasing a package on 15th October celebrating the 3 hit singles taken from the album.

Included on the tracklisting will be all the original b-sides as well as live recordings from 1981 and unheard demos from the recording of the album. The demo of “Maid of Orleans” is already available on streaming services.

“Architecture & Morality” is the third studio album by the English electronic band Orchestral Manoeuvres in the Dark (OMD) and was released on 6 November 1981 by Dindisc. Inspired by religious music, the band sought to broaden their musical palette by utilising elaborate choral samples, the Mellotron, and other new instruments to create a more naturalistic, emotive sound. The artwork was designed by longtime OMD collaborator Peter Saville, along with Brett Wickens, while its title was derived from the book “Morality and Architecture” by David Watkin.

The album became a commercial success, selling over four million copies and spawning three international hit singles – “Souvenir”, “Joan of Arc” and “Maid of Orleans” – which together sold eight million copies.

Here’s the demo of “Maid of Orleans”, and below the final version. Much production happened in between!

Tracklist of the new release

1. Souvenir
2. Motion & Heart (Amazon Version)
3. Sacred Heart
4. Souvenir (Demo)
5. Choir Song (Rough Mix)
6. Motion & Heart (Live at Drury Lane, 1981)
7. Joan Of Arc
8. The Romance Of The Telescope (Unfinished)
9. Joan Of Arc (Live at Drury Lane, 1981)
10. Joan Of Arc (Rough Mix)
11. New Song (Georgia Demo)
12. She’s Leaving (Demo)
13. Maid of Orleans (The Waltz Joan of Arc)
14. Navigation
15. Sealand (Demo)
16. Submarines
17. Maid of Orleans (Demo)
18. Joan Of Arc (Maid of Orleans) (Live at Drury Lane, 1981)

Bernard - Side-Line Staff

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

side-line.com

(Photo by Clemens Habicht) While Liars’ latest album, “The Apple Drop”, is out today, the band has also now released the video of a secret show in Sydney, Australia: “Liars: Live at Phoenix”.

“Liars: Live at Phoenix” was directed by Clemens Habicht – who recently created a trilogy of films for “The Apple Drop” – and sees Angus Andrew, Laurence Pike, and Cameron Deyell perform “Murdrum” (from “Titles with the Word Fountain”), “Sekwar” and “Big Appetite” (both from “The Apple Drop”). The setting was the futuristic wood and concrete surrounds of Phoenix Central Park.

Angus Andrew: “It felt essential for the work to be performed in the nest at Phoenix Central Park. The hyper modern architecture intensified the drama and framed the whole evening in a spectacular sci-fi universe. I can’t express enough thanks and gratitude to Phoenix Central Park for the opportunity to debut The Apple Drop in such an awe-inspiring space.”

Here’s the live set.

About Liars

Liars is an Australian-American experimental noise band formed in Brooklyn, New York in 2000. Angus Andrew is the founding and only constant member of Liars, currently joined by multi-instrumentalist Cameron Deyell and drummer Laurence Pike.

Aaron Hemphill played with the band from its inception until his amicable departure from the project in 2017. Julian Gross joined the band for their second album “They Were Wrong, So We Drowned” in 2004, and played with the band until his departure in 2014.

Liars are signed to Mute Records and combine elements of punk-rock with electronica, with Andrew being inspired by artists such as Orchestral Manoeuvres in the Dark (OMD), The Cure, PJ Harvey, Underworld, The Doors and Michael Franks.

Bernard - Side-Line Staff

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

side-line.com

(By our local correspondent János Janurik) “Hey, Janos, there you go…” It’s cool to be in email contact with Vince Clarke, founder of bands like Depeche Mode, Yazoo and Erasure. He may not be a wordsmith, but good-humouredly, the living synthpop legend had answered my questions before he went on a well-deserved vacation. At the end of October he is going on a tour through the UK and Europe with his long-time bandmate, Andy Bell. As a small appetizer for the upcoming concerts, Erasure’s latest album “The Neon Remixed,” will be released at the end of July, featuring remixes of their 2020 work “The Neon,” as well as a brand new track “Secrets.”

Certain electropop tracks are often more successful in remixed version and sometimes sound better than the original. This genre of music simply suits remixes well. The same goes for Erasure. Although I’m not a big fan of remixes from the last two decades, this time I was very pleased with what I heard. The remix of “The Neon” includes partly complete new productions, partly extended maxi versions in the classic sense and of course there are enough tracks to dance along to. “The Neon” is also remixed and in this revised version it is a pure electropop perfection! “The Neon Remixed” features reinterpretations from artists like Kim Ann Foxman, Hifi Sean, Octo Octa, Paul Humphreys (OMD), Andy Bell & Gareth Jones, Brixxtone, Theo Kottis, and others. My first question to Vince Clarke was of course about this upcoming remix compilation.

SL: One year after the release of your last album „The Neon” its remix version will be released at the end of July. Whose idea was this remix compilation? Did you want to take a new turn with „The Neon” songs to take them in a new direction or was that the idea of the record company?

VC: The remix album was the idea of Mute Records. They wanted to extend the ‘life’ of the album, hopefully right up to the start of the „Neon” Tour.

SL: Old friends and colleagues of you, like Paul Humphreys or Gareth Jones, as well as a lot of new DJs and remixers can be found among the participating artists. Who selected and requested them for these remixes?

VC: Neil Blanket from Mute came up with the list of remixers. (Neil Blanket is the Head of Marketing at Mute – author’s note)

SL: The „Violate Flame” album also had a similar remix version, but my favorite one is still „The Two Ring Circus”. I would be glad to hear live that stunning remix version of „Leave Me To Bleed” by Vince and Eric Radcliffe one day in my life. Are there any such remixes from your back catalogue, which you think are even better than the original?

VC: I’m very fond of Orbitals remix of „Ship Of Fools”.

SL: As mentioned before „The Neon” album is already one year old. How did it affect you the last time you heard it? Do you still have the same favorite songs on the album? By the way, what are your current favorites?

VC: I tend not to listen to an album once it’s been released unless of course, I’m preparing tracks for our up and coming tour.

SL: This year there is another anniversary in the history of Erasure: Your debut album „Wonderland” was released 35 years ago. Many of the fans think that your current album has a lot in common with your first album. Have you noticed any similarities in the sound or in terms of the production work?

VC: I think there are similarities. Both albums are upbeat and positive looking and the sounds and arrangements are less cluttered.. (I think?)

SL: This October you are going on tour according to your plans. Have you put the new setlist together yet? Which are the songs that already have a fix place on the setlist?

VC: We’ll obviously be doing songs from ’The Neon’, a few old favorites and a couple of lesser known tracks from our back catalogue.

SL: There’s a rumor that Andy wants to sing the Eurythmics classic „Love Is A Stranger”. Are you planning to perform this cover version on the upcoming tour?

VC: ‘W & S’… (Wait and see.) 🙂

SL: In these Corona times it is difficult to make preparations for a tour. When can you meet each other to rehearse live?

VC: We start rehearsals in London, two weeks before the first show in Scotland.

SL: At your London concert you are going to have Blancmange as the opening act. I have always liked their music and a lot of fans know about the contact with Depeche Mode (Blancmange were the opening act on Depeche Mode’s 1981 and 1982 tours) and with Vince. Vince, you remixed „Living On The Ceiling” a few years ago and your fans are also eagerly awaiting the joint work with Neil Arthur. Where is this project lying right now?

VC: We’re hoping to finally mix our ‘collaboration’ at the end of July although it rather depends on UK and US travel restrictions.

SL: Vince, you’re also a label manager and host of an online radio show about the world of synths. Are there any news from the home of VeryRecords?

VC: There’s not a lot going on at the moment… perhaps a new release in 2022?

SL: And let’s not forget that your son son Oscar has just released his debut work. Vince, please, tell us a few words about this record and about your possible involvement on it.

VC: I contributed very little. My son did pretty much everything including getting it on Spotify etc.

SL: Back to the subject of touring. You are giving six concerts in Germany during the forthcoming tour in October. The German fans have always been very loyal to you. Do you have a story in your mind about Erasure and Germany that you still remember?

VC: Our very first show in Hamburg comes to mind. We played a venue called the Markthalle which was probably about half full. We were not well known in Germany at the time but I remember the audience was amazing… So warm and enthusiastic.

The fans are still waiting with great enthusiasm to finally see their idols live on stage again. Hopefully the Corona situation will get better and then we can enjoy Vince and Andy on a concert! Here you can see the tour dates once again. See you there!

“The Neon Remixed”

CD TRACKLIST (CD 1)

1 Secrets
2 Hey Now (Think I Got A Feeling) (Hifi Sean Remix)
3 Nerves of Steel (Andy Bell & Gareth Jones’ Sapphire and Steel Mix)
4 Fallen Angel (Saint Remix)
5 No Point in Tripping (John “J-C” Carr & Bill Coleman 808 BEACH Extended Remix)
6 Shot A Satellite (GRN Extended Remix)
7 Tower of Love (BSB’s Stella Polaris Remix)
8 Diamond Lies (Armageddon Turk Extended Remix)
9 New Horizons (Matt Pop Extended Remix)
10 Careful What I Try to Do (Brixxtone Extended Remix)
11 Kid You’re Not Alone (Theo Kottis Remix)

CD TRACKLIST (CD 2)

1 Secrets (Kim Ann Foxman’s Heaven Mix)
2 No Point in Tripping (Can Love Be Synth Remix)
3 Hey Now (Think I Got A Feeling) (Hifi Sean Dub)
4 Careful What I Try to Do (Brixxtone Synthwave Dub)
5 Nerves Of Steel (Gareth Jones’ ElectroGenetic Terabyte of Love Mix)
6 Kid You’re Not Alone (Paul Humphreys Remix)
7 Secrets (Octo Octa’s Psychedelic Visions Disco Dub)

János Janurik

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

(Photo by McLean Stephenson) Liars have launched their new track, “From What The Never Was”, the latest single from their forthcoming album, “The Apple Drop”, ahead of its release August 6 on Mute.

“From What the Never Was” is accompanied by the last in a trilogy of films directed by Clemens Habicht. This interstellar horror prequel covers the time leading up to “Sekwar” and “Big Appetite”. In it, we find Angus Andrew, Laurence Pike, and Cameron Deyell traversing deep space when the mission goes terribly wrong. This chapter takes place in the futuristic interiors of Phoenix Central Park in Sydney, Australia, who commissioned the film.

Watch the film below.

Watch the previous videos here.

“The Apple Drop” follows 2017’s “TFCF” and 2018’s “Titles with the Word Fountain”. The new album finds Angus working with avant-garde jazz drummer Laurence Pike, multi-instrumentalist Cameron Deyell, and lyricist Mary Pearson Andrew.

Liars is an Australian-American project which was formed in Brooklyn, New York in 2000 by Angus Andrew who is also the only constant member of Liars. Liars have released nine studio albums and are signed to Mute Records. Musically the band is inspired by artists such as Orchestral Manoeuvres in the Dark (OMD), The Cure, PJ Harvey, Underworld, The Doors and Michael Franks.

Bernard - Side-Line Staff

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

side-line.com

UK’s synthpop act Erasure have announced a North American tour earlier today set to launch January 14, 2022 in Miami before wrapping up in late February at The Venetian in Las Vegas. Bag Raiders will open each date with a DJ set.

News of the North American tour follows the 2020 release of Erasure’s eighteenth studio album, “The Neon”. This Summer, the duo will release “The Neon Remixed”, a collection of reimaginings of songs from The Neon by artists such as Kim Ann Foxman, Hifi Sean, Octo Octa, Paul Humphreys (OMD), Andy Bell & Gareth Jones, Brixxtone, Theo Kottis, and more. Also included is the brand new single “Secrets”.

Below are the tour dates. Tickets will be available from Friday on.

Erasure The Neon Tour 2021-2022

• October 1 – Glasgow, Scotland – Armadillo SOLD OUT
• October 2 – Glasgow, Scotland – Armadillo SOLD OUT
• October 4 – Dublin, Ireland – 3Arena
• October 6 – Edinburgh, Scotland – Usher Hall SOLD OUT
• October 7 – Edinburgh, Scotland – Usher Hall SOLD OUT
• October 9 – Manchester, England – O2 Apollo SOLD OUT
• October 10 – Manchester, England – O2 Apollo SOLD OUT
• October 12 – Cardiff, Wales – Motorpoint Arena
• October 14 – Bournemouth, England – International Centre
• October 16 – Birmingham, England – Utilita Arena
• October 17 – London, England – The O2
• October 18 – Brighton, England – Centre
• October 21 – Frankfurt, Germany – Jahrhunderthalle
• October 22 – Berlin, Germany – Max-Schmeling-Halle
• October 24 – Cologne, Germany – Palladium
• October 26 – Copenhagen, Denmark – Royal Arena
• October 27 – Hamburg, Germany – Barclaycard Arena
• October 28 – Leipzig, Germany – Immobilien Arena
• January 14 – Miami Beach, FL – The Fillmore Miami Beach at Jackie Gleason Theater
• January 15 – Orlando, FL – Dr. Phillips Performing Arts Center
• January 16 – St. Petersburg, FL – The Mahaffey Theater
• January 18 – Durham, NC – DPAC – Durham Performing Arts Center
• January 20 – New York, NY – Radio City Music Hall
• January 25 – Toronto, ON – Meridian Hall
• January 27 – Pittsburgh, PA – The Byham Theater
• January 28 – Chicago, IL – Credit Union 1 Arena at UIC
• January 29 – Cincinnati, OH – The Andrew J Brady ICON Music Center
• February 1 – Asbury Park, NJ – Paramount Theatre
• February 3 – Washington, DC – The Anthem
• February 4 – Atlantic City, NJ – Caesars *
• February 5 – Boston, MA – Orpheum Theatre presented by Citizens Bank
• February 8 – Atlanta, GA – Symphony Hall
• February 11 – Houston, TX – TBA (venue & on sale to be announced)
• February 12 – Irving, TX – The Pavilion at Toyota Music Factory
• February 13 – Austin, TX – ACL Live at the Moody Theater *
• February 15 – Kansas City, MO – Uptown Theater
• February 18 – Denver, CO – Bellco Theatre
• February 19 – Salt Lake City, UT – Maverik Center
• February 23 – Portland, OR – Arlene Schnitzer Concert Hall
• February 25 – San Francisco, CA – Chase Center
• February 26 – Los Angeles, CA – Performance Venue @ Hollywood Park
• February 27 – Las Vegas, NV – Venetian Theatre

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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OMD is coming back to North America for a headline tour bringing 40 years of greatest hits. You can see all the dates below.

Now that we think of it, 40 years is actually kinda ‘misleading’ some might say as the band released its very first single already in 1979, which was a re-recorded version of a track originally by the Id (which was the first band for McCluskey and Humphreys) called “Electricity”. But the UK and European tour was already announced in March 2019 as part of the group’s 40th-anniversary celebrations which saw the release of a retrospective deluxe boxset entitled “Souvenir”.

Here are the confirmed dates.

About OMD

OMD (Orchestral Manoeuvres in the Dark) were formed in Wirral, Merseyside (UK) in 1978 by Andy McCluskey (vocals, bass guitar) and Paul Humphreys (keyboards, vocals). The band gained popularity throughout Europe with the 1980 anti-war song “Enola Gay”, and achieved broader recognition via “Architecture & Morality” (1981) and its three singles, all of which were international hits.

In 1989, creative differences saw Humphreys and other members form the spin-off band the Listening Pool, leaving McCluskey the only remaining member of OMD. The group returned with a new line-up and explored the dance-pop genre: “Sugar Tax” (1991) and its initial singles were hits in Europe. By the mid-1990s, however, electronic music had been supplanted by alternative rock, and both OMD and the Listening Pool disbanded in 1996. McCluskey later conceived pop girl group Atomic Kitten, for whom he served as a principal songwriter, while Humphreys formed the duo Onetwo alongside Propaganda vocalist Claudia Brücken.

In 2006, the band reformed with Humphreys and McCluskey working on material closer in sound to their early output; “The Punishment of Luxury” (2017) was the group’s seventh top 10 entry on the UK Albums Chart.

Bernard - Side-Line Staff

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

side-line.com

(Photo by Dag Stinus) Out on June 11 via Bandcamp and Beatify Audio (and one week later on all other digital platforms) is the newest single from the Danish synthpop duo SoftWave: “System Failure”. SoftWave consists of the duo Catrine Christensen and Jerry Olsen.

The track is a clear reference to how the Covid19 crisis has affected people mentally around the world. Singer Catrine Christensen explains: “System Failure” describes the duality of being isolated in many months without associating with others, and how much life with a computer can disturb the mind and even provoke frustration, depression and in rare cases – anger.”

The band formed in 2014 and debuted in 2016 with the EP “Together Alone” which was followed by “Together Alone The Remixes” in 2017. Their debut landed in 2019 with “Game On” which also got the remix treatment on “Game On 1Up” (re-released in 2020 with bonus tracks on Electro-Shock-Records).

After touring with OMD on the Scandinavian leg of their “Greatest Hits – Souvenir Tour” (feb, 2020), SoftWave was invited by Erasure’s Andy Bell to produce remixes for his forthcoming Andy Bell is Torsten project “Club Torsten!” among Vince Clarke, Bronski Beat and more.

Below is the band’s “Game On 1Up” release including a live track from their OMD support show at Oslo’s Rockefeller venue.

Bernard - Side-Line Staff

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

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(Photo by Phil Sharp) Erasure have announced details of “The Neon Remixed”, an album collating new remixes from their latest album, “The Neon”, alongside a brand new track, “Secrets”. “The Neon Remixed” is set for release on 30 July 2021 on limited edition double colored vinyl and gatefold CD, both packaged in a mirror board sleeve.

On “The Neon Remixed” you’ll see tracks from 2020’s “The Neon” remixed by a host of artists including Kim Ann Foxman, Hifi Sean, Octo Octa, Paul Humphreys (OMD), Andy Bell & Gareth Jones, Brixxtone, Theo Kottis and more.

Listen to the new track, “Secrets” right below.

October 2021 will see Erasure bring The Neon to venues across the UK, Ireland, Germany and Denmark, kicking off at the Glasgow Armadillo auditorium on 1 October, with a London date at the O2 Arena on 17 October. Tickets can be bought right here.

ERASURE – THE NEON TOUR – 2021 DATES

• 1 Oct 21 – Glasgow, Armadillo – SOLD OUT
• 2 Oct 21 – Glasgow, Armadillo – SOLD OUT
• 4 Oct 21 – Dublin, 3Arena
• 6 Oct 21 – Edinburgh, Usher Hall – SOLD OUT
• 7 Oct 21 – Edinburgh, Usher Hall – SOLD OUT
• 9 Oct 21 – Manchester, O2 Apollo – SOLD OUT
• 10 Oct 21 – Manchester, O2 Apollo – SOLD OUT
• 12 Oct 21 – Cardiff, Motorpoint Arena
• 14 Oct 21 – Bournemouth, International Centre
• 16 Oct 21 – Birmingham, Utilita Arena
• 17 Oct 21 – London, The O2
• 18 Oct 21 – Brighton, Centre
• 21 Oct 21 – Frankfurt, Jahrhunderthalle
• 22 Oct 21 – Berlin, Max-Schmeling-Halle
• 24 Oct 21 – Cologne, Palladium
• 26 Oct 21 – Copenhagen, Royal Arena
• 27 Oct 21 – Hamburg, Barclaycard Arena
• 28 Oct 21 – Leipzig, Immobilien Arena

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Electro-Ambient, Cinematographic.

Format: Digital.

Background/Info: Lights After Midnight (Lights A.M) previously released a few EP’s and strikes back with its debut full-length. This Norwegian solo-project is driven by Erlend Eilertsen of Essence Of Mind and is clearly inspired by early Electro-Ambient music.

Content: “Stories Without Words” is an invitation to imagine little stories created by music. The work sounds in the prolongation of previous EP’s, clearly getting back to the early days of Electronic music. It brings us back to the magic and reverie of Jean-Michel Jarre with melody lines colored by OMD. This is space music driven by slow rhythms.

+ + + : Lights A.M remains one of the most unusual projects signed to Alfa Matrix. This album is entertaining, but especially has a poignant, relaxing effect. The songs are well-crafted and particularly the melody lines have a somewhat elevating effect. There’s an evolution in sound resulting in a few brilliant songs like “When The Tide Turns” and “Agnes”. This is a beautiful work for a Cinematographic goal.

– – – : The single, but main point that hurts is the similar approach of all songs. You rather get the feeling listening to one endless song than hearing 10 separated cuts. If I get back to the concept of the work, it all feels like Lights A.M is telling us the same story again and again.

Conclusion: “Stories Without Words” is the best production I’ve heard from Lights A.M, but the main difference with all pioneers in this genre, is that we here get less magic!

Best songs: “When The Tide Turns”, “Agnes”.

Rate: (7).

Artist: www.lightsaftermidnight.com / www.facebook.com/lightsaftermidnight

Label: www.alfa-matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Stories Without Words’.

Inferno Sound Diaries

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

www.side-line.com

(Interview by Simon Helm) Dubstar first came to prominence in the 1990s with the kind of hummable dreampop songs that worked as well driving as in clubs. 

Despite chart success, they went on hiatus at the end of the decade. Singer Sarah Blackwood joined Technique and went on tour with Depeche Mode, which led to the founding of Client, the first band on Andy Fletcher’s Toast Hawaii label. Collaborations followed with Martin Gore, Nitzer Ebb and Die Krupps, as the band rode the electro-clash wave.

Blackwood returned to the Dubstar fold and, in 2018, the act returned with a new album, One. Honed to the duo of Blackwood and musician Chris Wilkie, Dubstar’s sound maintained its classic resonance, but with updated and reinvigorated melodies.

The band’s latest release is “I Can See You Outside,” which comes with a video addressing themes like CCTV surveillance. Their previous single, “Hygiene Strip,” tackled the public health crisis. This is deeper material from a group that once got into trouble for using pictures of sexy pencil cases on their covers.

We spoke with Dubstar to find out more about creating under lockdown and their colourful history.

SL: Dubstar seems to be in a much better place as a duo. How do the two of you work together to create the new songs?

Sarah: We live a couple of hundred miles apart, so rely on WeTransfer and sending songs back and forth to each other. Chris will usually start with a template; and, if I like it and it feels and sounds good “sung,” we develop it. Sometimes the vocal suggests different areas to approach, like a key change or a word tweak, and sometimes they don’t need much development; they are almost fully formed and ready to send on to the mother ship, which is [producer Stephen Hague’s] studio.

Chris: Even the people at the end of my street seem a couple of hundred miles away nowadays. But yes, we already had a bit of practice at working “remotely” for geographical reasons. I can usually imagine what the songs will sound like with Sarah singing them, but often unforeseen ideas will emerge in response to what happens the first time she approaches it. Maybe because she hears something which I hadn’t, and her delivery suggests another layer of meaning.

SL: You have been working on new material with Stephen Hague. He seems to have collaborated with a lot of Northerners – New Order, Pet Shop Boys, OMD, Holly Johnson and Pete Shelley being just a few examples. How did you take to him, being from Yorkshire?

S: He’s very mild mannered and easy going. This time around, it was like picking up from where we left off. I can’t quite believe I’m saying this, but I’ve known and worked with him, on and off, for 25 years.

He has seen me through drunken melodramas to sober neurosis; through Dubstar to Client and back again. He even helped me design my kitchen. He’s always tried to nurture and encourage me as a person, especially during the first album, when I was overwhelmed by just about everything. He was a welcome, quiet and calming, influence; and he used to lend me books he thought would be relevant and helpful. Stephen went out of his way to put me at ease, which I massively appreciated. In all the madness, his recording studio was always a place of calm and focus. 

So, the Northerner in both myself and Chris is pretty direct. We don’t need pandering to, and hope what you see is what you get – which I think works well with Stephen’s laid-back calm, on both a productive and a personal level.

C: Perhaps it helps that he’s from Maine and is essentially a Northerner himself, in U.S. terms.

He brings a tranquility-of-mind to proceedings, which is something which me and Sarah have always struggled to achieve without assistance!

SL: The new material doesn’t shy away from confronting themes lifted from the headlines, including the pandemic. How have you been coping during the crisis?

S: I have significantly narrowed my horizons to stay sane, what with ever-changing restrictions. I can’t seem to keep up with which iterations are the most recent, so I just keep my head down, stay close to home, and go out only when it’s absolutely necessary.

I’m massively introverted, anyway, so I’ve quite enjoyed nesting and making unrealistic plans for my home environment, but some of my friends have found it very difficult and I worry for them. My WhatsApp groups with my friends and relatives have become lifelines, even if all we share is yet another banana bread recipe or the latest Donald Trump meme. I see more of my parents, via Zoom, than I ever did, so I think some good has come out of it.

I think my biggest problem will be re-adjusting, if and when the time comes. I haven’t used public transport or been into the centre of town since February. Two evenings out ended disastrously in anxiety attacks, so I think a gentle re-introduction is most definitely in order.

C: I haven’t coped well at all, but making the record has been a lifeline. I liken it to any recycling process: you can take fear and sorrow, and transform them into something less harmful, or even useful.

SL: Sarah, you have sung with Die Krupps. What was it like performing a Visage song with Germany’s legendary industrial act?

S: Well, I remember the recording of it vividly!!!! About three days before, in the middle of a tour, I was given a CD of “Der Amboss” with strict instructions to learn it – which really was mission impossible with absolutely no access to a CD player. Smartphones then were still a twinkle in the eye of Steve Jobs. 

So, on our Saturday off, Ralf [Dörper] dutifully appeared at the hotel just after breakfast, bundled me into a car, and whisked me off to a recording studio in Düsseldorf. I had the journey time to listen to it, on repeat, and then he told me I had to sing it in German too! I have no aptitude for languages, whatsoever, although all my German friends love teaching me very bad things to say for their own amusement. 

Honestly, trying to get my Yorkshire mouth and dialect around the song left us all in fits of laughter. I could see Ralf and Jürgen [Engler] doubled over in tears through the window of the control room, especially “habe spas mit mir”! It took a long, long time to record. 

I had the absolute pleasure of singing it with them onstage in London a couple of times, but I think a lot of the fans were confused as to who I was and why I was there. They were very accepting, though, and gave me a nice cheer. 

And then, post gig, I showed Die Krupps how to stretch out their hip flexors in the dressing room. That was an unforgettable image of them all doing the couch stretch. So game. Love them.

SL: Dubstar were managed, at one time, by the same man who had signed Test Department and Cabaret Voltaire to major labels. How did that come about?

S: Just like Marc Almond, our first encounter with Stevo [Pearce] was in Leeds. His first words were, “See that billboard? Your name will be on there one day, in lights!” 

I wasn’t bowled over, to be honest. That sort of thing doesn’t really float my boat. In fact, it would be more likely to induce panic if it ever happened. He was one in a long line of potential managers we had seen. The record label were losing patience with us. We needed a manager – needed one the day before yesterday – and we were terrified of making the wrong choice, but were also so tired, physically and emotionally. We were at the stage where the last one we had seen was the best one – and he was the last one.

Also, his girlfriend was Cleo Rocos. Cleo was Stevo’s secret weapon. Both Chris and I wanted to be in Cleo’s orbit. She was just one of “those” people:  warm, fun and genuinely caring. She became a bit of a rock for me at the time: encouraging me with writing and performing; buying me CDs of interesting artists, like Dory Previn; picking up false eyelashes for me on her travels; and, most wonderfully, she used to ring me when she knew I was scheduled to be on my own in a hotel room. 

She was a big fan of watching C4 Friday night comedy, especially Frasier, and Chris and I continued that tradition long after Stevo had stopped managing us. We always sent a little thank you into the universe for Cleo. 

To me, then, Stevo appeared quite bonkers. He also told me he was dyslexic, and the one thing I admired about him was that, every day, he would learn a new word and incorporate it into his vocabulary. He never saw limitations, only exciting possibilities – no matter how crazy. One of his more publishable ideas was to engineer a photo opportunity in front of the Selfridges Christmas tree, with him dressed as Santa bestowing us with our gold disc for Goodbye sales, whilst the EMI executives posed as elves. In the little green suits and curly toe shoes. It never happened.

C: I was aware of Stevo as a teenager, because he was often referenced in relation to The The or Soft Cell, and I used to find his notes of wisdom on the Some Bizzare record sleeves interesting. The one he put on Soul Mining always stuck in my head: “With every kick in the face and every hurdle you pass, the rewards get greater“.

It seemed very profound and benevolent, so I suggested that he put one on our Goodbye album. It wasn’t quite as snappy, but I appreciated the lineage.

We could probably fill an entire book with anecdotes just from the period where he was our manager. I was amused that he had a literal, free-flowing fountain of Dom Perignon in his office on New Bond Street to entertain visitors, until I realised who was paying for it.

SL: It seems like narcissists are everywhere in the music industry these days. Does that mean they are winning?

S: Ha, I’ve encountered a couple over the years. I don’t think I ever will again, now I’m a little older and hopefully wiser. I think narcissists have always been with us but social media has given them a platform to thrive, and we are becoming more able to spot them. It’s that thing: the more you look for them, the more you see. Maybe social media exaggerates those traits in people, too, like a virus, which is very sad. They start as entertaining and end up being toxic, which can stir up emotions – and sometimes that’s not a good thing.

We have never been more scrutinised as a society; nor judged as individuals, particularly in media and politics. I think having a profile comes with responsibility, which some don’t realise, and it’s time we all started to scrutinise how we communicate. It used to be something we all just took for granted, but maybe the negative aspects of social media have thrown up some things we can all learn from. 

C: It’s unsurprising that narcissists would be attracted to the music business or any role in public life, because it affords them attention. They’re often good at it for a while, but it’s bound to end badly, because they lack the ability to perceive how others see them.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Electro-Pop.

Format: Digital, CD.

Background/Info: After the last year remarkable “P.O.P. Pop”-album, George Pappas (known from his involvement in Real Life) strikes back with a new work. But it’s not that totally new because as the title indicates, it brings us back to the early 80s when the Australian artist was a member of Strange Silence. The band played in the clubs of Melbourne. More than thirty years later the songs have been recovered from dust and reworked by Alien Skin while Aidan Casserly has been invited to do the backing vocals.

Content: It doesn’t take that long to notice the true 80s spirit supporting this album. This is pure old-school Electro-Pop featuring magic melody lines emerging from the analogue machines this work has been composed with. Some tracks are a bit darker while others reveal a sensual taste in the slow rhythmic and half spoken way of singing. Some of the melody lines remind me of OMD.

+ + + : No doubt about it, the 80s remain a reference when it comes to Electronic music. That’s because of the sounds of analogue equipment while today all sound treatments are nearly similar. This effect also comes through in the typical, deep carrying bass lines and some of the dry snare drums. The songs have been achieved with great effects bringing the early years of synth music back alive.

– – – : There’re numerous cool songs featured in this work, but maybe not a ‘good-old’ hit song.

Conclusion: “New Romance: 1984” sounds like pure nostalgia, reminding me of a great time when I was a teenager enjoying life and dark music…

Best songs: “When The Wind Blows Mary”, “She Lives In Tunnels”, “Stay Away From The Lollipop Clown”, “Waiting For Heaven”.

Rate: (8).

Artist: www.alienskinmusic.com / www.facebook.com/alienskinmusic

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro-Wave.

Format: Digital.

Background/Info: Originally set up in 2011 by the UK duo Micci Lou – Chris O-Ten, She’s Got Claws hit back with a new opus. The band name is clearly taken and inspired from the early Gary Numan song. It’s also interesting to know Micci Lou got involved in the great Adrenalin Junkies (bringing us back to 1999 and the album “Electro Tribe”). She’s Got Claws deeply impressed OMD member Andy McCluskey who produced two songs from the new album.

Content: The main characteristic of this duo is the hard, vibrating bass lines. It creates a deep kind of effect, which you’ll constantly feel beating in your throat. The songs are driven by Electronics, but it’s not that easy to define the music genre this band is dealing with. It sounds dark, Electronic and features female vocals sometimes reminding me of Jennifer Parkin (Ayria). The work features 10 songs plus an extra bonus cut, which a remix is made by Andy McCluskey’s nephew Cameron McCluskey.

+ + + : I’m always in for bands trying to bring something apart from established music standards. She’s Got Claws is one of them! Even if it’s hard to define the sound, it’s mainly based upon a very own approach in Electronic music. The extremely low vibrating bass lines are the album’s main characteristic. I especially recommend tracks such as “Lying In The Dust”, which is a heavy, dark piece and “Musik” which is a potential hit. I here like the robotic male backing vocals. “Musik” is also carried by a solid lead.

– – – : The very last part of the album can’t totally convince me, the best parts of the work being for sure right in the beginning while “Musik” stands for the album’s climax.

Conclusion: She’s Got Claws is a real hot discovery! If you like Electronics bands striving for some innovation I for sure can recommend “Doppelgänger”.

Best songs: “Musik”, “Lying In The Dust”, “Lithium”, “No Justice”.

Rate: (8).

Artist: www.shesgotclaws.co.uk / www.facebook.com/shesgotclaws2011

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Wave-Pop, Cinematographic.

Format: Digital.

Background/Info: American duoAugustine Backer – Eric Shans (also involved with Phenotract) is back on track unleashing their second album one year after “We Are Nowhere”. They in the meantime accomplished a few cover versions of OMD and New Order, which also says something about their sources of inspiration.

Content: The tracklist is covering different influences, which are moving in between EBM (cf. “Colors Monochrome”) and darker Wave-Pop on New Order’s cover version of “Vanishing Point”. The sound became more evasive and Cinematographic at “Diode Glow” while the retro elements are always easy to remember, but more explicit on “White Dust”.

+ + + : The least I can say is that Fermion strives for a personal approach in sound and style. I think it works for the most Minimal-driven songs, but especially on “Colors Monochrome”, which sounds a personal interpretation of EBM. In a totally different style I also have to mention the ambient-like “Blurred Projections”, which is a well-crafted composition.

– – – : I can’t get away from the feeling there’s a kind of monotony supporting the songs and, which is also coming back in the production of the vocals. I’m missing a true passion.

Conclusion: This new opus by Fermion can’t again totally convince me, but might appeal to some retro-Electro heads.

Best songs: “Colors Monochrome”, “Blurred Projections”.

Rate: (6).

Artist: www.facebook.com/fermionofficial

Inferno Sound Diaries

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

www.side-line.com

(Photo & Text by UK correspondent Simon Helm) If you are curating an exhibition on electronic music and design, how do you choose what to leave out?

You need to acknowledge the path from the theremin and experimental devices made by pioneering tinkerers to today’s digital synthesisers. You can’t drop Daphne Oram and early adopters of the Moog.

Subtitling the show, “From Kraftwerk to the Chemical Brothers,“ risks excluding essential artists working outside of those brackets.

Have some sympathy, therefore, for London’s Design Museum in their attempt to select materials for their new show, Electronic. After all, they did obtain a laser harp and build Jean-Michel Jarre’s dream studio. They also collected some awesome hardware, from the Korg MS20 to the Quadrantid Swarm. There is a lot of artwork for fans of Designers Republic and Peter Saville Associates.

The main focus of the show, however, is hinted at in the subtitle. What really lies between Kraftwerk (represented here by a 3D film) and the Chemical Brothers (who appear to have contributed an epilepsy test) is the story of Detroit techno and Chicago house.

“Say nice things about Detroit!” reads a slogan on a wall. By all means, let’s celebrate the Motor City personalities who built its influential techno scene – but for every Depeche Mode record cover there are three objects from DJ Jeff Mills. Better make that four.

First the US, then the UK

In the town where Mute Records was founded, there are only passing signs of the legacy the label’s founder, Daniel Miller, who was just as inspired by the Kling Klang sound as the Detroit/Windsor pioneers. There is part of a Synclavier – as used by Miller on many early Mute releases – in the hardware section, and there are smatterings of Mute artists included in the show; but, in Electronic, the UK’s main innovators play second fiddle to the US club scenes.

That just highlights the challenge of curating a show on electronic music. There is so much of it about, and pulling on any thread leads to another. Anyway, Mute has Kraftwerk and New Order, these days, and they feature prominently. The Chemicals presented Bernard Sumner with a lifetime achievement award a few months ago, so everything converges in the end.

The design elements have been organized to coincide with the sounds. Richie Hawtin (Plastikman) appears in a video. Underworld have a significant display of their cover art. Flyers, club membership cards, fashion and dance performances inspired by the music are carefully set out to capture the feelings of different scenes. The masks used in Aphex Twin’s “Window Licker” video are there behind glass.

There is less to look at for fans of Fad Gadget, Silicon Teens, Laurie Anderson or OMD. Stock, Aitken & Waterman, Front 242, Rational Youth, Skinny Puppy and a small army of influential disco producers could have used more attention, too. But, if the beats of underground techno are your thing, then there is Philip Topolovac’s scale model of Berghain, along with plenty of record covers and photographs, to look at. There are also dramatic light works to draw your attention and induce grand mal seizures.

Luckily there’s the gift shop

The balance is restored slightly in the gift shop. Merchandise includes books on Mute’s visual history, Kraftwerk (with Uwe Schütte’sexcellent book on prominent display), and the story of rave culture. In the vinyl record section, New Order are represented by Movement – their least club-friendly album, but also the launching pad for their turn towards dance music.

It is just a reminder that, as fascinating as many of the exhibits are at the Design Museum, the best story of electronic music is always going to be the one that is told by your own record collection.

What to expect visually?

Event details

• Electronic: from Kraftwerk to The Chemical Brothers
• Where: Design Museum, London
• When: On from 31 July 2020 to 14 February 2021 (advance booking essential)

Bernard - Side-Line Staff

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

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

Format: Digital, CD.

Background/Info: Beat Noir Deluxe is a project based in South Tyrol (Italy) and set up in 2019 by Sascha G. The debut album “Crash” is inspired by a nearly fatal traffic accident that happened a few years before. Sascha G. has been joined by  three female guest singers while there also is a guest guitarist playing on a few tracks.

Content: Defining “Crash” isn’t an easy thing, but the main source of inspiration is clearly driven by electro-pop music. Most of the songs are carried by good-old synth melody lines. There’s a somewhat retro-like touch, which for a few songs reminds me to the most melancholic songs of OMD. The songs are switching in between sweet- and melancholic/dark cuts. There also is the groovier orientated “That Circle” and the dreamy-like “Velvet Morning”. Most of the vocals have been sung by Sascha G., but as I already mentioned there are several female guest singers.

+ + + : I first of all have to say a word about the great artwork of the CD format, which is a DVD-digipak format. Sound-wise Beat Noir Deluxe isn’t really comparable to other bands and that’s something I particularly appreciate. There clearly is a will to compose a very own pop style, which sounds clearly electro-like and empowered by guitar playing on a few songs. The female (backing) vocals are adding a heavenly- and sometimes pretty sensual touch. “That Circle” featuring Doris Warasin is one of the most noticeable tracks and also a potential ‘hit’. I also have to mention “Allein”, which is sung in English and featuring an artistic cello-like sound treatment.

– – – : I think one of the single elements that could be improved is the production of the male vocals. I’m missing some conviction and especially passion here. Some of the sweeter cuts aren’t my favorite ones (cf. “Love Fading”, “Hard To Say”).

Conclusion: This debut album reveals some interesting ideas and a few songs, which are worthy of examination. Let’s keep an eye on this band!

Best songs: “That Circle”, “Allein”, “Velvet Morning”, “Please Help Me”, “New City”.

Rate: (7½).

Artist: www.beatnoirdeluxe.com / www.facebook.com/beatnoirdeluxe

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Ambient-pop, electro-ambient.

Format: Digital.

Background/Info: “Surrender & Evolve” is the second EP by Essence Of Mind front manErlend Eilertsen. On the first EP “Shine Our Lights” he explored electro- ambient fields, which sound inspired by some pioneers of the electronic music scene. This is the next step revealing five songs meant as a cure to our deepest traumas and frights.

Content: You directly recognize the prosper sound universe featured at “Shine Our Lights”, which has something retro-like, but this time mixed with more explicit pop elements. The songs are recovered with melody lines, which reminds me of the evasive mood of OMD’s legendary “Maid Of Orleans”. The vocals have something linear and yet expressing some emotions. The EP features 4 new songs plus an “Expanded”-edit of the title track.

+ + + : Lights A.M remains the most ambient-driven project I’ve ever heard on Alfa Matrix. It indeed sounds as a cure to leave troubles and sources of stress away for a while. This EP is an invitation to relax, a kind of sonic meditation. Sound-wiseErlend Eilertsen realized a real tour de force, this project being something totally new and for sure a new chapter in the musician’s career. I like the vintage sound aspect running through the work while the slow rhythm gets it all more accessible.

– – – : Lights A.M is not what I would call a hit machine! This is music to dream away and simply disconnect you from reality. I experienced the songs as being a little bit linear, which is an element that also comes through in vocals’ production.

Conclusion: This new EP is somewhat different from the previous one, but in the end also very complementary. Music for electro-ambient lovers. 

Best songs: “Little Stars”, “Surrender & Evolve”.

Rate: (7).

Artist: www.facebook.com/lightsaftermidnight

Label: www.alfa–matrix.com / www.facebook.com/Alfa.Matrix Read the news on ‘Surrender & Evolve’.

Inferno Sound Diaries

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

www.side-line.com

UK electropop act OMD have announced the release of their upcoming DVD “OMD: Live From Your Sofa”. The DVD will contain both the single-camera footage aired as part of the event as well as a brand new edit featuring footage from multiple cameras.

The footage is of the full Hammersmith Apollo gig on the Souvenir Tour in November 2019.

The DVD will be presented such that you can choose which of the two covers you prefer to use. The first one is the one on top of this article, the second is the one below.

Release date is expected to be 10th July (this may change depending on how long the new edit/manufacture of the product takes).

Below is the version as released on YouTube.

Bernard - Side-Line Staff

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

side-line.com

André Lellitko, Kay Lipka and Casi Kriegler set up Rroyce a few years ago now. The band’s debut album “Dreams & Doubts & Fears” got released in 2014 on Thexoomo.net. The second full length “Karoshi” got released two years later on Kayal Records and got re-released in 2017 on Infacted Recordings. The growing enthusiasm in their homeland, Germany, brought the band to perform at bigger festivals. The electro/future-pop sound of the band stands for the revival of future-pop. Their newest album “Patience” only confirms the growing talent of the trio. This work has been again released on Infacted Recordings, which is a label with a nose for talented electro-pop music. The songs remind me to an imaginary hybrid between Mesh, OMD and Beborn Beton. I asked Casi Kriegler for more info.  

(Courtesy by Inferno Sound Diaries)

Q: How did the story of Royce all started and what have been the main facts in this story so far?

Casi: Our journey started exactly seven years ago, where we participated in a band contest, which was called ‘UNBACO’. We won the contest out of  numerous bands coming from the wave- and synth-pop-genre and we played the fifth gig in the band’s history at the ‘WGT 2013’, which was quite impressive for us. Later on we went on tour by supporting great bands like Eisfabrik, Solitary Experiments and Welle:Erdball.

We are glad to work together with our label Infacted Recordings. Our booking agency is Eisland Entertainment, which provides us with memorable festival appearances, like ‘Amphi Festival’, ‘E-tropolis’, ‘Plage Noire’, ‘NCN’ and many more. We´re glad that we found reliable partners to work with on our way whatever the future will bring.

Q: You’ve already released three full length albums so what’s your personal analysis from the evolution in sound and production from the debut album “Dreams & Thoughts & Fears” to “Karoshi” to “Patience”?

Casi: Our first album was self-produced, which was quite exciting as we didn´t know the people´s reaction on that. Okay, at that time our fanbase was quite small, but we already set ourselves high standards in the production.

For the 2^nd album we convinced Dirk Riegner to work with us as a producer. The outcome was fantastic and we decided to rerun the collaboration for the 3^rd album. Our success confirms that this was the right approach.

I think the evolution is quite obvious, because we always want to improve ourselves as musicians and our products and we´re working every day to achieve that.

Q: “Patience” has been preceded by the EP “Parallel Worlds”, which can be easily considered as your biggest ‘hit’. Tell us a bit more about this song, its writing, the lyrical content and the clip that has been made?

Casi: The song is based on our private experiences in keeping up the balance between the daily routine on the one hand and being a musician on the other hand. Sometimes it´s hard to switch from one world to the other, especially when you spent a weekend on stage and you´ll find yourself exactly 24 hours later, sitting in an office, in front of a computer and you ask yourself: ‘What the heck I am doing here’??!

So I had the idea to point out the inner struggle in a visual way by setting up two dancers dressed in black and white, fighting with each other –but also in very close interaction to underline how close the feelings and emotions are linked together, while hopping in between these two worlds. We wanted to produce a very clear and stylish video. We are grateful that we could achieve these visions with our friends from Tiefgang Erleben, who realized this lovely video project.

Q: When you listen to “Patience” right now, what are your biggest satisfactions and do you also notice some elements you want to improve?

Casi: We’re satisfied with all the different aspects from the album, otherwise we wouldn´t have released it. As I said, there are always aims for improvement, in song writing and in setting up the lyrics, as well. When you are not constantly moving, you might get fat and dull. That´s not our intention.

Q: So far you did interesting tours, but always as support band from a bigger name like the aforementioned bands Eisfabrik, Solitary Experiments and Welle:Erdball. How do you look back at these tours and live experiences generally speaking? How do you see yourself as stage band?

Casi: We love being live on stage. I love to see these faces, the reactions, the smiling people having fun. For us it has been a great honor to perform on huge stages, in front of hundreds of people. The number of supporters is steadily increasing and we are grateful for every occasion to present RROYCE live on stage. When I think of all these special tour-life/live-moments, I can say that we made friends with the bands. One could even go so far as to say we became good friends. Without exception. memories, that will stay with me forever.

Q: I noticed you already did an impressive number of live performances during the past years, but mainly in Germany! What about RROYCE and live shows abroad Germany? Do you feel to be unknown or misunderstood outside Germany? What brings 2020?

Casi: We already played in Switzerland, The Netherlands and England and we would love to play wherever you can imagine. Every gig abroad was a big success. If there´s any promoter, who wants to see us on its stage, feel free to contact our agency. But to see it realistic and considering the costs (flights, hotels, fees) it´s not that easy for a quite unknown band to realize these dreams –apart from their outstanding live qualities (lol).

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro-pop.

Format: Digital, CD.

Background/Info: Claus Larsen (Leæther Strip, Klutae, Mirland/Larsen…) and John R. Mirland (Mirland, Negant, M73, Mirland/Larsen…) aren’t only running Læbel, they’re also sharing a common passion for electro-pop music, which they’ve transposed into Am Tierpark. This is already the Danish duo’s third full length, which was released in 2019.

Content: Am Tierpark remains faithful to their basic sound, which is definitely inspired by the 80s electro-pop/wave scene and mixed with a few harder and more personal elements. “Kings Of Failure” is an album carried by happy sounding embodies, which are sometimes reminding OMD me of (especially for “No More Chances”), but still featuring a few harder passages driven by EBM-sounding bass lines. I also noticed a few more melancholic passages.

+ + + : Am Tierpark is progressively evolving and clearly confirms this is much more than simply a side-project. The melodic aspect of the work is absolutely great –mainly at the beginning of the album. Melodies and choruses –featuring the emotional singing of Claus Larsen, together create an elevating effect on the best  cuts of the album. But what I like the most is the kind of ‘feel good’ sensation listening to “Kings Of Failure”.

– – – : I think it’s quite surprising, but the title song is absolutely not my favorite song and even one of the few I would not recommend.

Conclusion: Am Tierpark is slowly moving on, getting better on each new album.

Best songs: “No More Chances”, “Calling Your Name”, “Reach XTC”, “Are We Crashing”.

Rate: (8).

Artist: www.facebook.com/amtierparkofficial

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

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro-pop.

Format: Digital, CD.

Background/Info: Based in Dortmund (Germany) Rroyce strikes back with their third full length to date. “Patience” has been preceded by the catchy EP “Parallel World”.

Content: The EP title-song also is the opener of this opus, revealing the synth-pop touch of Rroyce, which is danceable and ultra catchy. On the next song they’re taking off with a sequence reminding me of the debut of Rammstein’s “Du Hast”, but here stops any further comparison. Rroyce composes pure electro-pop music, which makes me think of an imaginary sonic hybrid between Mesh and OMD for some retro elements. Some of the vocals are also reminding me of Stefan Netschio (Beborn Beton).

+ + + : Rroyce stands for passion and that’s an element you’ll also notice in the vocals. The compositions are graceful and delicate, but first of all driven by danceable sequences and rhythms. This band reveals a real maturity when it comes to the writing process. They have a nose to compose carrying choruses by using refined arrangements and melodies. “Parallel World” remains an absolute masterpiece, but I also have to mention “Life Is A Gun” and “Someone Else’s Life”.

– – – : I don’t have any real minor points to make about this album; it doesn’t sound ‘new’, but it has a strong potential.

Conclusion: By this album Rroyce seems to claim for a wider recognition of the electro-pop community!

Best songs: “Parallel World”, “Life Is A Gun”, “Someone Else’s Life”, “Too Little”, “Dying In Slow Motion”.

Rate: (8).

Artist: www.rroyce.de / www.facebook.com/RROYCE.official

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

Inferno Sound Diaries

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

www.side-line.com

Out now is the previously unreleased Orchestral Manoeuvres in the Dark (OMD) track “Liberator”, taken from the forthcoming “Souvenir” boxset.

“Liberator” was a song that Andy McCluskey had been trying to write for several years from the late 1980s to the mid 90s. It was actually intended as the title track to the 1993 album of the same name but never made it onto the album.

The inspiration for the song comes from Andy’s love of WWII aeroplanes. There were several demo versions recorded – the one released today is the nearest the song got to the intended sound says the band.

Here it is!

Bernard - Side-Line Staff

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

side-line.com

OMD have announced a brand new 40th anniversary career-spanning boxset and comprehensive singles collections. “Souvenir – The Singles 1979-2019” will be released on October 4th on 2CD and 3LP formats. It is a comprehensive collection of all 39 OMD singles from “Electricity” to “What Have We Done”, plus a brand new 40th single, “Don’t Go” which you can listen to below.

A limited edition 5CD+2DVD career spanning boxset will also be released. Discs 1 and 2 are the same as the 2CD format – the 40 singles in chronological order. Disc 3 is a collection of 22 unheard and unreleased tracks from the OMD archive, newly mixed by Paul Humphreys. Some of these are unfinished ideas, others are full unreleased songs. Disc 4 is a full live recording from the Mermaid Theatre in London, February 2011. The show was for BBC Radio 2 in support of the “History of Modern” album. Disc 5 is a newly discovered full live recording from the Hammersmith Odeon in May 1983 in support of the “Dazzle Ships” album. Disc 6 is a DVD featuring 23 OMD performances on the BBC spanning from ‘The Old Grey Whistle Test’ in April 1980 to ‘Later With Jools Holland’ in May 2013. Disc 7 is a DVD featuring a live recording from the Theatre Royal, Drury Lane in December 1981 in support of the “Architecture & Morality” album. It also includes a live recording from Sheffield City Hall, June 1985 in support of the “Crush” album and the long-awaited DVD debut of “Crush – The Movie”.

The boxset also contains a book and artwork prints; the book itself contains unseen photos, single sleeve artwork, an introduction by Paul Morley and sleeve notes to accompany the archive material by Andy McCluskey.

UK + EUROPE TOUR

OMD is also preparing a huge (and we really mean HUGE) tour. Below are the concert dates.

2019

• 15 Oct – PT – Lisbon – Aula Magna
• 16 Oct – PT – Porto – Casa da Musica
• 19 Oct – ES – Madrid – Riviera
• 21 Oct – ES – Barcelona – Apolo
• 23 Oct – UK – Belfast – Ulster Hall
• 24 Oct – IE – Dublin – Olympia
• 26 Oct – UK – Nottingham – Royal Concert Hall
• 27 Oct – UK – York – Barbican
• 28 Oct – UK – Hull – Arena
• 30 Oct – UK – Gateshead – Sage
• 31 Oct – UK – Glasgow – Royal Concert Hall
• 1 Nov – UK – Manchester – Apollo
• 3 Nov – UK – Sheffield – City Hall
• 4 Nov – UK – Liverpool – Empire
• 5 Nov – UK – Birmingham – Symphony Hall
• 7 Nov – UK – Leicester – De Montford Hall
• 8 Nov – UK – Bath – Pavilion
• 9 Nov – UK – Oxford – New Theatre
• 11 Nov – UK – Guildford – G Live
• 12 Nov – UK – Portsmouth – Guildhall
• 13 Nov – UK – Watford – Colosseum
• 15 Nov – UK – Cambridge – Corn Exchange
• 16 Nov – UK – Ipswich – Regent
• 17 Nov – UK – Bexhill – De La Warr Pavilion
• 19 Nov – UK – Bournemouth – Pavilion
• 20 Nov – UK – London – Hammersmith Apollo
• 25 Nov – DE – Rostock – Stadthalle
• 26 Nov – DE – Dresden – Kulturpalast
• 28 Nov – DE – Leipzig – Haus Auensee
• 29 Nov – DE – Berlin – Tempodrom
• 30 Nov – DE – Hamburg – Große Freiheit 36
• 2 Dec – DE – Berlin – Tempodrom
• 3 Dec – DE – Stuttgart – Leiderhalle
• 5 Dec – DE – Düsseldorf – Mitsubishi Electric-Halle
• 6 Dec – DE – Frankfurt – Jahrhunderthalle

2020

• 30 Jan – EE – Tallinn – Alexela Concert Halls
• 31 Jan – LT – Vilnius – Compensa Concert Hall
• 3 Feb – PL – Krakow – Studio
• 4 Feb – PL – Warsaw – Progresja
• 7 Feb – NO – Oslo – Rockefeller Musichall
• 9 Feb – SE – Stockholm – Berns
• 10 Feb – SE – Malmo – KB
• 12 Feb – DK – Copenhagen – Vega
• 14 Feb – BE – Brussels – Ancienne Belgique
• 15 Feb – NL – Utrecht – Tivoli
• 16 Feb – FR – Paris – La Cigale

North American Tour

The band will also be joining that other great band, The B-52s, as very special guests for their North American tour. Completing the lineup is Berlin. They will also be playing 4 headline shows during the break of the B-52s tour around Labor Day.

^ = with The B-52s & Berlin
~ = OMD headline show

• 21 Aug – US – San Antonio, TX – The Majestic Theater ^
• 22 Aug – US – Austin, TX – Bass Concert Hall ^
• 24 Aug – US – Houston, TX – Smart Financial Centre ^
• 25 Aug – US – New Orleans, LA – Saenger Theatre ^
• 28 Aug – US – Tampa, FL – Ruth Eckerd Hall ^
• 29 Aug – US – Fort Lauderdale, FL – Broward Center ^
• 30 Aug – US – Ponte Vedra, FL – Ponte Vedra Concert Hall ~
• 31 Aug – US – Charlotte, NC – The Fillmore ~
• 3 Sep – US – Nashville, TN – Cannery Ballroom ~
• 4 Sep – US – Cincinnati, OH – Bogart’s ~
• 6 Sep – US – Greensboro, NC – White Oak Amphitheatre ^
• 7 Sep – US – Atlanta, GA – Cadence Bak Amphitheatre ^
• 8 Sep – US – Dayton, OH – Rose Music Centre at the Heights ^
• 11 Sep – US – Grand Rapids, MI – Meijer Gardens ^
• 13 Sep – CA – Toronto, ON – Sony Centre for the Performing Arts ^
• 14 Sep – US – Detroit, MI – Meadow Brook Amphitheatre ^
• 17 Sep – US – Washington, DC – The Anthem ^
• 19 Sep – US – Philadelphia, PA – Mann Center ^
• 20 Sep – US – Mashantucket, CT – Foxwoods Resort Casino ^
• 24 Sep – US – New York, NY – Central Park SummerStage ^

Bernard - Side-Line Staff

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

side-line.com

74 years ago today, the Japanese city of Hiroshima was destroyed by an atomic bomb, ‘Little Boy’, carried by the USAAF B-29 Superfortress bomber, named Enola Gay. It caused the death of around 140,000 civilians. It wasn’t the first time that the allied forces turned to killing large amounts of civilians as the Dresden bombing already showed earlier that same year when four raids – carried out between 13 and 15 February 1945 – destroyed the city of Dresden killing an estimated 22,700 to 25,000 people.

Were these bombings war-crimes or a necessary evil thereby preventing casualties that an invasion of Japan would have involved (estimated at one million casualties)? Those who oppose the bombings believe that atomic bombing is fundamentally immoral, that the bombings counted as war crimes, and that they constituted state terrorism.

Also OMD’s anti-war song “Enola Gay” reflects on the decision to use the bomb and ask the listener to consider whether the bombings were necessary (“It shouldn’t ever have to end this way”). The phrase, “Is mother proud of Little Boy today?”, is an allusion to both the nickname of the uranium bomb, as well as the fact that pilot Paul Tibbets named the aircraft after his mother.

The track, taken from the band’s 1980 album “Organisation”, has since its release been considered as a perfect soundtrack to the yearly remembrance of the bombing.

The track was written by vocalist/bass guitarist Andy McCluskey and is an OMD’s signature song, the track does not feature a vocal chorus for instance and is recognisable by its strong, distinctive lead synthesizer hook.

Note that the song was also released during controversy surrounding Prime Minister Margaret Thatcher’s decision to allow US nuclear missiles to be stationed in Britain. However, McCluskey stated that he “wasn’t really politically motivated to write the song”, which was informed by a fascination with World War II bombers. He hoped the track “conveyed an ambivalence about whether it was the right or the wrong thing to do”.

Bernard - Side-Line Staff

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

side-line.com

Alien Skin is an Australian synth-pop project set up in 2008 by George Pappas. George has been involved with the legendary 80s formation Real Life, but is now working on his own. After having released three albums on the now defunct A Different Drum plus multiple self-released productions, Alien Skin signed to the Russian ScentAir Records to unleash a new full length. “P.O.P. POP” is without a shadow of a doubt the most atypical and visionary work ever accomplished by Alien Skin. It’s a modern piece of electro-pop. I talked about it with George Pappas.

(Courtesy by Inferno Sound Diaries)

Q: You’re always introduced as having been member of Real Life, which became famous for their legendary 80s hit “Send Me An Angel”. I think you were not involved during the early years of the band, but what has been your personal experience with this band and is Real Life still active today?

George: My time with Real Life began circa 1995 when I was brought in to do studio work on the song “Meltdown“ a key track on the 1997 album “Happy” and also did a handful of local gigs. Subsequent to this I permanently joined the band who had been hitherto dormant and away from the public eye for a number of years. I ended up co-writing half the “Happy”-album with singer David Sterry and programmed our entire set list for live performances. In 1998 we embarked on an extensive tour of the US, Germany and Australia to promote “Happy” and in 2000 were asked to perform at Synthstock2000 in Salt Lake City US with the likes of OMD and Berlin. In 2004 we released the follow up album “Imperfection” and once more toured the US in support. All in all I recorded 3 albums with Real Life before we called it a day in 2005.

David Sterry continues to tour internationally under the name of Real Life as part of various 80s review shows with other singers of the era. I must also add, as we all lived in Melbourne in the 80s, I knew of Real Life almost from day one, becoming an obsessed fan and catching the band at every gig around the city from 1982 till “Send Me An Angel” became the massive hit and took them to international stages for the next few years. I clearly remember when songs such as “Angel” were simply just live tracks performed in their set list during those early, extremely exciting, innovative, electronic, new wave days. Very fond memories; I was a fan well before I became a band member.

Q: I think you set up Alien Skin around 2007 and got rapidly signed to A Different Drum, releasing your debut album “Don’t Open Till Doomsday” in 2008. What did you try to express with this solo-project and can you compare the original sound and spirit of this debut work with your new album “P.O.P. Pop”?

George: In 2003 we (Real Life) signed with US label A Different Drum to release the album “Imperfection”.  After we returned from our 2004 tour of the States in support of said album, and after nearly a decade co-writing with David Sterry I felt the urge, as you do, to write and release something outside the confines of the band. I think David and I were a complimentary team, and I always valued writing with him, but nonetheless I had untapped ideas that had no outlet, songs and moods that could never fit within a Real Life album. And so, returning to Melbourne I started writing songs for, as yet, an unnamed project. After completing a couple of demos I approached A Different Drum who agreed to release a full album upon completion. That album became “Don’t Open Till Doomsday” and one of the tracks was called “Alien Skin” and from the song title I adopted my moniker. MySpace at the time was a major asset in getting the album and the name known to a large number of people.

“Don’t Open Till Doomsday” is still an Alien Skin favorite for many fans. I can understand why, it has the  brooding, melancholic, slow and medium tempo atmosphere ala Depeche Mode with Martin Gore-ish vocals. That’s where my head was at, at the time. It had a couple of key songs “Razor Arms” & “Saviour” which continue to be fan faves, so I have a lot to thank the album for. “P.O.P. POP” is a distant cousin, it obviously comes from the same source – me – so there will always be connections and associations in the music and sound but I view it as a totally different type of Alien Skin release – an exercise in being more rhythmically upbeat and strident. Nonetheless I believe it maintains the moody, dark colored melancholic spirit of my debut. I don’t do ‘happy’ very well:)

Q: After A Different Drum closed its doors, you self-released a few productions. What’s the importance of a label today and especially when we realize the CD format is progressively getting lost? How do you expect the music industry evolving and what does it mean to you as a musician?

George: A label – and here I speak generally of independent labels dealing with non-mainstream artists like myself -will always have more clout than an individual musician or band, especially within the music industry with promoters, magazines, reviewers, interviewers, retailers etc. Supporting and representing many artists, a label is a brand within itself in the market and if one has music released through a trusted label it demonstrates that someone else aside from yourself believes in your music and in you. I regard a supportive label as a confidence crutch providing a release with a sense of gravitas and for me there is also the value of knowing I am not laboring alone to promote my new work.

Yes I agree, the CD format is progressively getting lost and is now mostly for die-hard fans; all music sales across the board have been declining for years. But sales are not what I value most about being on a label. For instance “P.O.P. POP” was released via ScentAir Records exclusively as a CD through retailer POPoNAUT, Germany; it reached number 11 on their sales chart remaining in the top 15 for weeks. Now, although this does not imply great sales it nonetheless demonstrated to me a genuine level of fan support and the label played an important role in generating awareness of the album, far more than I could have achieved alone.

Anyhow, I can see the time, if not fully realized yet, when ownership of music, whether physical or purchased download, will become irrelevant in an absolute sense with no motivation to acquire it. Technology, convenience and the promotion and consolidation of social behavior through big money corporate marketing will continue to see the delivery and experience of music as an adjunct to telecommunication streaming plans and who knows what else in the further future. Live performance though will always remain a means to connect with people and is an area where a musician may earn more than via music sales. But this is mitigated due to many variables and only a minority make a decent living through touring. One cult band that continues to do this after nearly 40 years, and one I adore, is The Legendary Pink Dots. International gigging keeps them financially afloat.

As Alien Skin, working alone and outside the commercial mainstream all this has nominal effect on me. Making a living out of music sales in not something I rely on and gigging is not an option. Having said that, the lack of commercial prosperity does impact upon me as I cannot justify outlaying much money on any music project I undertake, even to the exclusion of some, on economic grounds.

Q: Over now to “P.O.P. Pop”! The title speaks for itself, but still some of the lyrics like “Aim With The Wrecking Ball” clearly refer to the impact of the 80s. Tell us a bit more about it all?

George: Well firstly “Aim With the Wrecking Ball’ has no straight narrative and it’s a mixture of thoughts that I realize can be interpreted in various ways, not necessarily as to what was in my head when I wrote it. It is certainly not my attempt to smash my music idols of the past, as has been suggested by some reviewers, quite the contrary. It’s an eclectic mix of political and social statement, not to put too pompous a tag on it mind you.

Most of my music heroes originate from the UK and Britain has had an enormous impact on world history which has been well documented for millennia. It fascinates me. The Victorian and post-Victorian era is one I’ve been interested in for quite some time and that’s how “Wrecking Ball” begins with my references to Victorian built industrial cities that were composed of masses of impoverished, poorly housed proletariat of the period. Eventually council estates took the place of slums but did not redress most of the social ills. The wrecking ball is a metaphor for the need of social, economic change.

Moving forward, name checking 1970s cultural icons (with Depeche Mode thrown in for good measure) is my way of focusing attention on the dystopian social culture of Britain in that era, a period of protracted economic struggle for working people; a social powder keg that lead to the ‘winter of discontent’ and the rise of the political right wing regime of Margaret Thatcher. If one has a listen to the lyrics you will hear I only aim the wrecking ball at Thatcher and the corporate financiers in the City with an allusion to the Sex Pistols (it ain’t pretty), nowhere else. And, as a follow through, the Thatcher regime was a political blueprint for Reagan in the 1980s, and here we go, my oblique segue to the 80s. Ironically, the 1980s is not an era I am particularly fond of with social & economic upheavals begun then that continue to influence and command us today.

The title track “P.O.P. POP” was inspired by an anecdote Noel Gallagher (Oasis) told of being at a British songwriters award night. When song of the year was announced 8 people stepped up to accept the said award. He was dumbfounded at how a single song can be authored by so many people so he walked up to their table and asked. One did the beats, one the chords, one the lyric, one the topline (melody) etc etc. I share his distaste for conveyer belt, generic, pop fodder.

“Devil In The Detail” was inspired by Nosferatu, “Me And You” by Dan Deacon (but very Bauhaus sounding) from the Francis Ford Coppola film “Twixt” which I saw last year. “Byron Said To Mary” is a particular favorite written after having read Mary Shelley’s “Frankenstein” and her eulogy for Byron in 1824. The song has an aggressive drum track coupled with that relentless bassline and sounds powerful with the volume cranked up.

Q: The album might be inspired by the 80s, but I experienced your new work as refreshing and even very visionary. This is not a stereotypical electro-pop work, but definitely an opus revealing minimal & intelligent sound treatments. What kind of work did you want to accomplish and what have been the main goals in sound creation?

George: Firstly, thank you so much for your kind praise of the album! I consciously aimed for a different Alien Skin album than what I had been doing to date, especially in attitude and with a change of attitude comes the choice of ‘sound’ itself. The transitional album was its predecessor “1980 REDUX” which again was a conscious decision to deviate and create an 80s themed release, albeit through my own particular prism and perspective. This, I believe, was a major change for me and returned me to my earlier electronic roots from the era of the late 70s into the early 80s.

I had a couple of left over tracks from “1980 REDUX” which were incomplete sketches “Aim With The Wrecking Ball” and “P.O.P. POP” were there musically, but very bare and unlike the finished album tracks and with no lyrics. I completed those two with spoken word in early 2018 and felt I stumbled upon an album ‘direction’ which I liked and I simply continued with more and more tracks with a similar vibe. Dominant, harder edged beats were important, faster tempos and rapid electronic synth sequences became intrinsic to each song and sound design.

Q: What does ‘pop’ music mean to you? How did you see this music genre evolving throughout the years and do you expect some changes/evolutions we maybe already can hear today?

George: My personal history, given my age, is a long one and I have been learning and absorbing music genres for 6 decades now. I was brought up on the crackling electricity of 1960s & 70s innovation that produced ever-lasting pop and rock that lives and inspires still. So, to me ‘pop’ is something precious, something that can be beautiful, meaningful, fun, exciting and ever so memorable. I love strong melody and clever application of ideas that may appear simple on the surface but with closer inspection, if you look for them, are damn genius at work sometimes. A clever, well written, well produced, memorable pop song is pure bliss to me.

I don’t hear anything of this in what goes under the umbrella of pop today nor have I been inspired by such for quite sometime. Depeche Mode with Martin’s brilliant songwriting flair in the 80s was perhaps the last time I was obsessed with pop, albeit their own very unique and dark sense of pop. The word applied nowadays makes me wince, and displays little connection to my own idea of pop and what it once related and referred to. Hence I have no idea how it will pan out in the future, how it may evolve, and much of what is new today continues to be rooted in one way or another in the past, for big industry supported commercial pop music anyhow.

Inferno Sound Diaries

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

www.side-line.com

Genre/Influences: Electro-pop.

Background/Info: Subject:2 is a new name active at the wider fields of synth-pop music. The English duo Gary Starky – Sandra Tully joined hands with German label Electro Shock Records to unleash their debut full length.

Content: Gary Starky has worked with Vince Clarke and that’s something you can easily notice. “Forward/Return” is a classical electro-pop formation getting back to the early years of the genre and more especially to bands such as Depeche Mode, Erasure, OMD and co. The songs are indeed very inspired by 80s music although there also is something more personal and contemporary running through the album. The songs remain catchy and melodic. One of the most noticeable songs is the cover version of the disco-hit “Feels Like I’m In Love” from Kelly Marie.

+ + + : Subject:2 deals with the most pure format of synth-pop. You sometimes get the impression to hear Depeche Mode and/or Erasure hiding in the body of this album. Originality is far to find, but it however an accomplished and mature production is. Most of the songs have been sung by Gary Starky, but I also like the female backings. The songs bring no surprises, but there are a few outstanding cuts featured. I especially want to mention “Rubber Made”, which sounds hot and danceable.

– – – : If you’re in search of visionary electro-pop formations, you better can avoid Subject:2. I don’t care about good ‘copyists’ and it’s even quite strange to say that the most atypical song of the album (cf. “Better Luck Next Time”) also is the less convincing cut from the list.

Conclusion: “Forward/Return” is a rather ‘classical’ synth-pop album bringing the good-old 80s taste alive and revealing several cool songs. Let’s keep an eye on this band!

Best songs: “Rubber Mode”, “Life”, “Get Things Started”, “Run Away”, “Feels Like I’m In Love”.

Rate: (7½).

Artist: www.subject2music.com / www.facebook.com/Subject2Music

Label: www.electroshockrecords.tictail.com / www.facebook.com/pages/Electro–Shock–Records/105471026168220

Inferno Sound Diaries

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

www.side-line.com

Set up in 2005, Hidden Souls is an Argentinean band based in Buenos Aires. They got featured on a few compilations like “Electropop 12” released on Conzoom and did a few noticeable remixes for electro-pop formations Parralox and Zoon Politicon. They signed a record deal with Echozone and this year unleashed their debut album “The Incorruptible Dream”, which is a real nice surprise appealing for lovers of electro-pop, future-pop and EBM. I’d a chat with one of the members, Guillermo Pardo Neira.

(Courtesy by Inferno Sound Diaries)

Q: Can you briefly introduce your band and the way you got in touch with electronic music?

Guillermo: We are an Argentinian band, a trio based in Buenos Aires. We combine elements of synth-pop, future-pop, EBM and dark music.

When we were kids we grew up listening to 80’s music and most of those songs inspired us to compose music with synthesizer. In that time we were listening to the radio discovering bands like OMD, Depeche Mode, Pet Shop Boys, Camouflage… It was the way we got interested into electronic music.

Q: I can imagine it’s not an easy thing for an Argentinean electro-underground band to catch the attention of the European- and American scene where most of the bands in the genre are coming from. What’s your perception about this point and what can you tell us about the ‘scene’ in your country?

Guillermo: That’s right! It’s so difficult… We have a lot of economic problems in our country and that’s the reason why the ‘scene’ in Argentina remains too small. We must pay double the price for the equipment than in Europe or U.S… and we must work double time to earn that amount of money. For example, if an European band needs one year to buy all the ‘machines’, in our country we need four years! So it’s so hard to start a band… you can have the talent, but without money the world doesn’t turn.

Q: So I can imagine your debut album being signed on Echozone means a lot to you!? How did this deal happened, what do you expect and what have been the first reactions on the album?

Guillermo: Yes, for sure! We are so happy… We are proud to be part of the Echozone family. A lot of bands we like are signed on Echozone. Sincerely, it’s our debut album and we didn’t expect that various records labels around the world would be interested in our music. It was a wonderful and nice surprise! We met Sven Schaak (manager of In Good Faith) who listened to the album and he introduced me to Ulf Müller (Project Ich) from Echozone.

Most of the reviews are positive and we are so glad about the reactions. There’s a positive feeling around us… The ‘charts’ and the sales go well. The album is selling very well and especially for a debut album debut coming from a band that never played in Europe and based in a country, which is 12.000 kilometers away from its record label.

Q: What kind of album did you want to accomplish with “The Incorruptible Dream” all about (sound- and lyrical wise)?

Guillermo: We tried to mix our taste of music, blending different genres of music. Starting from the base that we don’t like the music ‘labels’ that are so often used to classify the bands. So, on “The Incorruptible Dream” you can find elements of synth-pop, future-pop, EBM, but always recovered with a dark atmosphere because of the lyrics… But you can notice folk guitars (cf. “Know”) or long instrumental intros (“Political Brainwash Machine”). A few songs don’t have the typical structure you would expect for a ‘synth-band’.

Q: I’ve been impressed by the production of the album, which has been done by Fernando Sande Dallas. Tell us a bit more about him and what have been his impact on the sound?

Guillermo: He has a lot of experience in music, so I learnt a lot from him. He has an electro band called Nekrodamus and a dark-folk project called Hyperborei. He also composes soundtracks.

When I finish a ‘Demo’ I send it to Fernando who gives me his point of view about the song and we next make the final arrangements together. We are long-time friends loving the same music and we know each other very well, but the most important thing is that he understands me, he ‘understands my work’… He knows how my brain works! (Hehehe!)

Q: You made a clip of the song “The World Is Falling…”, which is meant as an anti-war song and have just finished another clip of the song “Hearts And Minds”.  What did you try to express/reflect and what do you expect from a clip? 

Guillermo: We love movies! Just as music, a movie can be used as a distraction from the outside world, but a movie can be a ‘wake-up call’ to our society either. For us, filming a video is more than a ‘commercial thing’. We tried to show something more… make ‘a short film’ to help to bring a certain message, as we did in “The World Is Falling”. Lyrics, music & video works perfectly together. But sometimes when the lyrics are more intimate, it’s hard to express yourself in just a few minutes. Also, it’s a little awkward too because we don’t enjoy to be in front of a camera.

In our second clip, “Hearts & Minds”, we made a (funny) ‘tribute’ to David Lynch’s “Twin Peaks”. One of the filmmakers who cater to our fears, desires or maybe necessities.

Inferno Sound Diaries

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

www.side-line.com

OMD have announced that they will be recording and releasing their shows with the Royal Liverpool Philharmonic Orchestra next month (6 & 7 October). The audio will be taken from the best of both nights, presented as a double CD, 3LP and as a download.

Next to this, the full recording of each performance at the Liverpool Philharmonic Hall, will also be presented on double CD. These CDs will be manufactured rapidly and will be released in the days following the show and are limited to 750 copies.

The tracklisting of these releases will be confirmed following the show.

Bernard - Side-Line Staff

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

side-line.com

Orchestral Manoeuvres in the Dark (OMD) have announced the publication of the book “Pretending To See The Future”, in celebration of the band’s 40th anniversary.

To be published in November 2018 “Pretending To See The Future” is an oral history – told in the first person – of OMD, mixing hundreds of fan anecdotes with memories from the band, their collaborators, other musicians and celebrity admirers garnered from 40 years of recording and performing. The book contains commentary from OMD founders Andy McCluskey and Paul Humphreys, plus band members Martin Cooper, Malcolm Holmes and Stuart Kershaw, and is packed full of memorabilia and hundreds of photos. With many images in full colour and previously unseen pictures from the band’s own archive. Or as the press text says: “This is the OMD story as it’s never been told before.”

The book is now available to pre-order from PledgeMusic. All early pre-orders from Pledge will also receive an exclusive flexi-disc featuring a very rare and previously unheard demo of “Messages” from the summer of 1978 before Andy and Paul actually formed Orchestral Manoeuvres in the Dark.

Recorded in the garage studio of school friend Paul Collister who would become OMD’s manager, and featuring the electronic drums built by Paul Humphreys, this is the sound of two 18 year old kids experimenting in early electronic music. The song would become the band’s first hit single two years later.

The flexi-disc will be made to order for the initial purchases of the book and will not be available elsewhere.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Electro-pop.

Background/Info: London based duo Emese Arvai-Illes (vocals) – Krisztian Arvai (music and production) released the Dichromat album back in 2016. It’s the band’s third full length album and even if this work is somewhat outdated I couldn’t resist reviewing it.

Content: Black Nail Cabaret remains a kind of alien active in the wider fields of electro-pop music. It’s somewhat old-styled electro-pop reminding me of melodies à la OMD and the melancholia of Wolfsheim plus a very own and delicate touch supporting the songs with grace. The vocal parts remain pretty particular as well. This is not the typical female like pop-singing, but there’s a part of mystery hiding behind this singer’s voice.

+ + + : I like Black Nail Cabaret’s originality, but especially the graceful and refined pop approach they compose. It’s an emotive release, but still a beautiful work carried by strong melody lines and the magic vocals of Emese Arvai-Illes. It more sounds like music to listen and enjoy instead of danceable electro-pop.

– – – : “Dichromat” clearly doesn’t sound like the classic electro-pop band. That’s a rather positive and original aspect, but still not easy to catch their sound. It’s not exactly the kind of band that will hit dancefloors and compose catchy pop songs that will enter into the collective memory of electro-pop freaks. That’s what I’m missing but in the end I would say it’s probably better to discover an original formation instead of a classic production without a real sound DNA…

Conclusion: If you like electro-pop, but you’re tired of the stereotypical sound formulas and other Depeche Mode clones, this band will serve you a very efficient antidote!

Best songs: “Therapy”, “Freak Of Fancy”, “Lower The Shutters”.

Rate: (7½).

Band: www.blacknailcabaret.com / www.facebook.com/bncband

Label: http://basicunit.de / www.facebook.com/BasicUnitProductions

Inferno Sound Diaries

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

www.side-line.com

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

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

The Top 3

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

The rest of the Top 10

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

And on spot 11 and 12…

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

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

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

Bernard - Side-Line Staff

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

side-line.com

A new OMD track entitled “The View From Here” from the band’s forthcoming album “The Punishment of Luxury” has been released today. The track can be heard right below (mind you, some countries might be blocked).

“The Punishment of Luxury” will be released two weeks today and is available for pre-order in a variety of formats.

In further news, the first single “Isotype” is released on limited edition 12″ vinyl today. The second limited 12″ single release to be taken from the album will be “The Punishment of Luxury”. This will be released on September 15th (slightly earlier than previously advertised) and will include a special extended mix of the single as well as the b-side Lampe Licht.

The UK/Europe leg of ‘The Punishment of Luxury Tour’ is on sale now!  Tickets are available for purchase right here. See below for the dates.

23rd Oct – IE – Dublin – Vicar Street
24th Oct – UK – Belfast – Mandela Hall
29th Oct – UK – Liverpool – Empire Sold Out
30th Oct – UK – Bristol – Colston Hall
1st Nov – UK – Southend – Cliffs Pavilion
2nd Nov – UK – Ipswich – Regent
3rd Nov – UK – Cambridge – Corn Exchange
5th Nov – UK – Leicester – De Montfort Hall
6th Nov – UK – Nottingham – Royal Concert Hall
7th Nov – UK – Sheffield – City Hall
9th Nov – UK – Reading – Hexagon
10th Nov – UK – Southampton – Guildhall
11th Nov – UK – Guildford – G Live
13th Nov – UK – London – Roundhouse
15th Nov – UK – Bexhill – De La Warr Pavilion
17th Nov – UK – Manchester – Academy
18th Nov – UK – York – Barbican
19th Nov – UK – Glasgow – Royal Concert Hall
21st Nov – UK – Birmingham – Symphony Hall Sold Out
22nd Nov – UK – Gateshead – Sage
25th Nov – DE – Erfurt – Traum Hits Festival – Tickets
26th Nov – DE – Hamburg – Grosse Freiheit Upgrade
28th Nov – DE – Berlin – Huxleys Upgrade
29th Nov – DE – Leipzig – Haus Auensee Upgrade
30th Nov – DE – Munich – Tonhalle Upgrade
2nd Dec – DE – Offenbach – Stadthalle Upgrade
3rd Dec – DE – Dusseldorf – Mitsubishi Electric Hall Upgrade
5th Dec – NL – Tilburg – 013 Upgrade
6th Dec – BE – Antwerp – De Roma Upgrade
8th Dec – CH – Lausanne – Les Docks Upgrade

Bernard - Side-Line Staff

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

side-line.com