(Pictures via Audioglobe) Today marks the 30th anniversary of the Italian distributor Audioglobe. Audioglobe played and still plays a significant role in distributing niche genres, including goth, electro, and darkwave. By providing a platform for these genres and offering a worldwide distribution, they have helped keeping this scene, its labels and bands staying afloat whereas other distributors came and disappeared.

Audioglobe also plays a significant at Side-Line as the distributor is one of our most trusted sources to find out about new upcoming releases.

Before Audioglobe there was Contempo Records

Before starting Audioglobe, four of its five founders worked at Contempo Records, a famous music store in Florence, Italy, since the early 80s. Contempo was also a leading independent label and distributor in Italy from the mid/late 80s. They had contracts with artists like Clock DVA, Lassigue Bendthaus, Pankow, and others, and released albums by bands like Suicide and The Rose of Avalanche. They also distributed many albums for 4AD (and even manufactured the albums under license), featuring artists like Clan of Xymox and Dead Can Dance.

In 1993, a couple of Contempo employees, Nicola Vannini and another, noticed some serious problems at Contempo. They left to start a new music business venture: Audioglobe. Officially founded on December 6, 1993, in a small office on the outskirts of Florence, the team initially consisted of five people, including three founders and two employees. Two more ex-Contempo employees joined in 1994, just as Contempo closed down.

Audioglobe experienced 14 incredible years from 1993 to 2007, faced some tough times, and since 2020, “things have been great again!” So Sebastian Koch confirms in a mail sent out this morning.

Congratulations to the whole Audioglobe team!

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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Out now via the Boronia Schallfolien label in a limited edition clear double vinyl (hand-numbered 200 copies) and on black vinyl is the FM_Alex Spalck / pankow release “Franz Schubert’s Winterreise”.

The album was created after fm (Maurizio) and Alex had completed the recording of Pankow’s new album, “Never trust a white man” and is inspired by “Der Leiermann”, the last song of Franz Schubert’s masterpiece “Winterreise” (Winter Journey) which is played at the closing credits of Roberto Andó’s movie “Le Confessioni”.

“Winterreise” is a song cycle consisting of 24 songs that were composed in 1827, shortly before the composer’s death of syfillis. The lyrics are based on poems by Wilhelm Müller, and they tell the story of a young man who has been rejected by his lover and who embarks on a winter journey through the snow. The songs are considered to be some of Schubert’s most haunting and poignant works, and they are often performed by baritones or tenors. The cycle is known for its emotional intensity and its exploration of themes such as unrequited love, loneliness, and mortality. Some of the most well-known songs in the cycle include “Gute Nacht” (Good Night), “Der Lindenbaum” (The Linden Tree), “Der Leiermann” (The Hurdy-Gurdy Man), and “Der Wegweiser” (The Signpost).

For the next 4 years Alex will sing and record every song at least 10, maybe 20 times, and fm will listen to his interpretations and patiently ask him to just ‘do it again!’. In 2022 the duo finally finishes the recordings.

Check out the Videoclip for “Die Krähe”

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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Fatal Casualties have published a cover of “One hundred years” (The Cure) with guest vocals made by Alex Spalck (Pankow). You can check the cover in the animated video below.

Fatal Casualties are Stefan Ljungdahl & Ivan Hirvonen. The band was formed in Stockholm, Sweden 1986 and was active between 1987-1991 before going dormant. During that period they recorded a bunch of demos and played live. In 2010 the duo reunited and on August 1st 2012, the band released its official debut EP “Paria” (self-released digitally and as a limited cd on Seja Records 20th of march 2013).

The Italian cult act Pankow, also written in Cyrillic letters ПАНКОВ in the early period, was formed in Florence in 1982. The founding members lasted only a few years. Later the band consisted of permanent members Maurizio Fasolo, Alex Spalck and Paolo Favati.

Here’s the video.

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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Out on Minuswelt is the 25 anniversary edition of In Strict Confidence’s “Face the fear” album. “Face the fear” was the second album by In Strict Confidence and was originally released in 1998 on the electro label Zoth Ommog, which was also home to bands like Front 242, Pankow, Frontline Assembly and many others in the 90s.

After the debut album “Cryogenix” 2 years earlier, “Face the fear” was a big step forward for the German act – both in qualilty of production and in the songwriting. Preceeded by the EP “Industrial Love” it also includes “Hidden thoughts”. Now, 25 years after the first release, the album is back on the market in a new design and with bonus material.

The bonus tracks are the following:

1. Alles in mir (ISC Remix)
2. Learn to Live
3. Hidden Thoughts (Original Controlled Fusion Version)
4. Industrial Love (Club Stress Version by Aghast View) 6:42

In Strict Confidence is a German electro-industrial band. Formed in 1989, they were known as Seal of Secrecy until 1992.

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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Carlos Ruiz got involved with the Spanish Dark-Electro duo Dioxyde. The band gained recognition in its genre, but Carlos left in 2004 to move on with his solo-project Asseptic Room. The sound became different although still driven by good-old Dark-Electro vibes. The albums “Morbid Visions” (2006) and “Visceralophobia” (2011) saw the daylight. It next took ten years to Asseptic Room to strike back. Carlos Ruiz got joined by Mario González to compose the new work “Extinction Or Reawaken”. The opus has been again released by Advoxya Records and became a double album revealing next to the Dark-Electro influences at the first disc a more Cinematic exploration at the second disc. I asked a few questions about the past, the present and the future to both protagonists.

(Courtesy by Inferno Sound Diaries)

Q: I noticed you first started in the scene as DJ. What kind of music were you playing and how did you finally made the step to compose your own music and getting involved with Dioxyde?

Carlos: I started as a professional DJ in a famous club in Madrid somewhere at the end of 1987 – beginning of 1988. I started collecting vinyls since I was 14 years old and my ear was always attracted by genres that were not very commercial at that time. One day a couple of vinyls came into my hands in an import store, (“Party Hate” from Click Click and “Freiheit Fuer Die Sklaven” from Pankow), which made me listen to genres such as Industrial, EBM from the 80’s and especially Dark-Electro from the 90’s.

I started to compose my first tracks in 1991, when I was able to buy my first great computer ever and a Kawai keyboard. But it wouldn’t be until 1998 when I would meet Marcos Calvo and decided to take the leap to produce an album. During one of my sessions as a DJ in a famous Club in Madrid, I met Marcos Calvo who told me about the idea of ​​making music together. In a short lapse of time we had a lot of good songs; Marcos had already composed some good songs, and at that time I had many bases and consolidated themes, which we finally managed to adapt to create the first Dioxyde album “Torschlusspanik”.

I decided to send a cassette with a small sample to Johan Van Roy (Suicide Commando). I never thought  he would answer that soon with the intention to know more about the project. It was the beginning of a beautiful story.

Q: How did you finally come to set up Asseptic Room and what makes the difference in sound and approach with Dioxyde?

Carlos: My experience with Dioxyde was incredible. It allowed me to grow as an artist and develop all my creativity and to create my own compositions. Time passing by I found the need to do something on my own and create that dark sound that had been spinning around in my head for so many years. So in 2006 I decided to take a leap into the void and started working for my most personal project.

With Asseptic Room I wanted to explore other types of genres, perhaps more retro, Experimental, more Ambient, but without neglecting the hardness of the percussion and the melodies that have been so successful in my previous work with Dioxyde and used to create songs. such as “Acto Primero”, “Angel (Espina Mortal)”, “Panzerfaust”, “Primary Structures” or “Torschlüsspanik”, a track that I had created for a long time and which has a lot of strength.

That same year (2006) I sent my first demo to Tommy T (DSBP Records) to release the first album “Morbid Visions”. The album responded satisfactorily to my expectations and proof of this is the long list of compilations that wanted to include songs from that first album.

Also, it gave me the opportunity to do some remixes for bands like: Alien Produkt, Vigilante, Aengeldust, Haushetaere, Tyske Ludder or Acylum (Pedro Engel’s project with whom I have had contact on several occasions to create some of my best remixes). Nor will I forget, the magnificent remixes that have been created for Asseptic Room, to highlight among others those of Totalverlust, Acylum, Hioctan, Reality, Suicide Solution, Proyecto Mirage, Larva and many others.

During these years I got in touch with my great friend, Mario González and we had the opportunity to work together in the studio, developing a track for this album. Next I personally went through dark and very difficult years. It was like this until 2011 and the release of the second album “Visceralofobia”. It was a difficult album, like a challenge going through a restless and desperate period. But in the end and with a lot of efforts I was able to release the album thanks to Advoxya Records. After this album I’d to go though the most difficult moments of my life resulting in abandoning the creation of music for many years.

Q: So does the new album you released last year feel like a new beginning? How did it feel all these years without releasing new material? What brought you back to compose new songs?

Carlos: Finally, after the loss of my partner and two years of mourning I came back to surface. One night some musical notes began to sound that I could not stop listening to over and over again. I had to get up and play it in the middle of the night. The first thing I thought was that it was different and it was born from deep within. Those were the first notes of “The Memory Of Silence”; I even imagine to play it in a great philharmonic. A nice dream;)

Around the same time I got back in touch with Mario after many years and everything started flowing quickly. The Covid 19 pandemic came into our lives and for us there were moments of great creativity that helped us to create many new songs.

Q: The new album “Extinction Or Reawaken” has been released as a double album and there clearly is a difference between both discs; than main disc is pure Dark (h)El(l)ectro music while the second disc sounds more into Soundtrack. Tell us a bit more about both discs and the global production process of the work?

Carlos: When we began to develop the songs for the new album, we realized that we had a lot of material and we did not want to leave any song off the album, for this reason we had to think that “Extinction Or Reawaken” should be a double one. It is true that in a few months we had a large and varied number of songs, some songs are pure Dark-Electro, but I incorporate new elements to the compositions that make them different from other personal works.

We had to stop for a moment to reflect if we wanted to create classic dark music or experiment to achieve what our heads wanted with these new compositions. We finally decided to open up and experiment with a multitude of genres.

We had classic songs, perfect to be played in an orchestra, with epic choirs and we had to learn to work with this type of instrument. We also had tremendously hard and dark tracks and other ambient and epic songs.

In the end, all those tracks were a mixture of feelings and emotions, which tell a story full of symbolism for us. It has been a very hard job that has lasted many months, and we are very satisfied with the final result.


Q: What have been the main sources of inspiration to compose this new work and what did you try to express by the title? What has been the input of Mario González and how did you get in touch?

Mario: The inspiration came mainly from the recent loss of our family members. They were very hard times for both of us, but thanks to this we have done our best work.
We explore many sounds with our equipment and for the first time we did not dare to put any limits on creativity and we were open to explore and experiment   even antagonistic genres.

We try to go beyond the Dark-Electro genre by simply trying to imprint the soul of Asseptic Room by using influences from classical music, epic passages, Tibetan sounds and even pure noise.

The album title was chosen on the edge of life’s bad circumstances and somehow represents the nature of human life that transcends good and evil to survive/self-extinct.

Carlos: Mario and I got in touch at the end of 2019 at a perfect time and with all the past experience we had making some tracks for the “Morbid Visions”-album. The process happened automatically and we rarely even talked about how to make music because of a very special connection. We really enjoy doing these things.

Q: How do you see Asseptic Room evolving and what are the further plans –especially in times of ongoing pandemic? 

Mario: Our next plans are to prepare the concert in Madrid with Hocico. We have finished taking up the album “Visceralofofia” with a new production. Eight tracks are included in this new work and our idea is to release it in a special vinyl edition. Now we have to assess the budget to launch it in the coming months.
We have also started working on new songs for Asseptic Room and doing a review of tracks created in my period with Dioxyde. A special way to celebrate the 20th anniversary of the project.

Carlos: The pandemic has not stopped our illusion of continuing to do what we like and now our creativity is at a high level and we are excited about the amount of work we have in our hands. The pandemic has been very hard, as for everyone, but thanks to music we have been able to escape from this madness.

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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Originally planned for a July 17 release to coincide with Record Store Day, but now postponed for a few weeks due to various technical problems, is the all new Pankow album, “Never trust a white man”. The new album will be out in 3 versions: CD, regular vinyl and limited coloured vinyl. Note that the CD version will also contain the EP “Der Doctor Schnabel von Rom”.

“Never trust a white man” has been recorded by FM (aka Maurizio Fasolo) and Alex Spalck in Melbourne at Rosanna Studio and Daylesford at The Oak House Studio between 2016 and 2019. It was mixed and mastered in Firenze (Italy) at SSS Lola Studio in 2021.

Pankow anno 2021 consists of FM, Alex Spalck, EN and Bram Declercq. Guests included Cosimo Barberi, Antonio Bacchiddu, Alessandro Cellai and Roberto Toccafondi.

Here is the album teaser:

About Pankow

Pankow, often written in Cyrillic as ПAНКОВ, is an electronic music act from Italy which formed in Florence in 1979. The band is considered as one of the most influential electronic acts from Italy.

The band made its debut in 1982 with a split 7″ with Diaframma entitled “Closed Circuit / Wither” with a line-up that featured Mario Massa on bass, Mauro Fasolo on drums, Sergio Pani on saxophone, Massimo Michelotti and Maurizio Fasolo on synthesizers and Valerio Viti on vocals. In this first phase the band was still far away sonically speaking from the sounds that would characterize it later on and drew its influences from darkwave acts like Joy Division.

Throughout this first phase, the line-up changed various times, until it was composed of Maurizio Fasolo (FM), Alex Spalck, Paolo Favati and Alex Gimignani. Nevertheless guest musicians kept on participating and at a certain point in time we also find Audioglobe’s Sebastian Koch as one of the guest musicians. The world is very small in industrial land 🙂 .

The band’s first album “Throw Out Rite”, out via Electric Eye, would be released in 1983. It was that electro-industrial album that defined the band’s sound as well.

After their debut these albums followed:

• 1987 – Freiheit fuer die Sklaven – Contempo Records, Zyx records
• 1989 – Gisela – Contempo Records (ITA), Wax Trax! (USA), Play It Again Sam (Belgium), Cashbeat (Germany)
• 1990 – Omne Animal Triste Post Coitum – Contempo Records, Cashbeat (D), ROIR (USA)
• 1992 – Treue Hunde – Contempo Records, Cargo (USA)
• 1996 – Pankow Iptarro – BIM (Germany)
• 2003 – Life is Offensive and Refuses to Apologise – Minus Habens records
• 2007 – Great Minds Against Themselves Conspire – Wheesht
• 2013 – And Shun The Cure They Most Desire – Out Of Line

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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KREIGN is an American set up in 2010 by featuring Ryan Hutman and Xiån Austin. They met thanks to a mutual friend. Ryan was involved with HARDWIRE and in search of a drummer. Xiån was drumming for Sang:Rael and Alter Der Ruine at the time and finally joined HARDWIRE. Some HARDWIRE songs were pretty EBM-driven, which was the reason to start a side-project. KREIGN was born and asked Dave Strand (THE STRAND) to join in as singer. But he finally decided to move on with THE STRAND. Being a side project, KREIGN didn’t really move anywhere for 10 years even though they had quite a few songs started and set aside. But KREIGN finally released their self-titled and self-released debut album in 2020, which got rapidly re-released by Scanner (Dark Dimensions). The work is a powerful mix of good-old EBM with an impressive sophisticated production on top. “Kreign II” is a true masterpiece and one of the best EBM releases from the past years.

(Courtesy by Inferno Sound Diaries)

Q: KREIGN has been set up as a tribute to ‘old-school’ EBM. What makes this ‘old-school’ style that special and what do you like in EBM sound? 

Ryan: It evokes aggression from me and I like that. I like the groove. I like that it is simple and minimal. 

Xiån: I grew up a New-Waver… in Utah of all places. My first glimpse of EBM and I’m not sure  if it could be categorized as such, but it was MINISTRY’s “Twitch”-album. I could not stop listening to “We Believe”. It was the driving bassline and simplicity of the beat that gripped me. I wanted to hear more. I was now on the hunt for something similar. Back then there was no Internet. The only way to find new music at the time was via magazines, clubs and/or word of mouth. A friend of mine had a DJ buddy in New York City. He would send him mixtapes of music he was spinning. I discovered bands like FRONT 242, NITZER EBB, DAF, PANKOW, SKINNY PUPPY, FRONT LINE ASSEMBLY and more. I would comb through record stores for hours and I would buy anything with cool cover art that looked Industrial or EBM. That’s how I discovered the now legendary Wax Trax Records. 

In the late 80’s, early 90’s, Salt Lake City spawned a killer Industrial club called ‘The Pompadour’. We would go religiously every Thursday, Friday, and Saturday night. The DJ was awesome and he knew his shit. Funny thinking about it now, he was probably more annoyed at the fact that, almost every song, we’d go to the booth and ask who he was spinning. Haha! 

Q: You guys got both involved with HARDWIRE while you were still active in other projects as well. What did you learn out of these previous experiences and what makes the difference with KREIGN? 

Ryan: Jonah from HARDWIRE taught me to not always use the ‘easy’ word to make a rhyme and to put more thought into my lyrics. Now, I am proud of my lyrics, even though they are usually simple. I can say more with less words. 

Mike from HARDWIRE and I learned early on that a live drummer can take a show to the next level. Even though I admit I suck at playing drums, I do it for KREIGN when Xiån sings “Disco King” and “In That Frame Of Mind”.

Xiån: I learned that it’s very difficult to manage multiple projects. Haha! All good though, the experience was worth every moment. I enjoyed traveling, playing shows and meeting cool peeps. As far as the difference with KREIGN, I think Ryan and I have very similar mindsets. When we hook up to write, it just flows. It’s a freak of nature I suppose.

Q: Old-school EBM often sounds simple and powerful; solid bass lines mixed with a danceable tempo plus harsh vocals and eventually metallic percussion parts. I consider KREIGN as one of the first bands breaking the codes; your music being definitely old-school like, but much more sophisticated and elaborated. Tell us a bit more about ‘sound’ and writing/production of the songs? 

Ryan: I figured out how to bend notes with soft synths in Cubase and I couldn’t stop doing it. We then translated that forced portamento back into the Nord Lead 2. Then Xiån and I would grab a few knobs on the Nord while the computer played the midi and recorded whatever we thought sounded cool. Fucking with FM, octave selector, pitch, and cutoff was so fun. We couldn’t do it without four hands on it and us laughing at the crazy sounds it made as we pushed the keyboard to it’s limits. It became a signature bass sound in most of the songs. It is rare for us to leave a bass sound without at least messing with the cutoff. Almost every sound is modulated by hand or is programmed to modulate.

Our formula also includes a few other hallmarks like basslines that play for just one verse, break downs that go to ultra minimal and then build up bigger, random sounds that only happen once in the song, ambient creepy background noise, and lead synth lines.

Q: How did the self-titled debut album “Kreign” see the daylight? What have been the influences, triggers, maybe references, lyrical themes and criteria to achieve the album? 

Ryan: I was really influenced by WULFBAND and GESSAFELSTEIN. I went back through a bunch of our songs and randomly detuned them after hearing WULFBAND for the first time. GESSAFELSTEIN influenced me to go back and crank the treble on the synths.

Lyrically, most of the songs have an upbeat message about how to deal with stress, anxiety, and tragedy. “Live Fast” is about my love for my Harley Davidson. “Disco King” is a fun song written with tongue in cheek.

Xiån: The push came from our good  friends in HOCICO. Erk invited us to play a show with them in Mexico City. We couldn’t decline the offer. We only had a couple finished tracks at that time. I think we had three or four months to complete the album, learn the songs, and rehearse them enough to perform a decent show.

It was an amazing experience. To this day I can’t believe we pulled that one off. (Still breathing heavy)…

Q: The limited edition of the album is something really special featuring only great remixes by mainly great names from the EBM scene. How did this bonus disc see the daylight and tell us a bit more about the different artists and the remixes they made?

Ryan: We had previously done a remix CD and an EP with some remixes with HARDWIRE. We met Jürgen Engler first through Facebook when we asked him to remix HARDWIRE. We got to meet him in person on the FRONT LINE ASSEMBLY-tour. When we asked him to take a look at KREIGN, he liked it and wanted to remix “5 Layers Of Chaos”. He also wanted to sing a duet with Xiån on “Disco King”. I thought it would be cool if he would sing it in German and he agreed, even though he was unsure if German lyrics would even fit the song. I think it sounds perfect. 

I had worked with REACHING FOR SHADOWS on some of the songs on her debut album. We met SPANKTHENUN, NZ, and NOVA STATE MACHINE through Facebook and Bandcamp. As much as I hate Facebook, sometimes it comes in real handy. 

Xiån: Peter ELM and I have been friends for many years. He was one of the first people we asked to do a remix. His amazingness never fails. A number of years ago I was invited to play drums for VOLVO:242 (a side-project of SPETSNAZ) at ‘Familientreffen 5’ back in 2009 (there’s a couple of cornball videos on YouTube) and I met the guys in AUTODAFEH who were also on the bill. These guys are top notch! Loved their music and performance. They later asked me to play drums on a couple tracks for their upcoming album, “Identity Unknown”. (“Evil Doll & Love Hate” and “Pain” to be exact). I was honored to do so.

Q: 2020 has been for sure a horrible year to release a debut album. How do you experience the pandemic versus your artistic activities? And what are the plans for post-Covid 19?  

Ryan: We would like to play more shows. We did a livestream show called “Isolation Room” and it was fun, but it was in an empty room. We usually feed off of the energy of the audience. It pushes us further to perform harder. We’d like to eventually play shows in Europe.

Xiån: Luckily we’ve stayed healthy throughout the pandemic and have spent a lot of time in the studio writing for our next album. Hope you will all stay tuned. New ideas and sounds are brewing…

Inferno Sound Diaries

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

www.side-line.com

Excellent news reaches us via Audioglobe, the scene’s most important distributor. Pankow, the legendary Italian Industrial pioneers who are active since 1979, are finally back with a new (mini)album: “Der Doctor Schnabel von Rom”.

This new 5-tracks mini-album, out now, comes on vinyl and offers a first glimpse on the forthcoming all new Pankow-album, expected for May 2021. All of the tracks draw inspiration from the research work of Dr. Debra Parkinson, an Australian sociologist, director of GADPod, Gender and Disaster Pod, whose activity studies the consequences of natural disasters and disasters on women, LGBTIQ communities, disabled people, etc..

Pankow’s Alex Spalck: “Debra wrote an essay on the environmental disaster that ravaged Australia in early 2020 and on the direct relationship between the environmental crisis and the pandemic that is causing death and destruction around the world. At this point in our musical activity we must take a stand, indifference and carelessness are unforgivable sins. We have decided to throw a stone, or rather two, with “Australia is Burning” and “Ecocalypse” and to fight unambiguously for a radical change in the status quo. This intransigence will also be the theme of our next album, “Never trust a White Man”, out in 2021, in which we will attack the systems and structures that are the primary causes of the obscene inequality that plagues our society.”

On the EP, apart from “Australia is Burning” and “Ecocalypse”, the band presents a deconstructed version of “By this River” by Brian Eno, Moebius & Roedelius and two post-pre-trans-meditative pieces.

Check out the track “Ecocalypse” featuring Verdiana Raw.

Bernard - Side-Line Staff

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

side-line.com

64 Rockets is a retrowave solo-project of Mike-E, the man behind the music of the futurepop duo Unity One. Started as a chiptune-flavored electropop, after a number of well-received remixes and covers, 64 Rockets has gradually evolved into a retrowave dance project and is now about to release a debut single: “Ruhleben”.

“Ruhleben” was inspired by a visit to Berlin and frequent trips on the U-Bahn, the city’s rapid transit system. Mike-E: “This particular track is a hi-energy retrowave ode to U2, Berlin’s most famous U-Bahn line, that starts in Pankow and runs through the city to the Ruhleben terminal station.”

In addition to the title track, the single features a club remix by Qodex as well as a fully instrumental version of “Ruhleben”.

Check below.

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Electro-pop, cabaret, chanson, EBM.

Background/Info: ‘Käpt’n Rummelsnuff’ commonly known as Rummelsnuff has now been active for several years and can look back at an impressive discography (mainly released on Out Of Line). It seems it was the right time to consider a ‘best of’ featuring some of the German bodybuilder’s greatest hits. The songs have been remastered and are available next to the CD-format on vinyl as well. There’re a few remixes featured as well.

Content: Rummelsnuff has always been something apart; a sound, which is hard to describe, but especially pretty different from what we’re used to hearing on Out Of Line. The songs sung in German tell crazy little stories. It’s pretty fun-like and constantly carried by this typical accordion sound reminding to sailor songs. But you’ll also notice songs with a bombardon.

Other cuts are more electronic and revealing a mix of electro-pop and even EBM. There’s an interesting remix of Pankow featured.

+ + + : The main strength of Rummelsnuff is the unique and totally uncompromised approach. There’s no other formation like Rummelsnuff and ‘Popeye – ‘Käpt’n Rummelsnuff’ makes no compromises. It remains a mystery to me why this band gained that recognition (in their homeland), but it for sure has something to do with the image and the weird music. Rummelsnuff gets ‘dark souls’ laughing. Speaking for myself I prefer the more electro-pop driven songs although they also have something pretty different from the usual standards.

– – – : This album is mainly meant to please the heaviest fans of Rummelsnuff. It’s starts to bore me after a while, the songs being too repetitive and drive by the monotonous singing of the ‘captain’.

Conclusion: Rummelsnuff will probably never be successful in non-German speaking countries except if he would sing in English. It remains a funny project and one of the biggest music challenges from this scene, but after all these years the band is still alive.

Best songs: “Eindruck Schinden”, “Der Schrauber”, “Amundsen”, “Trägt Die Woge Dein Boot”.

Rate: (6).

Artist: www.rummelsnuff.de / www.facebook.com/Rummelsnuff

Label: www.outofline.de  / www.facebook.com/outoflinelabel

Inferno Sound Diaries

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

www.side-line.com

Here’s an offer you can’t possibly refuse. Storming The Base is offering vinyl test pressings from a huge list of bands at 50% off. To get the 50% reduction, simply use the discount code love (it’s Valentine’s Day after all!).

In the list you’ll find vinyl test pressings from such bands as Front Line Assembly, Cevin Key, Die Krupps, Download, Psyche, Controlled Bleeding, The Diodes, Doubting Thomas, Apoptygma Berzerk, Wumpscut, Juno Reactor, Haujobb, Pankow, and many more.

Here’s an oversight of all the test pressings for this Valentine’s Day special only! Below is an example of one of the test pressings.

Bernard - Side-Line Staff

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

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

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

The Top 3

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

The rest of the Top 10

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

And on spot 11 and 12…

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

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

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

Bernard - Side-Line Staff

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

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A few days ago we reported about the release of the vinyl EP “Times” by the Italian electronic act Pankow for Record Store Day. Today you can get ahold of a few of the remaining copies of this very rare edition (order your copy here). This edition is also available in a very limited set (11 copies only) including one of the test pressings for this vinyl (available here).

Included on this set are the 2 earliest Pankow recordings (“We Are the Joy” and “Wither”) next to 2 other tracks that have never before been released.

Below is the extremely limited set including a test pressing.

Here’s Pankow with “Wither”:

Bernard - Side-Line Staff

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

side-line.com

The two earliest Pankow recordings to see a release were “We Are the Joy” on one of the first Italian new wave compilations (Gathered), and following that “Wither” on a split 7” which was enclosed in the “Free8212” fanzine from Florence.

Two other tracks that have never before been released appear together on “Times”, a 10″ vinyl out and purchasable via the Toronto-based Artoffact Records. This 10″ features new artwork created by Pankow’s own fm, and is fully authorized by the band. An essential document of one of Italy’s most important electronic artists.

You can order this vinyl right here and listen to the track below.

Bernard - Side-Line Staff

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

side-line.com

We have again found some real gems in the list of releases especially produced for the upcoming Record Store Day on April 22. We put them in a list below.

For those unfamiliar with the phenomena, Record Store Day (aka RSD) was conceived in 2007 at a gathering of independent record store owners and employees as a way to celebrate and spread the word about the unique culture surrounding nearly 1400 independently owned record stores in the US and thousands of similar stores internationally. The first Record Store Day took place on April 19, 2008. A Record Store Day participating store is defined as a stand alone brick and mortar retailer whose main primary business focuses on a physical store location, whose product line consists of at least 50% music retail, whose company is not publicly traded and whose ownership is at least 70% located in the state of operation. In other words, we’re dealing with real, live, physical, indie record stores—not online retailers or corporate behemoths.

So what items did we find in the list of planned releases?

PANKOW – “TIMES”
Format: Grey Color 10″ / Quantity: 175

The two earliest Pankow recordings to see a release were “We Are the Joy” on one of the first Italian new wave compilations (Gathered), and following that “Wither” on a split 7” which was enclosed in the “Free8212” fanzine from Florence. Two other tracks that have never before been released appear together on Times, a gorgeous 10″ vinyl coming courtesy Toronto-based Artoffact Records. This 10″ features spectacular new artwork created by Pankow’s own fm, and is fully authorized by the band. An essential document of one of Italy’s most important electronic artists. The black vinyl version can be bought right here already.

ALICE IN CHAINS – “Get Born”
Format: 2 x 7″ / Quantity: 4000

This special Alice in Chains 45 RPM double 7” single collects four hard-hitting tracks remastered and available on vinyl for the first time. “What the Hell Have I” and “A Little Bitter,” released on the soundtrack to the Arnold Schwarzenegger film Last Action Hero in 1993, were the first to feature new bassist Mike Inez, who’d played with Ozzy Osbourne for five years. “Get Born Again” and “Died,” released on the box set Music Bank in 1999, were the band’s final recordings with original vocalist Layne Staley.

THE CURE – “Greatest Hits”
Format: 2 x LP Picture Disc / Quantity: 3250

Limited edition double picture discs of The Cure’s Greatest Hits. Featuring their best known tracks, including “Love Song”, “Friday I’m In Love” “Never Enough”, “Mint Car” and many more. Curated and remastered by Robert Smith. On vinyl for the very first time for Record Store Day 2017.

THE CURE – “Greatest Hits Acoustic”
Format: 2 x LP Picture Disc / Quantity: 3250

Limited edition double picture discs of The Cure’s Greatest Hits performed acoustically. Featuring their best known tracks, including “Love Song”, “Friday I’m In Love” “Never Enough”, “Mint Car” and many more. Curated and remastered by Robert Smith. On vinyl for the very first time for Record Store Day 2017.

JANE’S ADDICTION – “Been Caught Stealing”
Format: 12″ / Quantity: 3500

Originally released in 1990 in conjunction with the Ritual De Lo Habitual album, “Been Caught Stealing” was a massive hit for Jane’s Addiction. This 4 track replicates the original European 12″ release and contains the album version and a remix of “Been Caught Stealing” plus “L.A. Medley” which includes Woman” (The Doors), “Nausea” (X) and “Lexicon Devil” (The Germs).

MOTORHEAD – “Clean Your Clock”
Format: 2 x LP Picture Disc / Quantity: 1500

Motorhead are immortalized one more time in “Clean Your Clock”, the superb live album recorded at the Zenith in Munich, Germany during the Winter 2015 Bad Magic Tour. The indomitable cocktail of power, purpose and head-crunching volume that Lemmy Kilmister, Phil Campbell and Mikkey Dee always succeeded in producing is captured superbly by long-time producer Cameron Webb’s mix,giving this landmark Motorhead release the warmth, curve and punch which helped the band achieve international acclaim during a career which saw the Grammy-winning icons sell over 15 million albums and play to millions worldwide.

PINK FLOYD – “Interstellar Overdrive”
Format: 12″ Vinyl / Quantity: 4000

A previously unreleased 14:57 minute recording from 1966, released in mono at 33 1/3 for Record Store Day.

RAMONES – “76-’79 Singles Box”
Format: 7″ boxset / Quantity: 3500

A box of pre-1980 US 7″ singles by the Ramones, authentically reproduced with Sire labels, picture covers where applicable and a selection of great punk rock tracks that changed the course of rock ‘n’ roll. All packaged in a unique cigarette-style outer box, with an insert and individually foil-stamped numbered global edition of 6500. Wall-to-wall Ramones classics including “Blitzkrieg Bop”, “Sheena Is A Punk Rocker”, “Swallow My Pride”, “Rock ‘N’ Roll High School” and a special mono/stereo promo edition of “I Wanna Be Sedated”, all presented the way punk rock should be–as 45 RPM slabs of wax.

THE SMITHS – “The Boy With The Thorn In His Side”
Format: 7″ Vinyl / Quantity: 5000

A 7″ single featuring previously unreleased versions of “The Boy With The Thorn In His Side” and “Rubber Ring”. Includes new artwork featuring Salford actor Albert Finney.

U2 – “Red Hill Mining Town”
Format: 12″ Picture Disc / Quantity: 7000

To coincide with the 30th anniversary of U2’s iconic album “The Joshua Tree”, Island Records will release a 2017 mix of ‘Red Hill Mining Town’ on limited edition 12” picture disc, featuring the classic photography of Anton Corbijn in colour. The previously unreleased mix is by Steve Lillywhite, who produced the band’s critically acclaimed debut, ‘Boy’. ‘Red Hill Mining Town’ is famously “the single that never was”, originally discussed as the second single from The Joshua Tree but then put to one side at the last minute in favour of ‘I Still Haven’t Found What I’m Looking For’.

VANGELIS – “Blade Runner” Original Soundtrack
Format: LP Picture Disc / Quantity: 3500

2017 sees the 35th anniversary of the original release of Ridley Scott’s 1982 cult film Blade Runner. The original soundtrack, composed by Vangelis will be released on picture disc for the first time, housed within a die-cut single sleeve jacket. (Limited worldwide release of 7500.)

CONJURE ONE – “Conjure One”
Format: 2 x LP / Quantity: 900

Originally released on CD in 2002, Conjure One was the brainchild of Front Line Assembly and Delerium co-founder Rhys Fulber. The debut set a new standard in world electronica and went on to sell over 50,000 CDs globally. The album features guest vocals by Sinead O’Connor, Poe, Marie-Claire D’Ubaldo and Chemda as well as mixes by electronica pioneers Junkie XL and Carmen Rizzo. It’s being released on double 45 RPM 180g colored vinyl for the first time, and includes a download card with three new bonus tracks.

PINK FLOYD – “London 1966 – 1967”
Format: 12″ Picture Disc / Quantity: 650

The first studio recordings from the classic ’60s Pink Floyd line up released for Record Store Day on limited edition 12″ picture disc vinyl.

Bernard - Side-Line Staff

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

side-line.com

Storming The Base is having a special St. Patrick’s Day Sale going on (which only lasts a few more hours) giving you the ability to get ahold of lots of vinyl at 50% reduction. The selection holds releases by various hotshots from the industrial music scene including Psyche, Pankow, Mobile Clones, The Knife etc..

You can check the selection right here!

Bernard - Side-Line Staff

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

side-line.com

Genre/Influences: Experimental EBM.

Background/Info: Pankow is a band EBM heads all know as one of the absolute pioneers in the genre. “Throw Out Rite” is a kind of rarity as we here and for the very first time get the debut mini-album of Pankow originally released as a cassette in 1983 on CD. Next to the original 6 songs we also get 4 extra tracks written the same year of “Throw Out Rite”.

Content: This work clearly appears to be the sonic fundament of later and successful Pankow work. This is not exactly EBM although there’re a few and easy recognizable elements running through some songs. Pankow here experienced with pure abstract sound manipulations. It’s an experimental and somewhat sonic anarchistic sound, which might remind early industrial and experimental pioneers. This is an interesting document and a totally weird side of Pankow some of us will discover.

Among the extra tracks we get 2 live songs, which are even more into experimentalism and even revealing saxophone passages (which was quite commonly used in the beginning of electronic music).

+ + + : This is an interesting work, which comes back alive 33 years after its creation. It first of all reveals the debut influences of this famous band.

– – – : This work will clearly not convince the EBM purists. It clearly sounds like a long-time forgotten work, which is not really a treasure, but just a document.

Conclusion: “Throw Out Rite” is a kind of sonic grimoire that has been recovered from dust, but which has lost its original magic.

Best songs: “ZzWalhalla”, “Das Vodkalied”.

Rate: (6).

Band: www.pankow.co.uk / www.facebook.com/pankowband

Label: www.artoffact.com / www.facebook.com/artoffact

Inferno Sound Diaries

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

www.side-line.com

Pankow’s Maurizio Fasolo has sent us his TOP 10 albums from the period 1981-1984. The TOP 10 comes hand in hand with the re-release of Pankow’s first cassette “Throw Out Rite”, originally released in 1983. It’s nowadays sold for over 100 Euros on Discogs and is very rare.

Artoffact is releasing a CD and vinyl editions (EU orders are available here) of “Throw Out Rite” for the first time ever. The audio is remastered from the original tape.

And that’s not all, we also offer you an exclusive FREE download of the remastered version of “Das Wodkalied”! Get it below:

Here is Pankow’s TOP 10 albums from 1981-1984 with additional comment by Pankow’s Maurizio Fasolo.

1. Duet Emmo ‎– Or So It Seems – 1983

Maurizio Fasolo: “The Masterpiece… so layered and so rich in contrasts that you never get tired of it, the presence of Daniel Miller brings a geometric sheen to it.”

Bernard - Side-Line Staff

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

side-line.com

Artoffact Records has started with the pre-sales of the re-issue of the first mini-album, “Throw Out Rite”, by pioneering Italian electronic act Pankow. Originally released on the Electric Eye label in 1983 on cassette, it now finally sees a proper release for the first time ever on black and white vinyl (pre-orders available here) and CD (pre-orders available here).

For the connaisseurs, Blixa (of Einsturzende Neubauten fame) even makes a cameo on the track “Rendez-Vous Dans Un Bois”. The entire mini-album is recorded using only analogue Roland gear (RE301, TR606, TB303, 100m) and is a nice example of the spirit and experimentalism of early-80s electronic music.

The 6 tracks of “Throw Out Rite” have been remastered from the original tape (not cassette). The CD also features 4 bonus tracks recorded by Pankow in the same year that “Throw Out Rite” came out (1983). The artwork has been restored by Maurizio Fasolo and is presented in deluxe digipak with special silver ink layers, as well as a beautiful booklet.

Also available on limited black or white vinyl. All formats are to be released on February 12, but make sure to pre-order your copy now.

Here’s a track from the mini-album, “Das Wodkalied”.

Bernard - Side-Line Staff

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

side-line.com

Pioneering Italian electronic act Pankow released their first mini-album, “Throw Out Rite”, on the Electric Eye label in 1983, on cassette that was. The mini-album never saw a proper vinyl or CD release, that is until now. You can now pre-order the vinyl release for this cult mini-album. White vinyl versions are available here and limited to just 150 copies. The black vinyl versions can be purchased here.

If you prefer a CD version, you can get hold of that one right here. The digipak CD features 4 bonus tracks recorded by Pankow in the same year that “Throw Out Rite” came out (1983).

The six tracks of “Throw Out Rite” have been remastered from the original tape (not the cassette that is) while the artwork has been restored by Maurizio Fasolo. Here’s a track taken from that mini-album.

Bernard - Side-Line Staff

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

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