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Alessandro Cortini (Nine Inch Nails) has all new LP out now: ‘Nati Infiniti’

Bernard - Side-Line Staff — Fri, 11 Oct 2024 20:59:09 +0000

(Photo by Emilie Elizabeth) Italian musician Alessandro Cortini has released his latest work, “Nati Infiniti”. This 40-minute piece, divided into five movements, is based on an immersive audio installation that took place across four floors of the Museu de Lisboa’s Fábrica da Moagem, a disused flour mill.

Commissioned by Sónar Lisboa 2022, “Nati Infiniti” captures the ambiance of the original installation. Each floor of the mill evoked different states through Cortini’s sound design, creating a different experience as listeners moved through the building. The album tries to reflects this movement.

Using the Strega instrument, co-designed by Cortini with Make Noise, the piece evolves across 40 minutes. Marta Salogni, known for her work with Björk and Depeche Mode, mixed and mastered the album into five movements. “Nati Infiniti” is available now, in various formats including vinyl, CD, and digital.

Cortini debuted the live audio-visual performance of “Nati Infiniti” at Berlin’s Atonal Festival. After a series of sold-out shows, he will tour North America and Europe throughout 2024 and 2025, with additional dates to be announced.

Cortini, a longstanding member of Nine Inch Nails, has released a steady stream of his own music on labels such as Mute, Hospital, and Important Records. His collaborations include work with Lawrence English, Daniel Avery, and Merzbow. He is also the only Italian musician inducted into the Rock and Roll Hall of Fame. His creations, like the Strega and the forthcoming Bruxa module, kinda show his innovative approach to music. He has composed for fashion shows by Alexander McQueen, Dior, and Fendi, and soundtracked Disney/Hulu’s hit show “The Bear”. His remixes include tracks for Depeche Mode, Mogwai, Death Cab for Cutie, Yann Tiersen, and Vatican Shadow.

Here’s a live impression of Cortini.

Alessandro Cortini tour dates

10/11/2024 – Seattle, WA, Age Of Reflections at Seattle First Baptist, US
10/12/2024 – Portland, OR, Age Of Reflections at Trinity Cathedral, US
10/13/2024 – Los Angeles, CA, Teragram Ballroom, US
11/20/2024 – Brussels, Bozar, BE
12/6/2024 – Berlin, Silent Green, DE
1/17/2025 – Paris, Trabendo, FR

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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‘Resurgence’, a massive 7CD post-punk boxset to be released in January 2025 – Pre-order now

Bernard - Side-Line Staff — Sun, 06 Oct 2024 15:25:46 +0000

The Brussels-based Spleen+ label (a division of Alfa Matrix) has prepared a deluxe 7CD collector’s edition – “Resurgence” – which brings together 133 active bands from across the globe, spanning the diverse sub-genres born from post-punk’s iconic roots. You can order it now from the Alfa Matrix webstore and in digital download format from Bandcamp.

The release comes housed in a luxurious vinyl-sized box, and comes accompanied by a 28-page book. The book holds interviews from renowned producers like John Fryer and Jean-Marc Lederman, label managers, journalists, and iconic artists (including Red Lorry Yellow Lorry, William Faith, No More, Skeletal Family, Mona Mur, KaS Product, And Also The Trees, Clan Of Xymox, Attrition, Das Ich, Merciful Nuns, The Names, The Breath Of Life, etc).

Spanning 23 different nationalities, the music included is a genre-spanning mix of post-punk, cold wave, dark synth, ethereal, and minimal EBM with such bands like Boy Harsher, A Cloud Of Ravens, No More, Skeletal Family, Collection D’Arnell Andrea, Underviewer, Attrition, Merciful Nuns, Lederman/De Meyer, Local Suicide & Sekelesys, Star Industry, Ataraxia, Czarina, Helalyn Flowers, Ascii.Disko, Je T’Aime, The Ultimate Dreamers, Lycia, Opera Multi Steel, The Breath Of Life, Auger, The Names, Whispers In The Shadow, Lovelorn Dolls, Astari Nite, Chiasm, Saigon Blue Rain, Omnimar, Still Patient, Creux Lies, Golden Apes, and many more.

You can already check out a few tracks here.

Resurgence by Various Artists

Apart from the 7CD vinyl size deluxe carton box format, “Resurgence” will not be available on mainstream digital platforms, except exclusively via the label’s Bandcamp page.

There is also a special combi pack including the 7CD set plus Darkness On Demand’s “Panic In Reserve” CD and To Avoid’s “All Gods Are Gone” 2CD.

“Resurgence” Tracklist

Cd 1

Bestial Mouths . Hex (The Spell)
A Cloud Of Ravens . Parable
Boy Harsher . Give Me A Reason
Czarina . Wonderland
Collection D’arnell Andrea . Waiting For Meaulnes
Krystal System . La Lame Dans Ta Main
Je T’aime . Out Of Sight
Aeon Rings . Fully Operational
The Ultimate Dreamers . Polarized
Partikul . Nothing Good In Me
Cosmobrigade . Spacepit
Aeon Sable . From Witchcraft To Deviltry
Stereoskop . Deep Down
The Breath Of Life . Slowly Crushing
Faust Project . Rats Lullaby
Al . Mistake
N.E.L. & J.P . Desinteresse
Zeitgeist Zero . Scream
Voyna . Moulding Heart

Cd 2

Blackbook . You Are Strange
Auger . My Heart Is Glass
Dekad . A Deadly Show (Video Edit)
Love In Cage . A Logical Secret Collection
Helalyn Flowers . Halos
Soft Scent . No Wounds
Sweet Ermengarde . Sweet Sacrifice
Martin Dupont . Bent At The Window (2023)
The Names . Far From The Factories
Boxes Of Blow . Melting Faces
Mirror Of Haze Feat. Primitive Heart . Reckless
A Slice Of Life . Seven Days
Then Comes Silence . Pretty Creatures
Nite . Inside Of My Head
Astari Nite . Bowie In Daydreams
Korus . Złote Światło Pierwszego Zachodu
Lovelorn Dolls . A Heart Cries
Whispers In The Shadow . Revenants
Merciful Nuns . Oneironauts

Cd 3

Lederman – De Meyer . Heartbeat
Local Suicide & Skelesys . Surface Of The Sun (Radio Edit)
Punx Soundcheck Feat. Ascii.Disko & Princess Superstar . Gasoline
No More . Sleepers And Trains
Mitra Mitra . Memories For Company
A Copy For Collapse Feat. Simona Pietrucci . Faded
Alien Skin . Depress Me
White Mansion . Cancel The Sky
Apnoie . Splash Your Bile
Celluloide . Compte Les Ombres
Risk Risk . Streetwalk
Total Chroma . Northern Lights
Opera Multi Steel . À Nos Moments Perdus
Lycia . Simpler Times
Noemi Aurora . Blood As Lipstick
Novus . Ess
I Ya Toyah . Death’s Kiss
Katcross . Rest
Winter Severity Index . Speak To Me

Cd 4

Systeme Paradoxe . Comme Le Sable En Hiver
Aiboforcen . Break The Black Ice (Original Mix)
Chiasm . Cut Right Through (Emileigh Rohn Edit)
Saigon Blue Rain . Dolls Dresses
Her Own World . Mistrust
Still Patient Feat. Minu-Schirin Samimi . Blind Vision
Creux Lies . Playtime
Der Klinke . Curtains (Your Life On Hold Remix)
On The Floor . Crying On The Dancefloor
Numa Echos Feat. Red Zebra . Waisted Items
Factheory . The Day (Ok Lion! Mix – Short Version)
Antiflvx . Crystal
Flor Concreta . She’s Closer
Golden Apes . Ash Trees
Glis . Blue Sky Night
Ataraxia . The Source
Hanging Freud . Grooming
Ok Lion! . Get Away
Yuzna . Queen Of The Eels

Cd 5

The Breath Of Life Feat. Implant . The Last Record
The Halo Trees . Happy Man
Palm Ghosts . Tilt
Your Life On Hold . Imprisoned (Merciless Radio Edit)
Götterdämmerung . Common Existence
Jenni Sex . Sin Chimes
Denner . She Radiates Darkness
Imjudas . I Love You
Black Needle Noise . Dollhouse On Fire
Dead Souls Rising . Dysmorphobia
The Waning Moon . Annabel
Korinthians . Leader Of The Night
Elektrostaub Feat. Stefan Netschio . Mantis (Auger Remix)
Omnimar . The Matrix
Synapsyche Feat. Chris Harms (Lord Of The Lost) . The Last Dying Flame
Dance My Darling . Criminal
First Aid 4 Souls Feat. Emke Of Black Nail Cabaret . Das Messer
Supernova 1006 . Tell Your Name (Mix)
Suicidal Romance . Runaways

Cd 6

Ascii.Disko . Loslassen
Vioflesh . Emotions
Dina Summer . Who Am I (Club Version)
Pleasure Victim . Rascheln
Pink Opake . Pronta
Thewalkingicon . The Trail (Radio Edit)
Psy’aviah Feat. Sorrow Stories . Healing
Seasurfer . Collapsing
Lakeside X . Fire In The Sky (Radio Version)
Darkness On Demand . Hang On (Winterhart Remix)
Star Industry . Selling Icons (The Dreamside Remix)
Alphavox . Dark Satellite
Yama Uba . Shapes
Lifeless Past . Anxiety
Pink Turns Blue . Not Gonna Take It
Social Union . Waiting For Red
Sine . Until (Clan Of Xymox Remix)
Sorry, Heels . She Burns (We Burn) Version
Lights A.M . Clouds

Cd 7

Useless/You . Echo
Attrition . The Great Derailer
Children Of Zeal . Taking Over
Octolab . Friend Or Foe
Vague Phonique . The Last Man
Midnight Poetry . Black Hole
The Overlookers . Undercover (Edit)
La Machine . Vamos A La Playa (Radiomix)
Die Sexual . House Of God
Carrellee . Morning Sun
Underviewer . Was Soll Ich Tun (Aiboforcen Remix)
Night In Athens . Words Unspoken
Neila Invo . Alienation
Skeletal Family . My Own Redemption
The Murder Mystery . A Girl Named Red
Princess Ugly . For A Moment I Forgot The Desolation
Instant Lake . Ivory Dreams
Vision Video . Balaclava Kiss
La Scaltra . Dancing On Debris

Bernard - Side-Line Staff

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PIG presents ‘Feast of Agony’ EP & ‘Fallout’ video – Out now

Bernard - Side-Line Staff — Fri, 27 Sep 2024 14:19:09 +0000

Out today is the new “Feast of Agony” EP from industrial music legend Raymond Watts a.k.a. PIG (via Metropolis Records). Showcased by the video for “Fallout”, “Feast of Agony” arrives on the trail of the remastered version of PIG’s 1995 “Sinsation” album (originally released via Trent Reznor’s Nothing Records) and the studio album “Red Room”.

Released digitally today, the vinyl edition of “Feast of Agony” will only be available on PIG’s tour starting today.

PIG tour dates

9/28/24: Chicago, IL, – Metro
9/ 29/24: Minneapolis, MN – Cabooze *
9/30/24: Des Moines, IA – Lefty’s Live Music *
10/2/24: Milwaukee, WI – X-Ray Arcade *
10/3/24: Davenport, IA – Raccoon Motel *
10/4/24: Lawrence, KS – The Bottleneck *
10/5/24: Denver, CO Kulture Music Hall *
10/6/24: SLC, UT – Quarters *
10/7/24: Boise, ID – Visual Arts Collective *
10/9/24: Eugene, OR – John Henry’s *
10/10/24: Seattle, WA – El Corazon ^^
10/13/24: Portland, OR – Dante’s ^^
10/15/24: Sacramento, CA – Starlit Room ^^
10/16/24: SF, CA – DNA ^^
10/17/24: San Diego, CA – Whistle Stop ^^
10/18/24: Las Vegas, NV – Sinwave ^^
10/19/24: Los Angeles, CA – Catch One ^^
10/20/24: Scottsdale, AZ – Pub Rock ^^
10/21/24: Albuquerque, NM – Launchpad ^^
10/23/24: OK City – Beer City ^^
10/24/24: Dallas, TX – Three Links ^^
10/25/24 – Houston TX – Secret Group *
10/26/24: Austin, TX – Elysium *
10/27/24: New Orleans, LA – Santos *
10/29/24: Pensacola, FL – Handlebar *
10/30/24: Orlando, Fl – Handlebar *
11/1/24: West Palm Beach, FL – Respectable Street *
11/2/24: Jacksonville, FL – Underbelly *
11/3/24: Greenville, SC – Radio Room *
11/5/24: Atlanta, GA – Star Bar *
11/6/24: Richmond, VA – Fallout *
11/7/24: Baltimore, MD – Metro Baltimore *
11/8/24: New York, NY – STIMULATE *
11/9/24 – Wilmington DE – Bar 13 *
11/10/24: Millersville, PA – Phantom Power *
11/12/24: Cambridge, MA – Middle East *
11/13/24: Quebec City, QC – L’anti Bar *
11/14/24: Montreal, QC – Cabaret Fous *
11/15/24: Toronto, ON – Lee’s Palace *
11/16/24: Detroit, MI – Smalls *
11/17/24: Cleveland, OH – Beachland Tavern *

* dates with Unitcode : Machine
^^ dates with Curse Mackey and Unitcode : Machine

Bernard - Side-Line Staff

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Axis3340 – Axplosion (Album – Digital – Tripalium Records)

Inferno Sound Diaries — Fri, 27 Sep 2024 07:00:00 +0000

Axis3340’s debut-album delivers a dynamic fusion of sonic intensity, blending Acid sequences with aggressive D’nB rhythms, all layered beneath haunting string arrangements. The album consists of seven meticulously crafted tracks, each showcasing the project’s raw power and refined development. One track features pitched vocals, adding a unique touch to the overall experience. This release marks a strong start for a highly promising Italian project. (Rate:7½).

Listen to “Meltin’ Acid”:

https://tripalium.bandcamp.com/track/02-meltin-acid

Inferno Sound Diaries

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

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Interview with Oliver Decrow: ‘My Music Is More Influenced By Emotions And Life Events Than By Specific Artists’

Inferno Sound Diaries — Sat, 21 Sep 2024 17:00:00 +0000

This summer, I came across “I’m Too Young to Die”, the debut album by German artist Oliver Decrow. His Minimal-Electro/Wave music evokes an ’80s flashback, enhanced by a modern and personal touch through its gritty analog synth sounds. Released by the renowned Cold Transmission label, the album captivated me with its cold, sterile aesthetic layered over deep, human themes. It felt like the perfect opportunity to reach out to this promising artist. (Courtesy by Inferno Sound Diaries)

Q: Can you introduce us to the musical world of Oliver Decrow? Where are you from, and how did you first get drawn into the world of electro music?

Oliver: I’m from Dresden, East Germany. I began producing music at an early age at school, but it really took off when I studied fine arts at the Art Academy in Dresden. During that time, I met several DJs and shared a studio with a local DJ and tattoo artist. He introduced me to music from the 80s, Italo-Disco, Cold-Wave, and Minimal-Wave like Decadance, Medio Mutante, S.M. Nurse, John Maus, SS-Say, Deux, Eleven Pond, Knight Action, Charlie (Spacer Woman), Moderne, and Linea Aspera.

During this period, I also spent time in shared apartments (WG’s), moving from one party to another. I had no money, and survival was hard, but discovering and enjoying music became a release, helping me get through each day and deeply impacting my personality.

While painting, we would listen to Intergalactic FM or Bohren & der Club of Gore (Piano Nights).

During my studies, I decided to leave Germany and moved to Montreal, where I lived in a tiny flat and made music every day. It was there, and in New-York, that I filmed my first music videos. I’ve always been a computer guy, but I try to bridge the digital and analog worlds. So, making music as an art form or expression felt natural for me. I did many collaborations and projects back then. I also worked with opera singer Annette Jahns, who would visit my cheap basement in Dresden once a week, bringing a bottle of good wine and something to eat and then we produced music together. Rest in peace, Annette! Around this time, I also met Sneaker DJ, who gave me valuable production tips and mastered my first tracks.

Q: You released your debut album “I’m Too Young To Die” this year. A first album is always special, so how does it feel to have it out, and what was the journey like in creating it?

Oliver: ‘Stress test’ is the first thing that comes to mind, especially in the last few weeks. My first album is like a retrospective of three years of making music. There are songs where, as soon as I hear them, memories of specific stories and situations come rushing back. For example, the suicide of my best friend is reflected in the track “Horse Hoof,” and “In My Room” deals with experiences I had with my mother.

The journey to my first album was full of doubts, joy, depression, anxiety, and great moments. Yin and yang -it was a rollercoaster, much like my life. Nothing was stable; everything was questioned. But I’m glad I made it. It was also a relief to finally finish something after such a long time.

One of the most rewarding parts of the journey was meeting new people and connecting with positive individuals worldwide who shared my interests, experienced similar situations, and could relate to my music. I learned a lot during the process and fulfilled a long-term dream. In the end, everything came together. You know, making an album is personal -you open your heart for everyone to see, and that often comes with a price. But I’m already looking forward to the next chapter of my life.

Q: Your sound echoes ’80s Electro-Wave with a modern twist. Which artists or albums have had the most significant impact on you, and how do they influence your music?

Oliver: Life has influenced me the most. I make music primarily to express my emotions or to lose myself in my inner world. If I had to name a few artists who have impacted my style or approach to music, they would be Boy Harsher, Sneaker Dj, Joy Division, Jennifer Touch, Molly Nilsson, Boan, and DAF. But my influences often change, and I love discovering new artists like VOID Palace, Abu Nein, Nights In Athens, Lila Ehjä, Laura Krieg, Kris Baha, Lovataraxx, Asymetric80, Years Of Denial, ManMachine, and Curses.

I’m drawn to artists who present their music in a way that feels authentic, not just like another copy. For example, I met ManMachine at the Ombra Festival in Barcelona last year, and after chatting with him, I saw his music differently. A man, a father, a keyboard -it felt warm and pure. My music is more influenced by emotions and life events than by specific artists, so to speak.

Q: Many of the album’s tracks were performed live before being recorded. How did these songs evolve during the recording process, and what changes or improvements did you make?

Oliver: That’s an interesting observation, and you’re right. The songs on my album really grew during live performances. I redid some finished tracks, adjusting the vocals and synth parts after realizing during live performances what could add that final touch. Every track underwent a few makeovers after live shows. I see the process like painting. You build something up and then destroy it to create something unique and new. The challenge is knowing when to stop.

Q: You already evoked some lyrical themes in your songs which are quite dark and intense. What drives these narratives, and how does turning personal struggles and dark subjects into music serve as a form of therapy or healing for you?

Oliver: Yes, your question holds the answer. I won’t go into detail about how difficult my life was because everyone has their own stories, struggles, and fate. Music is definitely a form of therapy for me. It’s an art form and a way to break out of daily routines and the system we live in. I often wonder what the world will look like in 10 or 20 years, with all the technology, greed, commercialism, and hate. But I know that there will always be people searching for real emotions, analog experiences, and real intelligence or just something like breathing fresh air in the woods.

Q: Are you already working on new material? What can we expect in terms of singles, remixes, videos, live shows, and future projects with your label G50 Records?

Oliver: Of course! A remix tape is coming out, and new tracks are in the works. I love diving into music, especially when life hits hard, and right now, it definitely does. This year, you can catch me playing in Nuremberg at the Bunker Rituals Festival (28th of September), in Dresden with Lovataraxx (20th of October), and in Chemnitz with Left For Pleasure (14th of December). G50 Records is like a DIY label with no aspirations for profit. I’m not sure if there will be any projects with my old friends, like the Klassenfeind-project, but who knows?

I’m really happy with the guys from Cold Transmission Music, namely Andreas and Suzy. It’s like a real family feeling, and we talk daily about the scene and our next creative ejaculations.

Inferno Sound Diaries

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

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

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

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

Here’s the original version.

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

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

Bernard - Side-Line Staff

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Attrition announces Australia & New Zealand Tour

Bernard - Side-Line Staff — Wed, 21 Aug 2024 06:49:15 +0000

Coventry’s industrial and cinematic darkwave band, Attrition, led by founder Martin Bowes, is gearing up for its first-ever tour of Australia and a return to New Zealand in October and November 2024. This tour follows the release of their album “The Black Maria” which dropped earlier this year via Two Gods Records.

Joining Attrition on the Australian leg of the tour is New South Wales’ industrial synth crust outfit Schkeuditzer Kreuz. Canadian ritual-ambient artist Subterranea (also known as Alia Synesthesia of Attrition) will accompany them for all Australian and New Zealand shows, except the Melbourne date. The tour will also feature a rotating lineup of special guests from the local underground music scene, including Life Cult, The Cold Field, DevilMonkey, Mankind, and more.

The 11-date tour kicks off in Perth on October 24th, with subsequent shows in Adelaide, Frankston, Hobart, Melbourne, Sydney, Brisbane, and Nambour. Attrition and Subterranea will then travel to New Zealand, where they will perform in Christchurch for the first time, followed by shows in Wellington and Auckland.

Check Attrition’s website for ticketing details.

Attrition on tour

24 October: Perth, four5nine, Rosemount Hotel, with Schkeuditzer Kreuz, Life Cult, and Subterranea.
25 October: Adelaide, Hotel Metro, with Schkeuditzer Kreuz, The Cold Field, Subterranea + DJ Empusa.
26 October: Frankston, Singing Bird Studio, with Schkeuditzer Kreuz, DevilMonkey, Subterranea + DJ Varunia Khan.
27 October: Hobart, Altar, with Schkeuditzer Kreuz, Mankind, and Subterranea + DJ Black Paul.
31 October: Melbourne, The Gasometer (Halloween), with Schkeuditzer Kreuz, Death of Art, Palliative + DJ Crowley.
1 November: Sydney, Darling Nikki’s, with Schkeuditzer Kreuz, Sounds Like Winter, Subterranea + DJs Xerstorkitte & Action Ant.
2 November: Brisbane, The Cave Inn, with Schkeuditzer Kreuz, Chiffon Magnifique, Subterranea + DJs Richard & Josh.
3 November: Nambour, Black Box Theatre, with Schkeuditzer Kreuz, Chiffon Magnifique, and Subterranea.
7 November: Christchurch, The Embankment Tavern, with Acclimate, Placenta Cookbook, and Subterranea.
8 November: Wellington, Valhalla, with special guests.
9 November: Auckland, Whammy Bar, with special guests.

Bernard - Side-Line Staff

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Tears Run Rings debuts ‘Helios Helada’ ahead of new LP

Bernard - Side-Line Staff — Tue, 06 Aug 2024 07:44:57 +0000

Pacific Northwest shoegaze group Tears Run Rings has released their latest single and video, “Helios Helada”, from their forthcoming album “Everything In the End” out on Shelflife Records on September 6th, 2024.

Formed 15 years ago, Tears Run Rings consists of Matthew Bice (vocals, guitar), Laura Watling (vocals, bass), Ed Mazzucco (guitar), and Dwayne Palasek (drums). The band returns after a six-year hiatus since their last album.

“Everything In the End” is the result of the band’s renewed collaboration following their first live show in a decade back in 2018 and retains Tears Run Rings’ shoegaze roots. The double LP was conceptualized over several years with much of the album having been recorded in Portland and San Francisco home studios, making it a long-distance collaborative effort.

Below is the video for “Helios Helada”, the leading single.

Bernard - Side-Line Staff

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The Cassandra Complex announce second leg of their World Tour 2024

Bernard - Side-Line Staff — Wed, 31 Jul 2024 09:33:46 +0000

(Photo by Roger op den Camp) COP International Records, International Booking Department, and Resistencia Booking have announce the second leg of the CX40 tour of the Anglo-Irish post-punk group The Cassandra Complex. This second leg will take the band, which celebrates its 40 year anniversary, to Germany, Belgium, USA, Mexico, Costa Rica, Chile, Brazil, UK, the Netherlands, and Denmark.

The second leg will commence this summer with festivals in Germany and Belgium, followed by dates in the USA and Latin America in the Fall. The tour continues then with more shows in the UK and EU later in the year. The band will also be supported on select European shows by special guests and labelmates Sjöblom.

You can order your tickets here.

11/08/24 Hildesheim Germany, Mera Luna Festival
24/08/24 Ostend Belgium, W-Festival
25/08/24 Sint-Niklaas Belgium, De Rembrandt Festival
29/09/24 Chicago USA, Cold Waves Festival
12/10/24 Ciudad de México, Foro 28
15/10/24 San José Costa Rica, Amon Solar
18/10/24 Santiago Chile, RBX
19/10/24 Sao Paulo Brazil, Madame
23/11/24 Leeds UK, The Old Woolen
24/11/24 London UK, The Black Heart
26/11/24 Reading UK, The Facebar
29/11/24 Bielefeld Germany, Movie
30/11/24 Cologne Germany, Blue Shell
01/12/24 Bochum Germany, Rockpalast
04/12/24 Berlin Germany, Urban Spree
05/11/24 Copenhagen Denmark, Lygten Station
(More dates to be confirmed)

About The Cassandra Complex

The Cassandra Complex

The Cassandra Complex was formed in 1984 by Rodney Orpheus (vocals, synths, drums machine), Paul Dillon (electronics), and Andy Booth (guitar, keyboards). Musically they bring a synthesis of post-punk, goth, EBM, and industrial music, coupled with Rodney Orpheus’ voice.

After a long hiatus, The Cassandra Complex recently returned with the album “The Plague”, recorded during the COVID lockdown. In March 2024 they released “Death & Sex”. Both albums are available from COP International Records on CD and on all streaming services.

Rodney Orpheus has also worked as a producer, remixer, and music technologist, working with artists such as The Sisters of Mercy, Kraftwerk, Beborn Beton, The Future Sound of London, Girls Under Glass, Faith & the Muse, Within Temptation, and many more.

Bernard - Side-Line Staff

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Aiboforcen interview: ‘Transcending boundaries between noise and silence…’

Bernard - Side-Line Staff — Mon, 29 Jul 2024 07:28:41 +0000

The iconic Belgian dark electro/future pop act Aiboforcen recently returned with their 7th studio album, “Between Noise & Silence”. Led by Benoit Blanchart and featuring the enigmatic Patrice Synthea (REGENERATOR), this album merges melancholic dark synth/EBM anthems with thrilling collaborations! Notable appearances include EBM/industrial legends like Patrick Codenys of FRONT 242, POUPPEE FABRIKK & IMPLANT (in a duet), and NUMB. The album also features outstanding female vocalists from the pop wave scene, such as Mari Kattman (HELIX), Noemi Aurora (HELALYN FLOWERS), Emke (BLACK NAIL CABARET), and SORROW STORIES… Without forgetting the splendid collaboration with Jan Dieckmann of NORDERNEY who sings on several songs and strongly contributes to crafting the album’s magic through moving lyrics, catchy dark pop melodies, and upbeat EBM sequences that often evoke the melodic and emotional depth of VNV NATION! Benoit gave us more insights on his new album…

You can order the new album now on Bandcamp as download and on 2CD via the Alfa Matrix webstore. Note that the 3CD version was sold out immediately.

Between Noise & Silence (Bandcamp Version) by AIBOFORCEN

S. “Between Noise & Silence” is your 7th studio album and features an impressive 22 tracks. Can you share the journey of creating such a substantial body of work, and what inspired the album’s title?

B. I started working slowly on what would become this new album during the covid period. Like many bands, those very special times allowed me to concentrate and spend much mor time in the studio creating new sequences and sounds. After a few months, what was started with no clear objective became to take shape and I started gathering several demo tracks thinking I could use them for an EP or album. It was a very creative period and also (hopefully for me) the opportunity to learn/improve a bit more the mixing and production side of the aïboforcen sound… I thus also started thinking about the right vocalist for each track. The title track “between noise & silence” is actually a sentence coming from a demo track that Tina from SORROW STORIES was working on for me… it became the title for the track but also for the album. It’s a bit of a special track (a bit more complex) that I really wanted to be on the album but couldn’t find the right vocalist for it… Then Tina did a test and she nailed it down!! 😊 It also has a double meaning because since I’m not considering myself as a musician what I create in a studio probably lies in the grey area between noise and silence! 😉

S. On this album it seems that Patrice Synthea and Jan D. play a key role as vocalists? Tell us more about these collaborations?

B. Well, Patrice (REGENERATOR) has been the main vocalist with aïboforcen for quite a long time now and she helped creating some kind of a trademark for us. But I’m always interested in working for certain tracks with other vocalists, either male or female. Of course it can break a bit the cohesion of the album but for me it’s more like trying to avoid the monotony of the album. I see/hear the different voices as new instruments I can play with, and it can totally change the result of the tracks. I also appreciate the fact that I can offer a broader pallet of sounds and emotions. I was introduced to Jan while working on a remix for our label mates of ELEKTROSTAUB. I knew a bit of his project NORDERNEY that I also appreciated a lot and I thought he would be the right vocalist for a track I was working on at the time. I sent him a demo and after a few days he came up with something really brilliant for me. I was so pleased with the result that I asked him to do a second track and the result turned out to be even better… He has such an emotional voice that it really adds another dimension to the song and brings them to a next level. After a while we started swapping ideas but also sequences and sounds and he eventually became more and more involved in the whole process. He helped me a lot giving advises and also programmed several synth lines, what was totally new and unusual for me… it was surprising, challenging and it contributed in creating a more mature and developed sound. In the end he helped for a great bunch of the album in various forms… Therefore the album is also much more balanced between male and female vocals. He also made a duet with Patrice on the track “everything” and I’m pretty sure that it’s something we should try again in the future…

S. The album indeed boasts collaborations with a variety of other artists too, from EBM/industrial legends to outstanding female vocalists. How did these collaborations come about, and what unique contributions did each guest artist bring to the album specifically?

B. As I said, when a demo is finished I try to think about what would be the right vocalist and what it would add to the sound of it. Of course there are some people/singer I would dream of having on the album but sometimes I have to stick to reality. My choice is influenced by the music I listen to, people I met through remixing, bands I know and so on… I’ve been blessed in the past working with great artists such as Jean-Luc from FRONT 242 and this album also gathers some legend from the scene such as Henrikk from POUPPEE FABRIKK or yet Don Gordon from NUMB who both helped me deliver the most aggressive cuts from the album. Tina from SORROW STORIES was also really involved in the process, contributing to several tracks that we can find both on the EP and the album but also on the special 8cm cd available with the limited edition. I had met her through a remix I had done for PSY’AVIAH actually and I had been mesmerized by her rather delicate and otherworldly vocals. She is also a very passionate and nice person, and meeting and exchanging with people is another aspect of collaborating on tracks. Then there is also Noemi Aurora who helped us with her very characteristic and powerful voice and it helped adding the extra touch to “cycle of life” and “heaven knows” you can find on the album. It was a pleasure working with her and she’s a professional and also involved and more than passionate with music… Also doing a track with Emese from BLACK NAIL CABARET was really an honor for me. She has one of the most distinctive voice from the scene at the moment and the result is a very captivating cut with upbeat sequences. I really hope listeners will like this track as much as I do…

Mari Kattman also lends her voice on the opening track as well as on a remix of “In My Arms” (a track from the previous album) and she also has a very distinctive and beautiful voice. Last but not least I also worked with Len from Implant since he is a long time friend of us and I was glad to have him back in one form or another. With the lyrics of the track he did evoke, it’s like a celebration of a long-time relationship between us (including also Seba, Bernard, Stephan) and how it was when we started this all as students (the magazine, the label, the bands, the gigs).

Patrice Synthea

S. Your sound is often compared to iconic acts like VNV NATION, FRONT 242 or yet COVENANT. How do you approach honoring these influences while still maintaining your own distinct identity as AIBOFORCEN? “Between Noise & Silence” seamlessly weaves between oppressive industrial assaults and catchy synth-pop tunes. Can you discuss the creative process behind balancing these contrasting elements to create a cohesive listening experience?

B. Well, it’s sure that I’ve been listening to those bands a lot (one of my first vinyl was 242’s politics of pressure, along with Kraftwerk radioactivity’s 7”) but I am also influenced by other acts from inside and outside the scene. I listen to a lot of music from the EBM but also to darkwave, gothic, experimental, industrial or yet metal… All this is ingested and some parts/influences appear here and there in my music. Also I hope that with time I manage to create a bit of my own distinctive sound and style.

As far as VNV NATION is concerned, I have to admit that Ronan has a deep sense for great melodies and a very emotional voice and is an example of what soulful music is. So if we sound a bit like this it’s a good point for us! 😊 Remember he remixed one of our track at our respective very beginning! But I always try to balance catchier tracks/tunes with a rougher sound and more complex structures or experimentations. For me it’s kind of logical and it can create a cohesion because some sounds, fx, way of treating things are the same and reflects the different side of one same “machine”. Also I tend to focus on recording an album with highs and lows rather than a succession of single tracks… so this new album (especially the first disc) needs to be explored and listened as a whole, with the tracks kind of merging one into another. I spent hours / days / months working on sometimes very little details of mixing, samples, eq’s to find the best result I could. I like it when it takes several listening to really get all the details included in the tracks and hopefully surprise the listeners…

S. One of the tracks on the album is a cover of DEATH IN JUNE’s “Break The Black Ice.” What drew you to reinterpret this particular song, and how did you make it your own while staying true to the original?

B. We’ve always tried to include at least one cover song on any of our releases, either for fun or to show where our roots are… I was introduced to DEATH IN JUNE’s music more than thirty years ago and the album “The World That Summer” from 1986 has always been a favorite of mine. “Break the black ice” was an obvious choice because it is a rather simple, dark but catchy song, kind of desperate also and I really liked the version sung by Rose McDowall which is a fragile and delicate dark cut. I thought that Patrice could do it as well and recorded a demo. The first version was really slower and darker than the one on the album. We will feature it on a compilation from our label later this year actually. The final version has a stronger beat and an aggressive lead sound while the original one is softer. Both Patrice and I liked the version very much and what was a the beginning more like a “b-side” became one of the main important track from the album… I hope fans of DEATH IN JUNE and AIBOFORCEN will be pleased by this tribute… the structure is rather close to the original version from DEATH IN JUNE but of course it’s 100% electronics and there are some distortions here and there… 😊

S. The album is described as a high-tension dark elektro masterpiece. How did you approach crafting the sound production to achieve this level of intensity and maturity?

B. I always spend a long time editing, changing, mixing, adding details and I hope it can be reflected in the overall sound of the album. I never intend to choose the easiest way while producing the music and I hope I raised the level a bit more on this new release. I spent much more time on the vocals (cutting, eq’s , volumes, …) than on any other previous releases; there are lot of movie samples (hidden or not), lots of different synths and fx… I can sometimes leave a track for one month and then come back with new ideas and Jan also helped me developing as much as possible this new sound which is probably more focused than before. It still goes into any directions but with a common thread and overall atmosphere throughout the numerous tracks. It was exhausting (especially at the end) but it was worth (at least personally) and I really hope our fans will like it…

S. How important is the visual aspect of your music, and what role does it play in enhancing the overall experience for listeners?

B. It is important, not as much as the music, but it sets the tone for the whole album. We always tried to have eye-catching sleeve or at least mysterious ones that will give the envy to enter into the universe of aïboforcen… When I was a kid, I used to go to a place where you could rent vinyls and I would sometimes rent releases just because the sleeve would attract me in a way or another. On this release we obviously used AI to create the graphics but it was intended and assumed. It was our easiest way to express and get the closest to the images we had in mind while creating the music. And since our music relies on techniques, processors, synthetic soundscapes, it makes sense…

S. Lastly, the first 50 orders from the official Alfa Matrix e-shop received a signed version with an exclusive bonus mini-CD. Can you tell us more about the significance of this bonus content and what fans can expect from these exclusive tracks?

B. When the album was completed and sent to the mastering, I noticed that there were a few tracks left without vocals that couldn’t make it on the album but were a good insight of what it’s like being in the studio and working on new tracks. It is more like demo’s but also I had the feeling that they could stand on their own and give another view on our music. The first of those 4 tracks is called “eliza effect” and is a brand new one that maybe will give some infos of how the future sound of aïboforcen will be (or not). The track “pulsions” (with vocals by Tina from SORROW STORIES) arrived too late in the process of the album but was good enough as well. In the end it gives the opportunity to the die-hard fans to have some extra tracks (unreleased) and have a bit more “intimacy” with the band…

Bernard - Side-Line Staff

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Metroland interview: ‘Every new release is a fresh new audio canvas’

Bernard - Side-Line Staff — Mon, 29 Jul 2024 07:02:40 +0000

The Belgian electro-pop duo Metroland released “Forum” a few months ago, an electrifying conceptual hymn to the industrial revolution of the 21st century, a sonic journey exploring the crossroads of innovation and nostalgia. Fresh and experimental vintage electronic prowess for fans of the melodic Düsseldorf synth style. We talked with Passenger A and Passenger S about this new album, while new singles from this album are in the pipeline.

The album is available on Bandcamp and on CD via the Alfa Matrix webstore.

Forum (Exclusive Bandcamp Version) by METROLAND

SL. “Forum” is described as a continuation and evolution of your previous work “0”. Can you explain the conceptual link between these two albums and how the EP “Industry” serves as a bridge between them?

Passenger A&S: When “0” was not yet released and seriously delayed by many different factors, we were toying with the idea to extend the ‘World Economic Forum’ concept around the industrial revolutions. We planned 5 EP’s, each with a variance of the song “Industry 4.0” alongside new tracks. However, once “0” was out, we no longer had the urge to release these foreseen EP’s. We both felt it was simply not enough and, to be honest, it was close to being even pointless. After some creative discussions and a Belgian beer or 2 (make that 4) an album felt better, more significant and certainly in the afterglow of “0”, unfinished business.

The album indeed draws inspiration from the World Economic Forum in Davos. How did this influence shape the themes and musical direction of “Forum”?

Passenger A&S: It is in fact almost never the theme itself that shapes the songs or the direction. We mostly start from a sample, a sound, or a title. While building the song we come across other sounds and samples and even then what we had in mind to start with could turn out totally different from that. “Forum” is an album which is not as dark as its predecessor, but you can surely put it alongside the atmosphere and direction of it.

Tracks like “Happy Nothing”, “The Great Reset”, and “Infotainment” showcase your melodic side. Can you discuss the inspiration and creative process behind these particular songs?

Passenger A&S: These 3 songs all started from a totally different base. “Happy Nothing” came from a textual idea, whereas “The Great Reset” was built on a sampled baseline and “Infotainment” started from a melody. While melodies are a continuum of Metroland’s way of working, we don’t really have 1 way to go about a song, nor do we start together in the studio every time. It is quite possible that a Passenger comes up with a demo or a loop of a few seconds.

“Forum” includes experimental song structures and fresh sounds. What new techniques or approaches did you explore in this album that differ from your previous work?

Passenger A&S: Every album is an occasion to broaden our sound palette and discover new electronics. However, we never set out from the start with a clear goal; it mainly comes along during the creative process; our more ‘experimental’ side you could say. Sometimes, we even delete parts of a song or a sound, and yes, even sometimes a complete song is being omitted. We have around 5 to 6 songs that never make it on a release, and we never re-use any of these either. We do have our special things and tricks that we tend to do with shifting notes, trying different layers or strange effects. But we never look back, never try to copy something from our past, or use any of the sounds we used before. Every new release is a fresh new audio canvas where we use different approaches in sound scaping.

The EP “Industry” features different versions of the industrial revolutions, culminating in a 10-minute epic experience on the CD edition. How did you conceptualize and create this multi-part industrial journey? And why these different versions always between CD, digital, vinyls… it’s quite conceptual for METROLAND isn’t it?

Passenger A&S: Apart from the music, there is art, there is concept, there is hard work. So, if you “only” want digital, you might get less. We strongly believe in the item as an entity to complete our message. It is only by holding, reading the booklet and seeing the full package that you understand what that message ought to be. Digital platforms should be an argument to buy a physical version on an album and not “the end”. We want to deliver value to those who appreciate it. That requires much more input from our end, more songs, more art, but in the end, it brings much more value. And yes, this is a harsh view, we confirm. But since we entered the music business in 2012 with “Mind The Gap” we get the appraisal for that from our loyal fan base.

Your music often reflects a blend of innovation and nostalgia. How do you balance these elements to create a sound that feels both fresh and rooted in the vintage electronic tradition?

Passenger A&S: It is the blend of our very rich background and music collectors from 80s to modern, from dark wave to electronics and everything in-between that results in the typical Metroland sound. Where Passenger S is inspired by dark music but loves the high-pitched sequences, Passenger A loves club stuff but prefers not to make things too jolly. We push each other in both directions and extremes, but we meet each other in the middle. It is that synergy that keeps us going, that delivers that Metroland attitude.

The tracks “Activity as a Timetrigger,” “Baukultur,” and “Quantum” continue the trajectory set by “Industry.” Can you delve into the themes and messages you wanted to convey through these electro-infused pieces?

Passenger A&S: We never thought of it that way. We never make a song, deliberately thinking of a message or a link with another album track. We do read and discuss often about the concept and about what would/could be the right direction to take, both music and art wise. Things just happen, albeit everything is linked to the theme. The current concept we are creating songs for is basically an easy one, opens a lot of opportunities, but is the hardest one for us to give it the right approach in art, when looking at all our endeavours.

As a duo, how do Passenger A and Passenger S collaborate in the studio? Can you share some insights into your creative dynamic and how it influenced the making of “Forum”? And how different is it for both of you compared to your respective solo-projects?

Passenger A&S: Usually, we meet up weekly in the Underground Studio and work on no matter what upcoming release. There is never any pressure, but once someone holds the final result, he or she can be sure that everything is meticulously planned to the hilt, from every little stroke of art to the very last second of every song. But we never follow the same pattern or path; nor for music nor for art, and the further we can step outside of the box the more we like it! The solo-projects are clearly without the influences of the other Passenger and music wise, although both electronic, it is very different for 90% (some things are in our DNA and we cannot ignore it. But that feels natural after working together for more than 30 years). The biggest difference is that the synthpop from 808 DOT POP (Passenger S) is built around concepts and more sequence based, whereas LECTREAU (Passenger A) works in singles only and aims for the club floors. The mutual aspect is electronics; that will remain a fact, no matter what.

Bernard - Side-Line Staff

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I Ya Toyah, from darkwave to… hot sauces + new album

Bernard - Side-Line Staff — Thu, 25 Jul 2024 17:47:17 +0000

(Photo by Babiracki Images / Krzysztof Babiracki) The rather talented Chicago-based industrial darkwave artist I Ya Toyah has launched a new line of exclusive, limited-edition hot sauces, inspired by her recent EP, “I Am The Fire”. These sauces were initially available only during I Ya Toyah’s recent American tour with Orgy and Cold, but are now also available online via her Bandcamp page.

The “I Am The Fire” hot sauces include:

Pop Your Cherry: A tart cherry explosion with coffee, spice, and citrus notes, culminating in a palate-filling heat.
Tropical Tease: Fragrant West Indies curry combined with a tropical taste.
Safe Word: Scorch: Sun-kissed pineapple with agave, ginger, and cumin, followed by the intense heat of 7 Pot Primo pepper.

Apart from sauces, there is also music news as she announces a ew full-length album, “Drama”, which is set for release on October 4th. The album was co-produced and mixed by Walter Flakus of Stabbing Westward and features new material as well as tracks from her “I Am The Fire” EP.

You can check the video from the excellent track “Denial” below.

Bernard - Side-Line Staff

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Rodney Cromwell releases new ‘Exercise Class’ EP – Out now

Bernard - Side-Line Staff — Thu, 25 Jul 2024 10:47:17 +0000

(Photo by Alison Ahern) London-based indie electronic artist Rodney Cromwell has released his latest EP, “Exercise Class”, via Happy Robots Records. Known for his retro-futuristic synthpop, Cromwell’s new EP features his signature blend of melodic choruses and spoken-word lyrics. This release follows Cromwell’s 2023 EP, “The Winter Palace Remixes”.

The title track, “Exercise Class”, is accompanied by an animated video directed by Martin J Langthorne.

The EP also includes “Madeline Trip”, a 55-second electronic piece inspired by Marcel Proust’s seven-volume novel “À la recherche du temps perdu” (“In Search of Lost Time”). This track also serves as an introduction at Cromwell’s live shows.

Hailing from Catford in South London, Rodney Cromwell, the solo moniker of Adam Cresswell debuted with the album “Age of Anxiety” in 2015. Cresswell is also known for his previous work with the indie-folktronica band Saloon and the electronic duo Arthur and Martha.

The “Exercise Class” 4-track EP is now available on all major streaming platforms, including Spotify, Apple Music, and Bandcamp.

Exercise Class by Rodney Cromwell

Bernard - Side-Line Staff

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

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

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

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

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

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

DANCING WITH ANGELS by BEAUTY IN CHAOS

Track List:

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

Bernard - Side-Line Staff

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UPDATED – Are there economic benefits of sustainability in the independent music sector? Impala thinks so

Bernard - Side-Line Staff — Thu, 25 Jul 2024 07:28:20 +0000

UPDATE: Impala reached out to us and gave extra input and feedback, this has been added to this article.

Impala, the Independent Music Companies Association, has published the findings of its first survey examining the economic advantages of adopting sustainable practices within the European independent music sector. According to the survey there are multiple benefits for labels that implement sustainability measures, including cost reductions, enhanced innovation, and improved brand perception.

Let’s have a detailed look at what they communicate. You can download the business case right here. But first this…

Danger of Greenwashing

Below you can read what Impala indicated as being ‘sustainable’ practices. But, in some cases you can actually wonder if it’s not about greenwashing, because the cost for instance of producing lightweight vinyl is lower but the prices in retail will often remain the same. So, it could often be a cost element that plays, and not really the sustainable idea.

Impala reacts to us by saying that they strongly refute that assertion: “First, it is important to highlight the goal of the business case itself, which is to promote action among our members and in the supply chain. IMPALA is committed to aligning with climate science and works closely with expert advisors to ensure our approach is appropriate.

Furthermore, the report and IMPALA as an organisation don’t promote making sustainability claims without scientific backing, which is detrimental to both climate action and the organisation’s reputation. Should any companies want to display their commitment to the cause, it’s great to know that there are organisations like B Corp working on providing certified credentials.”

Greenwashing is when companies mislead stakeholders about their environmental practices to appear more sustainable than they are. Greenwashing can undermine genuine efforts, erode trust, and misguide consumers and industry stakeholders.

No Sign of the Famous Unplayed Catalogue Tracks Server Cost

Strangely enough we don’t see any mentioning of the huge cost that comes with unplayed tracks on Spotify. As we reported, Spotify will not be paying royalties for songs with fewer than 1,000 streams in a year.

But the deeper issue is the cost related to tracks that never get played. Nearly 25% of the tracks on streaming services had no streams at all. With the constant growth of the music catalog, unstreamed songs are predicted to reach a whopping 100 million by 2028.

The cost of maintaining these platforms has increased dramatically, from $35 million in 2019 to more than $130 million in 2022. So removing the unplayed tracks from Spotify would be a real sustainable move as it would mean less energy use to keep servers up with unplayed tracks.

In a reaction Impala says this: “Regarding streaming, IMPALA has had a position on the scope of responsibility for a while now, which we included in our ‘standards’ report published early last year. In a nutshell, while we’re working closely with DSPs to encourage greater transparency and support them towards measuring and reducing the impact of streaming, their emissions are excluded from the responsibility of labels, who we represent.

You can find the full report here, and I’ve also included the relevant text below. We’ll also include this in our business case report to avoid future misinterpretation. Thank you for bringing that to our attention.”

This is the relevant text that we were sent by Impala:

Standardising the sector’s approach on streaming is vital. The group reviewed the whole chain and reached a key set of conclusions related to the scope of responsibility concerning digital distribution.

Emissions from downstream digital distribution (the distribution of digital recordings through Digital Service Providers [DSPs] and consumption by fans through streaming services or digital download) are excluded from the responsibility of labels for the following reasons:

Scope of responsibility – labels do not own or control DSPs which are the responsibility of third parties who are already taking responsibility for the relevant emissions.
Influence – record companies have no direct control over the distribution of digital files once they have distributed to DSPs, or influence over emission reduction programmes.
Size – due to a lack of available data, it’s not possible for the recorded sector to estimate with accuracy the size of emissions from digital distribution. The necessary data is controlled by DSPs and their downstream partners. Some DSPs are working towards gathering data from their operations and are establishing emissions calculation methodologies. We refer to this, as availability of data is part of the GHG protocol, but as noted above, scope of responsibility and lack of influence mean that DSP emissions (including subscriber emissions) are not counted as record company emissions. (This is the same as for other downstream areas of activity in the music market, such as physical retail.)

Digital distribution is a vital part of our industry and makes up a significant portion of income for our members. We’re therefore working closely with DSPs to encourage greater transparency and will support towards measuring and reducing the impact of streaming. As part of the Music Climate Pact and our own Climate Charter, we call on DSPs to work collaboratively to share data and knowledge on this issue.

Here is what Impala says in its current version of their business case regarding sustainability.

Financial Savings and Environmental Impact Reduction:
- Companies reported important savings in manufacturing, distribution, energy, and travel costs. For instance, labels like K7! Music have reduced costs by opting for green vinyl (PET), which cuts energy consumption by 70-80% compared to PVC.
Internal Innovation:
- Embracing sustainability has driven internal innovation. For example, some companies have optimized logistics by shifting from air to sea freight and encouraged remote meetings, maximizing staff efficiency. The introduction of new formats, like 140g vinyl instead of 180g, has proven cost-effective with minimal impact on audio quality.
Supply Chain Improvements:
- Sustainable practices have led to operational efficiencies and cost savings. Local sourcing and just-in-time inventory management have minimized excess stock and lowered storage costs. For instance, labels reported benefits from using lightweight materials, reducing transportation and packaging costs.
Strengthening Supply Chain Relations:
- Enhanced transparency and collaboration within supply chains foster positive changes. Suppliers publishing their sustainability data and collaborating on certification systems have presented new opportunities for large-scale sector improvements.
Competitive Position and Brand Awareness:
- Sustainability has bolstered companies’ competitive positions. Labels such as Secretly Group and Beggars Group have seen improved brand perception and competitive advantage through their sustainability efforts. For instance, public engagement and recognition as sector leaders have enhanced their visibility and appeal.
Regulatory Compliance and Financial Resilience:
- Proactive sustainability measures help companies stay ahead of regulatory changes. By implementing tools like the Impala Carbon Calculator, companies can prepare for future regulations and tax incentives, ensuring long-term financial resilience.
Attracting and Retaining Talent:
- Sustainability initiatives have positively impacted employee recruitment and retention. Companies noted that a focus on sustainability fosters a purpose-driven work environment, attracting younger generations who value social responsibility.
Attracting Artists:
- Labels with strong sustainability reputations attract more artists. Artists increasingly engage with labels on sustainability practices, contributing to positive public perception and industry leadership.

Survey Methodology

The survey was conducted through ‘qualitative interviews’ with selected Impala member labels from different territories, sizes, and stages of their sustainability journey. Research projects from entities such as Music Declares Emergency, British Phonographic Industry (BPI), and Key Production supported the survey findings, showing that music fans prioritize climate action and are willing to pay more for sustainable products, so Impala claims.

Impala itself offers tools like the Carbon Calculator to help members track and report their carbon footprint. The program aims to halve greenhouse gas emissions before 2030 and achieve net-zero emissions before 2050. It encourages members to take action by measuring their carbon footprint, reducing emissions, and investing in environmental projects.

About Impala

Established in 2000, Impala represents over 6,000 independent music companies across Europe. Known for their innovation and artist discovery, these companies produce more than 80% of all new releases and account for 80% of the sector’s jobs.

Bernard - Side-Line Staff

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Terminal collected on ‘The Hush of Cannons Cold’ – Out now

Bernard - Side-Line Staff — Mon, 15 Jul 2024 07:32:35 +0000

Out now is the brand new album from the South African industrial act Terminal: “The Hush of Cannons Cold”. The album title is taken from the song “Testify”, which appeared on the group’s most recent full-length release, “The New Republic” (2023).

“The Hush of Cannons Cold” is a collection of eight instrumental reworks released on Metropolis Records. The instrumental tracks appeared as seven brief interludes on the first two Terminal albums and were now remixed and developed into full-length instrumental pieces by different collaborators.

Contributing artists include Flesh Field, iVardensphere, Stahlschlag, Evestus, spankthenun, RailWRX and Searching For Survivors. “More than one artist expressed that this was a unique challenge for them,” states Terminal head Thomas Mark Anthony. “In many cases, the first thing a remixer does is delete everything but the vocal track. With no vocal track, they had to change their approach right out of the gate. They all rose to the challenge.”

Terminal themselves have also included an all-new track entitled “From The River To The Sea [Palestine Will Be Free]”.

Editor’s note: The phrase “From the river to the sea, Palestine will be free” is highly controversial due to its political and historical implications. This slogan refers to the geographic area between the Jordan River and the Mediterranean Sea, which encompasses both the State of Israel and the Palestinian territories. Its interpretation and the intent behind its usage are central to the controversy. For some Palestinians and their supporters, the phrase symbolizes the aspiration for an independent Palestinian state across the entire area currently comprising Israel and the Palestinian territories. It expresses a vision for Palestinian self-determination and national sovereignty. However, many Israelis and supporters of Israel perceive this phrase as a call for the elimination of the State of Israel. They interpret it as advocating for a future in which Israel does not exist, effectively replaced by a Palestinian state. This interpretation suggests that the phrase negates Israel’s right to exist, leading to accusations that it is inherently anti-Semitic and incites violence against Israelis. The phrase has been used by various groups, including political movements and activists during protests and rallies, particularly in contexts related to Israeli-Palestinian relations. Criticism of the phrase has come from numerous Jewish organizations and other groups who argue that it undermines efforts for a peaceful two-state solution. They contend that it dismisses the possibility of coexistence between an independent Palestinian state and the State of Israel, promoting a zero-sum scenario instead.

Terminal will be playing selected dates in the Summer and Fall of 2024.

Terminal is the work of singer, songwriter and multi-instrumentalist Thomas Mark Anthony, a lifelong anti-apartheid and civil rights activist over a life lived in South Africa, Canada and the USA. David Ross Phillips (drums) and Sonia Weimann (bass/keyboards/vocals) have recently join Antony (vocals/guitar) for upcoming live performances.

The Hush of Cannons Cold by TERMINAL

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Superikone’s new mix ‘Aus purem Gold’ by Frozen Plasma released, incl. additional remixes

Bernard - Side-Line Staff — Wed, 24 May 2023 11:26:06 +0000

The Cologne based act Superikone aka Malte Schmidt-Kohl has announced the release of their newest mix, “Aus purem Gold” (“Made of Pure Gold”), which is mixed by Frozen Plasma aka Vasi Vallis. This release also includes additional remixes from other artists including Diar Black, Airman, Vainerz, Michael McCain, Damn Electric Me, and Alivion.

In the words of Malte Schmidt-Kohl, the artist behind Superikone, the song deals with central philosophical questions about life and death with a uniquely captivating lightness and his characteristic eloquence. He dedicates the song as a preemptive thank you to those who will mourn his eventual passing, inviting them to celebrate life in the meantime.

The new single is available digitally now in both a Gold and Black edition, each with different mixes.

Also out on all digital platforms is Superikone’s album “1973” (Deluxe).

Superikone has been around since 2003 debuting with the single “Opiate” and releasing 6 studio albums since then: “Opiate” (2003 + Edition 2017), “Energie” (2006 + Edition 2015), “Endorphin” (2007), “Keep Your Dream Alive” (2010), “Zuckervater” (2015), “Paläste aus Katzengold” (2017). You might remember the band was also featured on our very own “Face The Beat: Session 4” released in November 16, 2016. Coming up in 2023 will be more new material as the project celebrates its 20 years anniversary then.

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Yugoslavian electronic music history (1980-1989) compiled on vinyl

Bernard - Side-Line Staff — Tue, 05 Jul 2022 18:07:15 +0000

Out via Croatia Records / Overland is this rather interesting compilation: “Electronic Jugotono Vol.1 – Synthethic Music from Yugoslavia 1980-1989”. Released as a double LP it is a unique compilation of electronic, minimal, synth, wave and avantgarde music from ex-Yugoslavia.

This is the first of 2 parts and part 1 holds over 75 miniutes and 26 songs from the period 1980-1989. Part 2 will follow in 2023 and will even go back to pre-electronic music from 1964. Some older fans will remember that this material was released already on CD in 2014 by Croatia Records, ex Jugoton. But interesting here is that the material used here was restored from the original master tapes by the veteran archive diggers Višeslav Laboš and Zeljko Luketić who did an outstanding work.

Via this releases you’ll know what was going on in the music industry of former Yugoslavia and at Jugoton, the biggest Yugoslavian music label at that time, for the first time on vinyl.

The tracklist:

Side A

Laboratorija – Jugoton Express
Laboratorija-Devica 69
D’Boys – Žaba
Beograd – Sanjaš Li U Boji
Data – Neka Ti Se Dese Prave Stvari
Brazil – Gdje Nema Te

Side B

Denis & Denis – Jugoton Express
Denis & Denis – Ti I Ja
Du Du A-Romance
The Master Scratch Band – Pocket
U Škripcu – Noć Ča, Ča, Ča
Parlament – Kad Je Kraj Blizu

Side C

Dorian Gray – Jugoton Express
Dorian Gray – Tonemo U Mrak
H. C. Andersen – Palčica
Slađana & Neutral Design – Neko Je Tu (Sa Mnom U Sobi)
Amila – Vodi Me Iz Ovog Grada
Tužne Uši – Ti Me Uči
Zana – On

Side D

Oliver Mandić – Jugoton Express
Oliver Mandić – Dođe Mi Da Vrisnem Tvoje Ime
H. C. Andersen – Snježna Kraljica
Dubravka – Harakiri
Milka Lenac – Ponoćni Express
Nicky – Radio Video
Mladen Kušec – Tonkica Palonkica Frrrrrrr

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Superikone releases brand new single ‘Phönix’

Bernard - Side-Line Staff — Tue, 28 Jun 2022 09:15:59 +0000

The German language futurepop / synthpop projekt Superikone by Malte Schmidt-Kohl, a film- and tv-music composer from Cologne, has a new single out, “Phönix” which was premiered at the band’s Wave-Gotik-Treffen show where a lot of new stuff was premiered.

Ther single holds 3 tracks, the title track in 2 versions and the B-side “Metamorphose” in the Analogmix.

Coming up in 2023 will be more new material as the project celebrates its 20 years anniversary then.

Here’s the single to check out.

Phönix (MCD) – Bandcamp Edition by Superikone

Bernard - Side-Line Staff

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First reactions on death Andy Fletcher (Depeche Mode) from former colleagues and friends

Bernard - Side-Line Staff — Fri, 27 May 2022 10:48:35 +0000

The sudden death of Andy Fletcher yesterday has – as predicted – caused a big shockwave throughout the electro pop community. Several former colleagues and people close to the band have in the meantime posted condolences.

We picked the most relevant ones.

Alison Moyet was one of the first to react: “I have just heard the news. Since we were 10. Same estate. Class mates to label mates. He who kept faith with all the old gang and they with him. It doesn’t compute. Fletch. I have no words.”

Andy Bell and Vince Clarke from Erasure posted a picture of Andy Fletcher with as text an emoji of a broken heart.

Fletcher’s former Depeche Mode colleague Alan Wilder (Recoil) posted this: “A real bolt from the blue to hear about former Depeche Mode colleague Andy Fletcher yesterday. My thoughts and condolences are with his wife Grainne and all the family at this distressing time. RIP ‘Fletch’.”

Mute and Daniel Miller: “We mourn the loss of our dear friend Andrew Fletcher who passed away yesterday. Such an integral part of Depeche Mode from the very start of their remarkable journey, he will be missed beyond words. Our hearts go out to his family, Dave and Martin and to all the wonderful fans and friends who loved him. With love from Daniel and his entire Mute family.”

Phil Burdett who used to form a band, Norman & The Worms, with Martin Gore and who went to the same school as Fletcher posted the following: “So very sad to learn of the passing of Andy Fletcher my old school pal & eventual member of Depeche Mode. Whilst I have never been a fan of the band I have many good memories of the times at the end of my fourth/fifth form at St. Nicholas & he was an integral part of a very fertile period in Basildon at that time & somehow when contemporary friends are lost the sadness felt is made more vivid. He used to come & see me & Martin play at Norman & The Worms gigs & I always thought it odd that he was positioned in between us in this photo…out of all three in the picture two thought they would make it big…couldn’t have happened to a nicer chap…RIP Fletch…”

Deb Danahay who was very close to the band during its earliest history posted the following: “I’m still in shock… Andy never took drugs or even hard alcohol… he just loved a pint or two of lager with the boys… He never learned how to drive. He’d get the train back to Basildon to meet up with his old mates… he was a fiercely loyal friend… Something I’d love to tell devotees… that they’d travelled the same route on the same trains… I was at a DM event in Berlin with Gareth Jones and someone asked what Andy brought to the recording sessions, Gareth Jones was adamant that Fletch brought the whole process together…”

Orchestral Manoeuvres: “Tonight we are celebrating selling out The Greek Theatre in LA but it will be touched by a great sadness as all of us say farewell to Andy Fletcher from Depeche Mode. A beautiful person in an amazing band. We send alll our love to his family.”

Jurgen Engler: “Crazy news… R.I.P. Andy Fletcher… we hung out in Dusseldorf way back in the 80s on DM’s Some Great Reward tour… the band had invited me to meet them after the show… he was such a nice guy, easy going and curious… it’s hard to believe he left so young… I know the world won’t forget him 🖤”

Pet Shop Boys: “We’re saddened and shocked that Andy Fletcher of Depeche Mode has died. Fletch was a warm, friendly and funny person who loved electronic music and could also give sensible advice about the music business. Our sincere condolences to his family and friends and to Dave Gahan and Martin Gore. Neil & Chris xx”

Blancmange: “Very sad news. I have great memories of times we shared all those decades ago. On tour I never won a single game of chess against him. Before either of us signed record deals we both worked at London Bridge. me under that railway arch as a graphic designer and he in a suit, at a solicitors I think, or may be an accountants. I’d quite often bump into him, each of us doing a double take to process the sight of each other not standing on some tiny stage next to synths and tape machines.
A lovely man. A gentleman.”

Soft Cell: “We are so sad to hear about the passing of Andy Fletcher. Depeche Mode and Soft Cell will forever be part of each other’s early histories and genre-defining the early 80’s. What a band, and what a success story. We send our love to Dave, Martin, Daniel and all the Depeche Mode team.”

New Order: “We are saddened to hear of Andy Fletcher’s passing. Our thoughts are with Depeche Mode, their crew, his family and friends at this difficult time.”

This article will constantly be adapted with new quotes.

Bernard - Side-Line Staff

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Experimental music using a harp? Yes, Kety Fusco has proven it and now releases a new single ‘Shivers’

Bernard - Side-Line Staff — Thu, 26 May 2022 11:43:02 +0000

“Shivers” is the new single by the Italian-Swiss experimental harpist Kety Fusco, produced by Francesco Motta and Aris Bassetti, out now on Floating Notes Records. It is the first excerpt from a new solo album coming out in 2023. On this new single we also find Carmine Luvone on cello.

The single features Fusco using her voice to make the harp sing, similar as you can see in the short video below. This video was taken from “Beyond the Harp”, the first sound library of non-traditional sounds recorded with the classical harp.

And here is the all new single.

According to Fusco: “The search for the instrumental genre of the harp is also about discovering what kind of music and genre you can create with it. Since there is no real musical reference to the world of contemporary pop music on the harp, I have to make attempts to express myself and continue to embrace my idea of the contemporary harp, feeling its vibrations and letting myself be overwhelmed by the shivers that these resonances cause me, and continue to compose and let the world discover a new idea of the harp.”

Check her out during one of her next concerts, very much recommended.

Live Dates

17.05 TRACCE – Terracina IT w/Mary Lattimore
28.05 Wired Next Fest – Firenze IT
22.06 TBA – Trieste IT
23.06 Kino Šiška – Ljubljana SLO
24.06 Castle – Momjan HR
25.06 Rijeka HR
08.07 Château Perché – Carré des Platanes FR
12.07 Montreux Jazz Festival – Montreux CH
24.07 Paléo Festival – Nyon CH
27/28.07 World Harp Congress – Cardiff UK
05.08 2022 TBA – Otranto IT
07.08 2022 TBA – Cosenza IT
28.08 Palp Festival – Champex-Lac CH
1.09 Locus Festival – Bari IT
02.09 Zurich Harp Festival – Zurich CH
14.09 Celebrations in honour of the President of the Swiss Confederation – Lugano CH
29.09 Feinkoste Lampe – Hannover DE
1.10 Salvi Harps – London UK
8.10 TBA – Montpellier FR
13.11 Rote Fabrik – Zürich CH
18.11 KIFF – Aarau CH
23/26.11 TBA – Paris FR

Also check out these videos

Here’s her cover of Erik Satie’s “Gnossienne N.1”, renamed as “Ma Gnossienne”.

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Norwegian Album Classics on CD – and soon also LP – a corona initiated crowd funding success

Jan Ronald Stange — Fri, 23 Apr 2021 14:29:00 +0000

(By our Norwegian correspondent Jan Ronald Stange) The crowd funding project ‘Norske albumklassikere på CD’ (‘Norwegian Album Classics on CD’) is a series of CDs whose purpose is reissuing music that either never has been released on CD or is hardly available on CD anymore. The project is enjoying a success beyond all expectations these days. The concept is this: always having 20 albums in the crowd funding pool, and when an album goal is reached it can be purchased at the main website norskealbumklassikere.no. The public Facebook group for the project, which recently passed 11.000 members, have a constant flow of suggestions and discussions among the members.

There’s also a similar project for LPs in the works, and 20 albums are at the present being decided and published daily until the launch May 9^th.

We got more background info from one of the main two founders, Christer Falck, who early on in last year’s mid-March corona lock-down quickly became restless and started the concert streams series ‘Koronerulling‘ the very next week. 83 artists/bands was able to stream their concerts the following year, ended up getting 4.5 mill NOK in well-deserved and much needed donations.

Side-Line: How and when did the idea for ‘Norwegian Album Classics’ surface?

Christer Falck

Christer Falck: I was doing some promotional phone calls to the local press when I was releasing the 20 CD-box set by Jahn Teigen, and one of the most enthusiastic journalists in Norway, Erik Munsterhjelm at Tønsberg Blad, asked me if I could release a box set by one of his childhood heroes, The Kids, as well. Since they had only released two albums, I thought the idea of a box set was a bit too ambitious, but then the idea came to me. Releasing all the good records that had only been available on LP and MC – on CD. Not just one record, but a lot of them. I called my 5-6 most nerdy friends, and asked them to make a list of the 50 albums they miss in their CD-collections. My partner John Richard loved the idea, and the funny thing is that the lists that I received were almost identical. I thought “when 6 people, so different from each other manages to make almost equal lists, it has to be a market out there”.
This, combined with my fetish for crowdfunding, made me do a website with my crowdfunding-partners bidra.no, where 20 records should be on display. Each record should get 30 days to be financed, if 150 people pre-order it, I will produce the record. If we don’t reach goal, they will all get their money back.

One month after the idea came, we started. Now we have made 90 albums in 100 days.

S-L: How successful do you consider this to have been so far?

CF: It depends how you measure success. As a cultural experiment, I’d say it’s a huge success. A lot of records that aren’t available on streaming services are now available, remastered and with much better sound quality than ever. A lot of CD-enthusiasts can join our little group on Facebook and suggest their favourite records, and I think we have managed to create a cool platform, where everyone respects each other’s musical taste. If they don’t, we throw them out, so they don’t have a choice ?
Financially, I think I could have found a lot of different jobs that would pay much better off, but at least I have something to do, these Covid-19-times. The alternative was to not arrange festivals, that’s my real job.

S-L: What has surprised you the most so far? Any weird album suggestions, the involvement of members, the process itself, other things?

CF: I know some much more about Norwegian music now than three months ago. I have a short list with 1700 titles on Norwegian albums. From easy listening to hardcore and punk records I’d never heard of before. And everything in the middle. But what I like with the concept, is that since we just need to find 150 buyers, nothing is too weird and strange. A Christian choir-album from the South of Norway or a heavy metal album from Finnmark – 150 people will probably find their way. The job is to expand the target group, so that the next album in the same will have the same opportunity to be financed. And the good part with our group, some of the members are doing the job for us. Sometimes I wake up in the morning and I’ve had a lot questions in our forum, and then some of the members have explained and solved all the problems for us. It would be impossible to do all the things that we do now AND do a great customers service too. So far we haven’t got any too weird suggestions, but a guy started a homophobic thread where he “Loved our series, but hated the “pride”-logo on our CD’s”. This was the most read and commented post so far, and 100% of our members made this person probably never post something like that again. I love the self-justice that the group is creating. Usually, when 11-12.000 people are gathered together, at least 1-2 % is fucking up for many of the others. But here, fucking up is very uncool. That’s probably what I’m most happy with.

S-L: As I write this there’s just weeks or days until the 100^th album is financed. How do you see the future of this project – is there an end, or does it have the potential to continue indefinitely?

CF: Well, I have 1700 records on my list. And there are still a lot of records being added every day. I’m not going to stop, but this concept will die by itself. It’s impossible to keep up the speed that we’ve have had so far. Both for us, but also for the buyers. Just too expensive. So hopefully, we will end up producing 2.3 records a week. Then my wife and kids will be happy too, ‘cause this takes all of my time. But it’s all a huge labour of love, so I hope it will last many more months.

SL: How is the interest outside of Norway for this project – are there many foreigners among the customers?

CF: We see that some of the genres are more popular outside Norway than others. Jazz, prog and Norwegian west coast music, has a huge standing abroad. One of the most selling records so far is Moose Loose – a jazz/fusion/prog band who hardly sold records at their peak. My goal is to sell more of their records in 2021 than they did in the 70’s.

Another major contributor on this project is Arvid Skancke-Knutsen; music journalist, author, musician and quiz master, who have contributed with lot’s of input and suggestions, but also liner notes on the CD releases. I thought it would be interesting to get an historical view on projects like these, and who better than to get from than a Historical Consultant at Rockheim, Norway’s National Museum of Popular Music?

S-L: In all your years in the music industry and press, have you ever seen a project accomplishing so much in such a short time?

Arvid Skancke-Knutsen

Arvid Skancke-Knutsen: No, this is pretty amazing, and I am very proud to be a part of it. We have now realized 90 albums in just 100 days – with very few signs of the project slowing down. What we have achieved is certainly a Norwegian and Scandinavian record. There might have been other projects similar to this, somewhere in the world, but I cannot think of any offhand. A commercial music series like Absolute Music ended up with a total of 64 record releases, but that took them 23 years. We have done this in mere three months – at a point in history where CD sales are plummeting.

The success of our series is basically down to just a few factors, I think. Firstly, the genuine enthusiasm of Christer Falck and John Richard Stenberg, the two founders of the project. Their enthusiasm spilled over to Norwegian record companies and artists. And especially to our 11, 000 members on Facebook, who have been very supportive all the way. The rest is about hard work, and making sure that the quality is as good as it gets.

S-L: How will this and similar projects “born” in the year(s) of corona influence music industry in the future?

ASK: Good question! I think that online concerts might have a future, even beyond the pandemic. It’s all about good logistics and excellent production values. If those elements are present, fans of bands and music genres will be willing to pay for it.

The corona situation has been a terrible worldwide event, but we still might be able to take away some creative solutions from it. I wrote a book, dealing with the pandemic in Norway, and its impact on the Norwegian music scene. And what struck me more than anything else was the amount of creativity going on.

S-L: What your best moments/highlight of this project?

ASK: The sheer amount of records that we have brought into existence in a very short time, while maintaining high production values. And the fact that the series is not just limited to one musical style, or merely the most popular artists. It’s really a history ride through Norwegian music, covering all sort of styles, fashions and creativity over a span of sixty years. Another personal highlight is the fact that I pick a cult classic every month or so, showcasing some of the strangest music ever recorded in Scandinavia.

Check out Arvid’s book ‘Da musikken stilnet’ – loads of pictures from corona restricted concerts (by Per Ole Hagen), and essays from musicians and others in the music business influenced by the lock-downs.

We also reached out to one of the projects most eager members and an oracle of Norwegian synth/electronic music/post punk ++: Per Aksel Lundgreen (Apoptygma Berzerk, Cronos Titan, Angst Pop, Chinese Detectives, Technomancer, Rossetti’s Compass and Shatoo) for tips about what foreigners should look for in this crowd funding project.

S-L: As one of the most active members of the Facebook group for this project, you have both suggested a lot of candidates for the crowd funding, and also shared and posted about your favorites in various groups all over. Which albums do you think Side-Line readers should consider getting their hands on?

Per Aksel Lundgreen (photo by Jesper Lundgreen)

Per Aksel Lundgreen: Yes, I’m a CD-man myself, having collected CD’s since I got my first CD-player from my aunt at my birthday in 1986, so when Christer Falck mentioned starting this project, I immediately contacted him and said that I would do my best to help out with promotion and pushing this project. Since this project also was started in the middle of the corona pandemic, it meant that I, and everybody else, had a lot of extra time on their hands, and so the ‘Norske Albumklassikere På CD’ has become a very welcome “distraction” and something that’s brought a lot of joy in a time that has been difficult for a lot of people, especially in the music business.

Anyhow, here’s some suggestions from my side, all depending on what your musical preferences are, but there’s some really great post-punk/new-wave/experimental/electronic/alternative stuff that has made it through here and that is already financed. (links in the titles)

Munch – ‘Excessive Mobility’: An amazing Norwegian classic that really deserved a CD release. They’re kinda the “Norwegian Einstürzende Neubauten” if you will, and if you like stuff like Shock Therapy, Polyphonic Size and Ledernacken, this album is definitively something for you. Most albums in this series are printed in 500 copies, but Munch insisted on only doing 300 copies, so this will be a collectors item very quickly too! 🙂

Garden Of Delight – ‘Big Wheels In Emotion’: Norway’s first real goth album, self-released in 1987 on vinyl only. They also did two great 7″ singles back in 1984 that never made it to the album, but the album itself is well worth checking out. Goth with female vocals and a touch of tuba, you’ve never heard that before, but you’ll love it!

Babij Jar – ‘Stalingrad’ and ‘The Night Before’: Two of Norway’s best hidden gems in the new-wave/post-punk genre. Went completely under the radar for people outside Norway, but had they had decent promotion and distribution back then, they could’ve made it really big.

Helge Gaarder – ‘Eine Keine Angst Musik’: Something as rare as a Norwegian art-rock/experimental/electronic album. Impossible to describe, must be experienced. The original LP will set you back at least EUR 120 and you find none of the music on YouTube or digital distribution. Very happy that this finally gets a CD release and the credit it deserves. Too bad Helge Gaarder died 17 years ago, so he never got to see this album being included in this classics series.

Plann – ‘Elektra Elektra’: One of very few minimal-wave albums from Norway, and a great one too! Quirky songs, haunting vocals, amazing synth sounds. Several songs can be found on YouTube if you want to check it out. Listen to “Cadillac”, “Sug”, “Ato Signal” and “Cherokee” which also was the single from the album. The original LP will set you back some EUR 140, so unless you’re a rich vinyl freak, I suggest you get the CD to enjoy this rarity.

Boastein – ‘Urgata Hurgata’: A Norwegian new-wave/kraut-rock inspired album, with repetitive drumming, charming synth sounds and a very nice all over feel to it. Check out the songs “Helium”, “Seismisk Kollaps”, and “Khomeini’s Visjon” on YouTube.

Ole I’Dole – ‘Blond Og Billig’: This album has become kind of an underground hit outside of Norway in the minimal-wave community because of the track “Space, Action, Sex & Blod”, which is pure synth heaven. The rest of the album is a bit more pop oriented, but the tracks “Framtidsskrekk” and “S.O.S.” are also really great tracks. Recommended listening indeed!

Creation – ‘The Real Thing’: two of the guys from Drama, making very soft synthpop in the style of Shatoo and a-ha, but with a couple of really nice tracks on there, and especially the track “Don’t Do It”. If you’re into Norwegian/Scandinavian (synth)pop this will hit home with you for sure.

Blind Date – ‘Don’t Talk’: Probably the closest you get to a Norwegian version of Psychedelic Furs, and this is a beautiful new-wave album with some really strong material on it! Check out the title track, “Don’t Talk” on YouTube, and if that is to your taste, then don’t hesitate to invest in this album!

There’s more goodies here of course, but the 10 albums above are my priority suggestions right now.
Also, currently there’s some other really great stuff still being crowdfunded:

Famlende Forsøk – ‘En Overraskende Måte Hvorpå Man Kan Kaste En Person Over Ende’: Norway’s equivalent to Throbbing Gristle, and their quirky synths, great programming and musical skills, mixed with dada elements and dadaistic lyrics/vocals, makes this super interesting. The full album can be enjoyed on streaming services, but really deserves a CD release. One of Norways most original and groundbreaking bands through all times!

PVC – ‘Emile Berliner’: A superb post-punk band that released two albums in the early 80’s. Bitten Forsudd later went on to join/fund Garden Of Delight mentioned above, and Eivind Rølles went on to form one of Norways most known pop duos, The Monroes. If you’re into Joy Division and The Residents, then this is music for you!

Chrissy – ‘Chrissy’: Her single “Mark My Words” sold over 500.000 copies in Scandinavia and Germany combined, and is one of the best selling singles in Norway in all times, way up there with a-ha and Röyksopp. The music is a fantastic new-wave/power-pop combo with snappy synth lines on there too! Find the track ‘Mark My Words’ on YouTube to get an idea. This is the album that I’m currently most excited about getting fully funded!

S-L: I guess you have a long wish list of albums not yet funded or suggested – wanna share? 😉

PAL: Yes, absolutely, and one of the first posts I made in the Facebook group, was an invitation to have everybody post their Top 5 Want List of albums they wanted on CD, and so far, I’ve gotten one of these 5 realized, and that was Munch – “Excessive Mobility”.

The rest of my Top 5 looks like this:
– Holy Toy – ‘Pakt Of Fact’ (Their best album in my opinion!)
– E-Man – ‘E-Man’ (Pre-Biosphere project from Geir Jenssen – great minimal-wave)
– Susanne Sundfør – ‘A Night At Salle Pleyel’ (Beautiful electronica!)
– Ultra Sheriff – ‘Galactic Frame’ (Norway’s first ever synthwave album, only released digitally!)

Other Norwegian albums that I feel definitively belong in this series and that I know is on the list is:
– Thorbjørn Grønning – ‘Galskapens Teater’ (Amazing minimal-wave self-released album)
– Göbbels A-Go-Go – ‘Våre Problemer Er Rent Musikalske’ (Superb electronic/new-wave)
– Ultra Sheriff – ‘Deception, Oil And Laser Beams’ (Another amazing synthwave album from them!)
– Det Elektriske Kjøkken – ‘Elefantene Er Kommet’ (Superb electronic/new-wave album)
– Bearburger – ‘The Bearburger’ (Great electronic/experimental album!)
– A Place To Pray – ‘Disciplina Arcana’ (Amazing goth/electronic album!)
– PLX 15 – ‘Kort Prosess’ and ‘PLX 15’ (Two great experimental electronic albums!)
– Axis – ‘Axis’ (Superb Norwegian new-wave mini album!)

… and finally, maybe one of the most important ones, because of the extremely high quality of the album, and this should absolutely be more known outside of Norway:
– Lily & The Gigolos – ‘Secrets’: An album that sounds like a Norwegian Siouxsie & The Banshees, with super strong song material, great production and great artwork. Check out the track “Listen To The Radio”, “Russia” or “I’m Just A Child” on YouTube, and you’ll know what I mean.

The project in itself has now released 88 albums in 99 days through crowdfunding, and is the most successful and longest spanning series in Norwegian record industry history, which in itself is a great feat! ALL countries should have a project like this! Just think about Sweden, a country which haven’t even released the albums like NASA – ‘Power Of The Century’, or most albums by Secret Service and Freestyle on CD at all! I really hope that this Norwegian project will inspire others to do the same in their countries, because there’s so much music history out there, and if we want to keep it for later generations, it has to be done NOW, or it will never be done. The younger generation consumes music digitally, so it is up to us to get these master tapes digitized and onto a physical medium like a CD, so that they also can be used as masters for digital distribution later on. That’s not the first priority, but what label wouldn’t jump at the chance of getting paid for a physical license and also get a remaster they can use for digital distribution/streaming? This also means that a lot of these artists WON’T be forgotten, and that their music will live on to be discovered by others.

Also, a lot of people in the Facebook group for ‘Norske Albumklassikere På CD’ constantly discover new “old” acts/releases, and this is half the fun of being part of this. I mean, I started working in a record shop in the summer of 1985, and I’ve worked in the music business in one way or the other since then, as a DJ, on radio stations, playing in bands, fixing record fairs, selling stuff via mail-order, working at record companies, writing for music magazines etc etc. so I try to contribute the best I can, but even I discover new and exciting things through this project.

Nobody knows everything, and that’s one of the great charms of music, that you can discover a band from the 80’s you’ve never heard of that you totally love!

Search and order already financed albums here: https://norskealbumklassikere.no/
See and order albums being crowfunded now: https://www.bidra.no/norskealbumklassikere

Join the Facebook group for CDs: https://www.facebook.com/groups/norskealbumklassikere and/or LPs: https://www.facebook.com/groups/norskealbumklassikerelp

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

Kirlian Camera releases ‘Base Box’ boxset feat. 7″, DVD, shirt and more

Bernard - Side-Line Staff — Tue, 09 Apr 2019 17:47:14 +0000

Out soon is the “Base Box” boxset by the Italian dark wave act Kirlian Camera. Be fast to order this set as it will be sold out soon. You can order it right here on Bandcamp.

The boxset holds the DVD “Memorabilia” (incl. official videoclips, TV-appearances, live-recordings, interviews, and much more). The DVD comes in PAL, Region Code 0 and has a duration of a lovely 150’ 30″, that is 2 hours, 30 mins., 30 seconds.

Next there the exclusive “Odyssey Europa” 7” featuring the tracks “Odyssey Europe” and a special version of “Coroner’s Sun” by Lux Anodyca. You also get some extra’s such as a ‘Base MMXVI’-Card with metallic letterings and hand-signed by Angelo Bergamini & Elena Alice Fossi, next to the triangular badge with the old logo of the band next to a ‘Gladiators of Light’ t-shirt.

The tracklist of the DVD is as follows:

HYPNOSIS – Aegonauts (1983) Communicate (1984)
Blue Room (1995 Official Video)
Blue Room (1995) Ocean (1986)
Ocean (1986) Ocean (1986)
Ocean (1987) Heldenplatz (1987)
Heldenplatz (1987 Festivalbar Bergamo)
Heldenplatz (1987 Festivalbar Padova)
Kirlian Camera Special at “Video-Music” (1994) Ragazze della Notte (1995 – extract from Documentary Film, Swiss National TV)
SPECTRAparis/SIDERARTICA – Antland (2009 Rudolstadt, Germany)
SPECTRAparis – Spectra Muder Show (2010)
SPECTRAparis – Carrie Satan (2010 Official Video)
SPECTRAparis – Behind the Scenes and Beyond Infinity (2010 Official Outtake Video)
Nightglory (2010 Official Video)
Edges (2013 Markthalle Hamburg)
Blue Room (**2013 Markthalle Hamburg) 21 Materia Oscura (2013, Lyrics Video)
BLANK feat. KIRLIAN CAMERA – Lost Simmetry (2013 – Official Video)
Black August (2013 – Official Video) 24 The Fountain of Clouds (2013 – Official Video)
ELENA ALICE FOSSI – Mini-Interview (2014 – Promovideo for ‘Benefiz for Kids Festival)

FAN-MADE Live Videos (Unknown Videomakers)

Comfortably Numb (2013 M’Era Luna Hildesheim, Germany)
E.D.O. (2009 Lübeck, Germany)
Eclipse (2013 M’Era Luna Hildesheim)
Ascension (2015 WGT Leipzig)

The next tracks were all are recorded during the 2014 Runes and Men Festival in Leipzig.

K-Pax
Neither Honour nor Glory
Black August
Erinnerung

Last track

Nightglory (**2014 Dresden)

(*) Italian TV Showcase
(**) Live Showcase

Bernard - Side-Line Staff

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‘Click Interview’ with Schwarzblut: ‘Freedom, Identity And The Celebration Of Diversity’

Inferno Sound Diaries — Wed, 29 Aug 2018 17:00:24 +0000

Hailing from The Netherlands Schwarzblut has released its fourth full length album “Idisi” on Alfa Matrix. The main sources of inspiration remain a dark-electronic composition mixed with ethereal elements. On previous releases the songs were constantly switching from one style to the other while “Idisi” reveals a perfect fusion between both influences. I consider “Idisi” as their absolute masterpiece, which naturally brought me to get in touch with the band’s front man ‘ZEON’.

(Courtesy by Inferno Sound Diaries)

Q: Four years are separating the new work “Idisi” and its predecessor “Gebeyen Aller Verdammten”. Does it mean it was more difficult to achieve this new opus and find new inspiration or did you just need a longer break after your previous releases?

ZEON: We never do the same thing twice and we really wanted to take our time to make this album meet our high standards. So we did. Very early in the writing process we decided to focus on the root of the Germanic and Franconian languages. We heavily researched the earliest writings, dating back as early as the 6th Century. Most of the texts for “Idisi” took me quite some time to read and fully understand, due to the way they were written or printed. Very time consuming, but also very enchanting and a great way to slow my mind down. In our age of distraction nothing is so luxurious as paying attention. Besides great meaning, these texts also have a sound and rhythm that is very inspiring to me. They were instantly inviting us to turn them into songs. They have an abstractness to them that works great with our dark, rhythmical music.

The music on “Idisi” is predominantly based on electronic instruments, but has a very organic feel. To achieve that we also included a lot of acoustic instruments such as nyckelharpa, violin, hurdy gurdy and percussion. We have a few guest musicians on this album as well. Logistics was sometimes challenging, but it was a wonderful trip and we are very proud of the result.

Q: Sound-wise I always have experienced a ‘duality’ between the dark-electro side and the ethereal side while according to me “Idisi” is the real first album we can speak about ‘symbiosis’ between both influences. I’ve been really impressed by this sonic fusion, which has something original and refreshing. What’s your perception of this evolution in sound and the new work generally speaking?

ZEON: Thanks for the compliment! This surely was one of the things we aimed for on this album. When Herr Sturm left our line-up a few years ago, I became the solo-songwriter for the band. This allowed my preferences and ideas to really come to the forefront. I share my taste with our lead singer Angelika, so moved the new album towards a more ethereal sound. Trying new stuff kept things fresh. Also our new synth/vox/percussion guy Gijs van Ouwerkerk is a brilliant musician, who really earned a place on this album. Go check the songs “Dolorosa” and “Eiris Sazun Idisi” for some great vocal harmonies by him, Angelika and me to get an idea of what I am talking about.

Q: Another interesting aspect is featured at the limited edition of “Idisi” featuring a bonus disc, which is more into cinematographic-, mystic- and even ritual-like songs. That’s already something ‘new’, which can maybe open new horizons for further releases. What can you say about it?

ZEON: “Idisi’ is also available as a 2CD, that comes with an 8-track bonus disc. Besides 3 remixes it contains a series of ‘meditations’. This five movement cycle of original Schwarzblut works is comprised of environmental recordings, audio experiments and vocal intensity. Through this I place the listener inside the Hagia Sophia, at a western European harbor or in a morning forest. These pieces were written and produced during the same time as the album. Some of them were used in a series of theater performances in 2015 and later adapted for the album. All meditative pieces are very much related to songs on CD 1 of the album. I invite our fans to immerse themselves in the music and find the connections.

When I compose I often reach a meditative state of clear focus that makes ideas come in an ever flowing stream. Music in that sense is a way to transport myself and the listener. As one can expect from Schwarzblut, these meditative tracks have a dark and introvert character. “Meditation Auf Schnecken” is the opening track of CD 2 and indeed starts with the sound of a snail. Maybe more of this type of music will be released in the future. For now I invite everyone to immerse themselves in the music and be transported. Just like I was, when it was being created.

Q: I was rather surprised by your edit of the legendary “Palästinalied” featuring Hannah Wagner. I’ve to admit I was thinking ‘oh no, not again this song that has been already interpreted by numerous artists’. But next I realized his original composer Walther von der Vogelweide totally matches with the Schwarzblut concept so in the end you simply had to feature this song, right? How did you work on it and what did you like in its lyrical content?

ZEON: We deliberately took a risk by doing our version of this iconic 13th Century song. On the album this song connects the Western and Middle-Eastern worlds. We really made our own version by adding vocal harmonies, some spoken parts in Latin and hard hitting drums. It also features the majestic play of our German friend Georg Börner (Sangre De Muerdago) on the nyckelharpa. His medieval string instrument gives the song a mysterious and organic vibe. Having Hannah Wagner (Saeldes Sanc/Helium Vola) sing it as a duet with Angelika, gives the song an outstanding quality.

Q: Schwarzblut is one of these bands where the lyrics are as important as the music. It’s not just a simple concept, but a truly passion for literature, poetry, mythology. I can imagine it also takes a lot of time to find and write the right lyrics and next using an appropriated language to sing. Who’s taking care of this aspect and how does it really work?

ZEON: Most texts are sourced by me and come from my personal collection of old books and facsimile editions of rare and historical handwritings and prints. With additional online resources I am able to explore the content, context and pronunciation necessary to turn the text into songs. All Schwarzblut members have an interest in art, history and literature. In our rehearsal bunker we often discuss newly found texts during our coffee breaks. The new album features texts in a variety of historical European languages such as Middle-High German, Lower-Franconian, Old-Lower Saxon and Old-Dutch. For us this was a way to explore our own lingual culture and heritage, as for the first time we also included texts in old-Dutch and early versions of our own language. From there we decided to explore eastwards into new lyrical and musical territory. That’s how the album became so rich with sounds and languages from the Old-World. From the opening track “Eiris Sâzun Idisi”, with its powerful First Merseburg Incantation (Old High-German, 9th/10th century) giving the song a great rhythmical drive. All the way to the album’s closing hymn “Ghaselen Des Dschelal-Eddin Rumi”, with its mystique atmosphere set by the 1819 German translation of works by the 13th-century Persian poet Jalal ad-Din Muhammad Rumi (1207-1273).

Freedom, identity and the celebration of diversity can be seen as the common thread running through all ten songs on the album. And indeed we did not shy away from also including some brutal texts about war and prosecution.

Q: You last year released the split-EP “Wildes Herz” with Saeldes Sanc. It already was your second split-release with this band featuring Hannah Wagner. What makes this fusion between both bands and are there further plans to work together? And what are your further plans generally speaking?

ZEON: We did a split-single release with Hannah Wagner back in 2015. She’s a great talent and very sweet person to work with. So while we were working on “Idisi” we decided to do a mini-album with her. We released the 8-track mini-album “Wildes Herz” in 2017. It features songs from her band “Saeldes Sanc”, some “Schwarzblut” songs and a few remixes. We are currently promoting the new album, doing concert and interviews in mostly Germany and The Netherlands. The next few weeks there are 3 or 4 compilation albums coming up around the world that feature our music. We will also record a song for a yet to be disclosed tribute project. And of course there are already musical ideas emerging for a future Schwarzblut release. We have a Facebook page where we post updates several times a week. We also have a monthly newsletter and an extensive website. So you know where to go, to keep up to date with us.

Inferno Sound Diaries

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Schwarzblut – Idisi (DCD Album – Alfa Matrix)

Inferno Sound Diaries — Wed, 08 Aug 2018 19:00:40 +0000

Genre/Influences: Industrial-ethereal, dark-electro, neo-classic.

Background/Info: It took four years for Schwarzblut to achieve this new album, which is the fourth one in history. Hailing from The Netherlands they always have shown a particular approach mixing ethereal elements with dark-electronics. The title of this album is taken from German mythology, which remains one of the band’s favorite themes.

Content: The influences haven’t really changed, but the format became different. I’m used to hearing albums where ethereal- and dark-electro songs are alternating. “Idisi” sounds as the ultimate fusion between both styles. They found the key to bring heavenly voices, neo-classic arrangements and dark-electronics together. I think we now can speak about industrial-ethereal music.

The female voices -sung by Angèlika and featuring Helium Nova’s singer Hannah Wagner on two songs, are once more joined by Gijs’ male growls. Here again the band confirms certain duality, which in the end results in a true symbiosis. The vocals have been sung in different languages like Latin, German and even Old Dutch. Songs are refined and feature orchestral, bombastic arrangements.

The bonus disc reveals a few extra songs, which are more cinematographic-like, but also revealing fascinating ritual- and mystic passages. There’re also remixes by Zeon, Heliophile and Carsten Altena.

+ + + : “Ididi” is without a shadow of a doubt Schwarzblut’s masterpiece. The band always has revealed a great inspiration and a creative music format, but I sometimes got the feeling to hear two bands crossing each other on the same album. “Idisi” stands for a perfect harmony between somewhat opposite styles. This harmony is original, refreshing and totally efficient. This album reveals a great writing process alternating subtle sound treatments and heavier, orchestral arrangements.

The bonus disc reveals a somewhat different side, which sees the band experimenting with soundtrack-driven compositions. And here again they simply excel in eclecticism and artistic approach. Last, but not least I’ve to say a word about the female vocals, which are once again angelic, sensual and transcendental.

– – – : This album is an absolute masterpiece so it’s hard to find any single minus point here. The remixes aren’t my favorite cuts, but you don’t hear me to complain. Let’s say that Schwarzblut remains a particular experience in sound you gone like or not… but I love this work.

Conclusion: In times where too many bands and records are sounding the same there’s Schwarzblut. This band has their own sound DNA, which stands for artistic passion, intelligent music and ditto lyrics.

Best songs: “Die Zeit Geht Nicht”, “Lied Der Freiheit MMXVIII”, “Palästinalied feat. Hannah Wagner”, “Ghequetst” + “Meditation Auf Seefahrt”, “Meditation Auf Schmetterlinge”, “Meditation Auf Dornen”.

Rate: (9).

Artist: www .schwarzblut .com / www .facebook .com /Schwarzblutband

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

Inferno Sound Diaries

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Treponem Pal – Rockers’Vibes (CD Album – Juste Une Trace)

Inferno Sound Diaries — Sun, 31 Dec 2017 20:00:36 +0000

Genre/Influences: Industrial-metal.

Background/Info: Treponem Pal is one of those ‘dinos’ who are invincible. “Rockers’Vibes” is an album celebrating the French band’s 30^th anniversary.

Content: I think there’s no better way celebrating an anniversary than having fun and simply doing what you like. Treponem Pal released album with cover versions of famous artists: B-52’s, Thin Lizzy, Lee Hazlewood, John D. Loudermilk, Tom Waits, Ten Years After and Dead Boys. They also released 5 new songs. The sound of the band remains for sure driven by industrial-metal music, but they assimilated their own sound with the original versions of the songs they covered as if they were written by Treponem Pal.

The new songs are also very efficient, somewhat harder and reminding me of a fusion between Metallica and The Young Gods.

+ + + : An album with cover versions always is something special, but the way Treponem Pal covered legendary cuts such as “Planet Claire” from B-52’ and “Some Velvet Morning” from Lee Hazlewood is absolutely great. You immediately recognize the original songs, but they have been reworked with power and ‘metal’ getting transposed into the tough universe of Treponem Pal. That’s exactly the same for the vocals. I remain an addict of the heavy guitar riffs this band is playing. Among the new songs I especially want to mention “Freedom Or Suicide” and “Sounds On Fire”. Treponem Pal hasn’t lost their power and the magic of the early years!

– – – : You can always discuss cover versions, and not many bands can do better than the original songs (especially when it features legendary hits). I’m not into this kind of release, but there are always exceptions to the rule…

Conclusion: This album is a great birthday present for a band, which clearly hasn’t lost its passion to compose powerful music.

Best songs: “Freedom Or Suicide”, “Planet Claire”, “Some Velvet Morning”, “Hear Me Calling”.

Rate: (8).

Band: http ://treponempal .com / www .facebook .com /TREPONEMPAL

Label: www .juste –une –trace .com / www .facebook .com /justeunetrace

Inferno Sound Diaries

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Schwarzblut vs. Saeldes Sanc – Wildes Herz (CD EP – Alfa Matrix)

Inferno Sound Diaries — Thu, 26 Oct 2017 18:30:38 +0000

Genre/Influences: Medieval, dark-electro, ethereal, gothic.

Background/Info: After a previous split-release between dark-wave-electro-medieval band Schwarzblut (The Netherlands) and the the medieval formation Saeldes Sanc (Germany) featuring Hannah Wagner (also known from Helium Vola) they now joined hands to unleash this EP-collaboration. The common element between both formation is their love for ancient languages and poetry.

Content: The music is mixing different influences, which you for sure have already discovered in the work of Schwarzblut. It sounds like a melting pot between dark-electronics, gothic, but especially medieval music and ethereal vocal parts. Hannah Wagner supports this work with an angelic touch while acoustic instruments only accentuate the graceful writing of this work.

One of the noticeable cuts is the adaptation of the famous “Palästinalied”. You’ll also discover remixes by Heliophile, Maarten Pels and Noise Junk.

+ + + : “Wildes Herz” is an invitation to dream away, joining an imaginary distant and medieval world. The songs have been accomplished with epic arrangements at one side, but still an artistic approach achieved with violin and the beauty of the vocals. There’s a harmony between subtle treatments at one side and bombast at the other side. It’s the kind of work that will possibly appeal for fans of Qntal, Helium Vola, Arcana and related genres although Schwarzblut always inject a darker and more electronic-like touch as well. That’s what you can hear on the remixes as well. The duality between all the influences is fascinating challenge.

– – – : I enjoyed the “Palästinalied” interpretation, but was it really necessary to cover this famous song? I like the diversity of the production, but I’m not always convinced about the more electronic-like versions –mainly revealed on the remixes.

Conclusion: “Wildes Herz” is the logical continuation between two band sharing common interests and passion for beautiful and transcendental music.

Best songs: “Mit Manger Fröide Und Liebes Vil – Schwarzblut Edit”, “Palästinalied”, “Lucy Gray – Schwarzblut Edit”.

Rate: (7½).

Bands: www .schwarzblut .com / www .facebook .com /Schwarzblutband / www .saeldessanc .com / www .facebook .com /SaeldesSanc

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

Inferno Sound Diaries

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PAL sees 1995 album ‘Signum’ re-released as a double vinyl

Bernard - Side-Line Staff — Mon, 07 Aug 2017 18:00:57 +0000

PAL (or P·A·L) is the project by German artist Christian Pallentin. In 1995 the project saw the release of “Signum” which had been recorded over a three year period from 1993-95 and offered a mix of minimalistic soundscapes, powerloaded percussion-driven tracks and heavily distorted harsh power noise tracks.

The album is now being re-released on coloured heavy double vinyl in a gatefold sleeve (available here). The release is limited to 500 copies including a download code.

Below is the album track “Gelöbnis”.

Bernard - Side-Line Staff

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Electro dance debut single ‘Rise’ by SD-KRTR (feat. n0emi Aurora) out – listen to it now

Bernard - Side-Line Staff — Tue, 04 Apr 2017 16:00:34 +0000

After a bunch of strong hardbeat releases together with his Australian pal of Studio-X, UK techno/breakbeat DJ Simon D. Carter has launched a first EP of his new solo-project SD-KRTR. With SD-KRTR Carter is teaming up with several female vocalists.

The “Rise” single holds the title-song (featuring vocals courtesy of Helalyn Flowers frontwoman n0emi Aurora) in 3 versions, the single edit plus 2 reworks by Aesthetische and Helalyn Flowers (who offered a great retro electropop version). We also get an almost 9 minute long instrumental “Judgement Day” next to the synthpop track “The Only One” (featuring Patricia on vocals).

You download the single right now via Bandcamp and other download platforms or stream it on Spotify.

Bernard - Side-Line Staff

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Einstuerzende Neubauten sees long deleted DVD ‘Liebeslieder’ reissued

Bernard - Side-Line Staff — Mon, 21 Mar 2016 20:25:52 +0000

Considered to be ‘one of the best ever and most complete’ official DVDs by the legendary German act Einstuerzende Neubauten, “Liebeslieder” was originally released in 1993. It sold out ever since and now finally see a much-deserved re-release. You can order your copy now, it still be shipped a a few weeks from now.

The DVD features almost 2 hours of exclusive material from Einstuerzende Neubauten’s career as far back as 1981 up to 1993. For many that corresponds with the band’s best and most respected era. The period cover here includes the albums “Kollaps”, “Halber Mensch”, “Zeichnungen…”, “Haus der Lüge” up to “Tabula Rasa”. The DVD comes as double-faced DVD, PAL in German on Side A, NTSC with English subtitles on Side B.

Featured among much others are the videoclips for “Blume”, “Die Interimsliebenden”, “Salamandrina” and much, much more.

Bernard - Side-Line Staff

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