Lots of you have probably heard Noemi Aurora and her very attractive and unique voice within Helalyn Flowers, as well as through her numerous guest vocal appearances over the years. A first solo album is planned for early next year via the Belgian label Spleen+, and a first teaser came a few weeks ago in the form of an EP, “Blood As Lipstick”, which is available on Bandcamp. 

We wanted to know a bit more about what the lady had to offer…

SL.  Your latest single, “Blood As Lipstick,” is described as a rebellious hymn to inner strength and resilience. Can you delve into the inspiration behind the song and how it ties into the broader themes of empowerment and courage?

‘Blood as Lipstick’ can be interpreted as a symbolic representation of personal transformation and empowerment through the alchemical process of transmuting pain and adversity into beauty and strength. 

Overall, ‘Blood as Lipstick’ portrays the story of a woman who transforms the pain and wounds of her life into something beautiful and empowering. It emphasizes the alchemical process of transmutation, where the individual uses their experiences to cultivate strength, resistance, and inner beauty. 

My lyrics encourages embracing challenges and using them as catalysts for personal growth and transformation.

I dedicate this anthem of mine to all the women warriors who fight against discrimination and submission. But not only that, they are also dedicated to all human beings of any sex and origin, since anyone who knows pain and suffering deserves to find the strength to react to adversity and injustices.

‘Blood as Lipstick’ ties into broader themes of empowerment and courage by encouraging listeners to embrace their authenticity, find their voice, and overcome obstacles with unwavering determination.

SL. The press release mentions a range of musical influences from Kate Bush to Dead Can Dance and Zola Jesus. How do these influences shape the sonic landscape of “Blood As Lipstick,” and how do you incorporate them into your unique and captivating sound?

The musical influences mentioned in the press release, such as Kate Bush, Dead Can Dance, and Zola Jesus, play a significant role in shaping the sonic landscape of ‘Blood As Lipstick’.

These artists have distinct styles and sounds that have inspired and influenced my music. These artists are just a tiny selection from the multitude that I have been listening to for years and years until today. I could add many others such as Siouxsie, The Cure, Depeche Mode, Dalbello, Roxy Music, Joy Division, Visage, Madonna, Doris Norton, Franco Battiato and an infinite multitude of high listens from various decades that have worked in my subconscious until emerging in a distilled from my compositions. The artists selected in the press release represent different generations because I enjoy giving space to both the more historical artists who have always been part of my musical background, as well as the younger ones who I have discovered and who have a common fanbase with me, and who have a message to offer and a unique sound. I always like to stay curious and open to discovering new sounds that can suggest an interesting vibe and enrich my cultural baggage.

Going into detail, for example talking about Kate Bush, I draw inspiration in terms of her experimental approach to songwriting and her ability to create atmospheric and ethereal soundscapes. This influence can be heard in the dreamy and otherworldly elements present in ‘Blood As Lipstick.’

For me she is a brilliant artist, when as a child I discovered her on video and listened to her voice hitting very high notes with such a unique timbre, I was truly impressed. She also combines music with theatricality, dance and visual arts which are also basic elements of my artistic journey.

Dead Can Fance’s influence can be seen in the incorporation of world music elements and the use of unconventional instruments.

In Blood As Lipstick, as well as other songs from my next album, I played the wooden recorder which was my first instrument that I studied since my childhood. I approached the study of this instrument in an obsolete way because I used to duet with my brother by playing the guitar scores of Joe Satriani and Steve Vai. A truly original and bizarre result I must say! As for the rhythmic part, I overdubbed ethnic artisan rattles and microphones environmental

Their fusion of different cultural sounds has inspired me to explore and incorporate diverse musical elements into my own work, adding depth and richness to the overall sound of ‘Blood As Lipstick’.

Zola Jesus, I discovered her thanks to the fanbase we share and which allowed me to get to know her music, leaving me pleasantly impressed. 

I found some common traits in her regarding the intention and the way of managing her vocal delivery and expression.

I strive to create a sonic landscape that is both familiar and innovative, by blending elements from my background with my own musical ideas and experiences, I aim to create a captivating and distinctive sound in ‘Blood As Lipstick.’

SL. Can you provide some insights into the concept and themes that will be explored in coming  album, and how it might differ from your previous works with Helalyn Flowers?

As a solo artist, my upcoming album ‘Kintsugi’ will explore themes of personal growth, self-discovery, and introspection. 

Kintsugi is a beautiful Japanese tradition that involves repairing broken objects with gold dust, highlighting the intricate joints. This ancient technique allows us to elevate and value things that would otherwise be discarded due to being shattered. Metaphorically, Kintsugi can be applied to our lives, transforming soul wounds into powerful energies that make us wiser and aware of our goals. Instead of seeing wounds as weaknesses or missing pieces, they become our strengths. Just as broken objects can be enhanced with gold dust, we can transform our wounds into the gold of awareness.

In contrast, my previous works with Helalyn Flowers often focused on different themes such as dystopian worlds or even the exploration of darker emotions. While there were elements of introspection and personal reflection in our music, the overall tone and approach were different.

With my solo album, I have the opportunity to delve deeper into my own personal experiences and emotions, allowing for a more intimate and introspective exploration. The music will have a more stripped-down feel, with a focus on storytelling and emotional connection.

While Helalyn Flowers is known for its fusion of industrial, electronic, and rock elements, my solo album will incorporate elements of dream pop, ambient, and alternative genres to create a sonic landscape that is both haunting and captivating.

Overall, my solo album will offer a different perspective and musical experience compared to my previous works with Helalyn Flowers. It will be a deeply personal and introspective journey, exploring themes of self-discovery and vulnerability in a more electronic, experimental and atmospheric musical setting.

SL. The press release describes “Blood As Lipstick” as a symbolic ode to female empowerment and the lunar side of intuition. Can you elaborate on the symbolism and themes explored in the song, especially in relation to the transformative moments when blood turns defiantly into lipstick?

‘Blood As Lipstick’ is a song that explores the themes of female empowerment and the transformative power of embracing one’s pain and turning it into something beautiful. The symbolism of blood turning into lipstick represents the strength of women, as well as their ability to transform their experiences of pain and adversity into sources of power and beauty.

In the song, the act of turning blood into lipstick is a metaphor for the process of reclaiming one’s own narrative and finding empowerment in the face of challenges. It represents the defiance and determination to rise above difficult circumstances and transform them into something positive and strengthening.

The lunar side of intuition mentioned in the press release refers to the connection between women and the moon, which has long been associated with feminine energy and intuition. The moon symbolizes the cyclical nature of life, with its phases representing the different stages of growth and transformation. By exploring the lunar side of intuition, the song highlights the innate strength and wisdom that women possess, and the importance of embracing and trusting their own intuition in navigating life’s challenges.

With ‘Blood As Lipstick’ I encourage women and anyone else who feels involved, to embrace their own power, trust their intuition, and find empowerment in their own unique journeys.

SL. From your cover of The Cure’s “Friday I’m In Love” to the original compositions, your work showcases a wide range of styles. How do you maintain such versatility in your artistry, and what challenges or joys does this bring to your creative process?

Maintaining versatility in my artistry is something that I prioritize and actively work towards. I believe that exploring different styles and genres allows me to continually grow as a musician and expand my creative horizons. It also keeps my music fresh and exciting for both myself and my listeners.

One of the joys of being versatile is the freedom it gives me to experiment and explore new musical territories. It allows me to constantly challenge myself and push the boundaries of my creativity. I find great joy in the process of discovering new sounds, experimenting with different instruments, and incorporating diverse musical elements into my compositions.

However, this versatility also presents its own set of challenges. It requires a deep understanding and appreciation of various musical styles, as well as the ability to adapt and embody different musical personas. It can be a daunting task to switch between genres and styles seamlessly, but it is a challenge that I embrace as it goes hand in hand with joys of maintaining versatility in my artistry. 

While it can be demanding and require a lot of effort, the rewards are immense. It allows me to constantly evolve as an artist, connect with a wider range of listeners, and create music that is diverse, dynamic, and true to my artistic vision.

SL. As a solo artist, how does your approach to creating music differ from your collaborative work with Helalyn Flowers? Are there aspects of the creative process that you find particularly liberating or challenging in both scenarios?

As a solo artist, my approach to creating music differs in several ways from my collaborative work with Helalyn Flowers. 

The main difference between my solo project and the work with Helalyn Flowers, where we are a duo, lies in the total management of the songs. In Helalyn Flowers we had to balance the more rock/metal characteristics in a different way. In my solo project, as a producer, I have the opportunity to highlight certain characteristics during the mixing, production and mastering phase, which were not possible to share in Helalyn Flowers.

This level of creative freedom can be both liberating and challenging. On one hand, it allows me to fully express myself and experiment with different musical ideas and styles. I have the flexibility to take risks and push the boundaries of my creativity without the need to consider the preferences or expectations of others. This can lead to exciting and unexpected musical discoveries.

On the other hand, this freedom also comes with the responsibility of making all the creative decisions on my own. It requires a strong sense of self-awareness and clarity of vision to navigate through the creative process and make choices that align with my artistic goals.

In both scenarios, whether as a solo artist or in a band, the creative process is a deeply personal and introspective journey. It involves tapping into my emotions, experiences, and inspirations to create music that is authentic and meaningful. The challenges and rewards may differ, but the underlying passion and dedication to creating music that resonates with myself and my audience remain constant.

SL. As fans anticipate the release of “Kintsugi” and further explorations into your solo work, is there a message or feeling you hope they take away from your music? How do you envision your connection with your audience in this new phase of your musical journey?

“Kintsugi” represents a metaphorical exploration of the cracks and imperfections of the soul, and I hope that listeners can find solace and strength in embracing their own vulnerabilities and scars.

In this new phase of my musical journey, I aim to create a sense of connection and understanding with my audience. I want them to feel seen and heard, to know that they are not alone in their struggles and experiences. I hope that my music can serve as a source of comfort, inspiration, and empowerment for those who listen as I want to create a space where they feel safe to explore their emotions and reflect on their own journeys. 

I want my audience to feel a sense of catharsis and transformation and to carry that feeling with them long after they have listened.

Additionally, the best connection being made with my community is through my Patreon page. This platform which allows my fan club to be in close contact with my artistic experience, from the creative phase to the group chat, allows us to explore the concepts expressed in my songs and to create a connection from a daily point of view which is truly an inspiring experience. 

I invite all those who want to actively participate in my Multiverse of Sounds and Visions to subscribe to my Patreon: https://www.patreon.com/noemiaurora 

Thank you very much for this space and I greet with great affection my dearest Shining Disasters who support me since the dawn of time!

Eldrina Mich

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

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David J’s latest album, “What The Patrons Heard”, will be a storied collection of originals and covers recorded over the timespan of 34 years. These 10 songs were originally only available digitally to David J’s Patreon subscribers.

The founding member of Bauhaus was one of the first of Bauhaus’ members to actively release music outside of the band. He went on to put out solo work and collaborations with various authors, poets and indies such as 4AD. In 1985, David regrouped with two former Bauhaus members to form Love and Rockets.

“What The Patrons Heard” includes a rendition of Neil Young’s “Vampire Blues”, the John Lennon classic “Gimme Some Truth” and the folk punk track “Lay Over And Lay” plus 7 other tracks.

The release will be available as download, on CD and on vinyl, a limited numbered edition snow white vinyl that is. The CD and digital formats will be available worldwide on March 25th, 2022 with the vinyl shipping as soon as it becomes available.

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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OnlyFans puts a halt on pornographic content and instead encourages musicians (and others) to land on the platform.

Starting in October, OnlyFans will prohibit creators from posting material with ‘sexually explicit conduct’ (not nudity) on its website. The popularity of the platform literally exploded during the pandemic as sex workers (but also musicians for instance) used it to charge fans for exclusive access to photos, videos and other material. With over 130 million users, it’s a platform to keep a close eye on.

And if you are a musician even more now as OnlyFans is to launch a new streaming platform and app called OFTV for this specific target group.

$2 billion in sales last year

In case you wonder if there is indeed money to be made via the platform, know that the company handled more than $2 billion in sales last year and predicts more than double that this year. OnlyFans keeps 20%.

The change doesn’t come as a surprise as banking partners and payment providers are putting a lot of pressure on clients such as OnlyFans, to drop pornographic content. OnlyFans is currently also trying to raise money from outside investors at a valuation of more than $1 billion so the pivot really doesn’t come as a surprise.

Sex workers are of course less happy with this turn of events. But sex workers can still turn into musicians of course… It’s just an idea.

A good idea for musicians?

Anno 2021 labels act more and more as a pure promo machine to the bigger crowd (regular fans, and hardcore fans). Bands from their side should invest a lot more time and effort into a direct interaction with that last group, their hardcore fanbase.

With physical sales that keep on declining despite the digital streaming platforms, micropayment platforms such as OnlyFans, Patreon, … could (and will) act as a good way to monetize the hardcore fans and those create an extra way of earning money from their artistic work. It of course needs an extra continued effort.

For those who want to walk the extra mile, it’s worth checking it out. Just keep your clothes on.

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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While the Helalyn Flowers album “Àiresis” is just out, the band’s front woman Noemi Aurora has now started a Patreon page to fund her solo album.

Noemi: “After many years, I have finally decided to release my solo album. It will simply bear my name, Noemi Aurora, and will collect all my influences, without limits of genres, without fear of failing, only with the need to erupt an infinity of experiences that I have collected for over 20 years now. It will be an immense pleasure, and also a challenge for me, to share my progress while writing my very own first creation as a solist, which I started sketching last spring, in total lockdown. The previous month I’ve released the 6th album from my band Helalyn Flowers, and I will start a new collaboration as a visual artist for the creation of a new artwork that I will unveil in my exclusive posts!”

You can choose from several perks that include yearly autographed postcards, exclusive backstage content, your name in the crowdfunding credits of her next music release, loops and tools from her personal archives, audio/video files and bonus material, access for exclusive Patron content, exclusive merchandise and so on and so on.

You can check out all of the several perks on the Patreon page.

Noemi also posted a video explaining the Patreon page’s purpose as you can see 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!

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“Eat The Children” – Angelspit’s latest video from their new album “The Ignorance Cartel” is available now starring CRT glitch distortion from The Liar (Videopunks), Patreon supporters, Homicidal sock puppets and cats. The video was directed and shot by Angelspit during lockdown.

Asked what the video is about Zoog Von Rock from Angelspit says: “Imagine finding a VHS tape in an abandoned house. Through the video static appears a sing-a-long show which was definitely not made for children – starring homicidal sock puppets. You broadcast it, and the viewers are inspired to make their own homicidal hand puppets…comedy ensues…”

Videos for all 14 tracks from “The Ignorance Cartel” are available on a limited addition VHS tape.

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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“Don’t Say”, Angelspit’s first video from their new album “The Ignorance Cartel”, is out now. You can watch out below. “Don’t Say” was directed and shot by Angelspit during lockdown and features CRT glitch distortion from The Liar (Videopunks) plus guest appearances from Angelspit’s Patreon supporters.

Zoog Von Rock explains what made them to release this video: “Lockdown and social distancing has forced us to re-think the way we record albums, play gigs and shoot videos. I shot this alone in my studio, while Angelspit supporters contributed footage. The video starts comfortably disturbing, but soon decays into a paranoid-fueled glitch meltdown. The Liar and I wanted to create a “watch-VCR-and-go-insane” video, in which views are overcome by the constant bombardment of disinformation and benign distractions.”

Videos for all 14 tracks from “The Ignorance Cartel” will be available on a limited addition VHS tape – released through TheBasementLabs and Black Pill Red Pill, December 20, 2020.

Here’s “Don’t Say”.

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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Karl Learmont aka ‘Zoog Von Rock’, better known as Angelspit last year released the new album “Bang Operative” (Black Pill Red Pill). It’s a kind of conceptual work inspired by the early synth-wave sound of 1978-1981. Zoog Von Rock who got the help of a few contributors transposed that influence into a new and heavy production, which  I like to call ‘cyber-punk’ or ‘cyber-rock’. But in the end it’s pure electronic-anarchy. Zoog always is a fascinating artist to interview so here’s what he has to say about this new production.

(Courtesy by Inferno Sound Diaries)

Q: I remember after the release of your previous full length “Black Dog Bite” you claimed it was your ’most highly produced album to date’. So it must have been a serious challenge to start working and achieving this new album and what would you say about “Bang Operative” right now?

ZOOG: A lot of thought went into “Bang Operative”. I released each track on my Patreon first, and asked for feedback. The Patreon supporters helped shape the album. (I gave out a bunch of free copies to them as a thank you). It was awesome to build an album like this -it’s a completely new process for me. I try and make each album different. Different approach to composition, lyrics, sound design, synth programming, drums and production. I cannot constantly churn out genre specific albums – that is so boring to me, it’s just not Rock’n’Roll. I’ve changed, my audience has changed, the world has changed… I try to be inspired our collective experience and we all grow together.

“Black Dog Bite” was focused on production. “Bang Operative” is more about overall mood. Dark, grand, cold and tense. The objective with “Bang Operative” is to create something new -to evoke new imaginations and emotions in the listener. The challenge was to produce something that promoted an emotional response -not just make people want to dance.

Q: On the “Black Dog Bite”-album you focalized on the cyber-punk sounds of 1988 to 1992, even using synths from that era. “Bang Operative” is now influenced by the early synth-wave sound of 1978 to 1981. What do you especially like from that era and how did you incorporate the influences in your work?

ZOOG: “Black Dog Bite”’s late 80s early 90s industrial sound had no rules, no bigoted genre, just a tribe exploring and supporting something new. It was a similar vibe in 1978 to 1981 -it was a golden era for synthesized music. Synthesizers were becoming more affordable to more sonic explorers. There were no rules. New labels were emerging to support the new audiences who had an unquenchable thirst for this new synthesized sound.
This booming new micro-economy allowed awesome new sounds to thrive. Bands could experiment because they were not tied down to genre labels -they were inventing the genre as they went -such an inspiring time!
Bands from this era was punk. They were rough and unpolished. This raw aggression is what I am always aiming towards.

I try and capture the sound from this period in “Bang Operative”. Old synthesizers playing huge sonic clouds -as thick as LA smog. Lyrics and moods are more reflective and melancholy.

Q: Talking about influences, you’re living in Los Angeles (USA) so does this place has an impact on your work as musician and your career globally speaking?

ZOOG: LA’s influence is huge. The people and politics are greatly shaping my music. There are many songs which celebrate New-York, Berlin, London… but not many songs that celebrate LA. The lyric that best sums up LA is when Tool said ‘learn to swim’.

Q: The early 80s was important for the further development of electronic music because of the MIDI (Musical Instrument Digital Interface) that was progressively used by electronic musicians. It for sure remains one of the major ‘technical’ evolutions in the history of electronic music. What can you say about it and can you also mention specific instruments from that era, which had a great influence on your own work?

ZOOG: MIDI is a curse and a blessing! The politics behind it are insane… almost funny. MIDI definitely revolutionized the way music is made. I made a video about it recently -it’s history, how I use it. I posted it on my Patreon:
https://https://www.patreon.com/posts/32070239/

Most of my studio uses old-school analog CV/GATE voltage signals to communicate with all the synths. I love old gear and am the proud owner of 2 Jupiter 8s, a Prophet 5 and a barrage of other old synths. I also love modular synths -I have been collecting synths for over 30 years. My weakness is old samplers -particularly the EMAX by the US Company E-mu -I own 4. They have a wonderful sound. It’s gritty and crunchy with lovely analogue filters. It creates wonderful soundscapes and adds great character to the tracks. These old machines can be tedious to work with, you need to spend time to create sounds. However the time spent on sound creation greatly shapes the production process and therefore the sound.

I doubt I could be what I do if I used plug-in synths. Old synths add so much character to the music. They greatly influence each album!

Q: You might be inspired by past electronic movements and eras, your music to me remains a kind of ‘electronic anarchy’! Does this ‘description’ fit to your own vision of electronic music and purposes in the release of your albums? 

ZOOG: ‘Electronic Anarchy’ -LOVE IT! That definitely fits describes what I am trying to do. Electronic music can be very tame and lifeless -it’s important to push the boundaries to create something new. An electronic musician must challenge themselves first. Be inspired by Bowie -each album must push something different. An artist’s music must grow and adapt like the artist does to life.

Q: How do you see your further evolution as musician/artist and what do you expect from further & main evolutions in electronic music?

ZOOG: There is so much territory to explore! If you get a chance, check out ANGELSPIT’s Patreon -we are secretly testing ANGELSPIT’s new album there. Hard, darker, faster. If “Bang Operative” is a flying car from 2019, this new material is a bastardized V8 charger from the beyond the waterless apocalypse.

Ten years ago most people did not absorb music on an iPhone. They listened on a dedicated stereo system. That stereo system was sonically superior to an iPhone and could produce both higher and lower frequencies more accurately -bass that could loosen floorboards. These days an album MUST be produced to be iPhone friendly, as most people will hear it on that device -usually without headphones. As a result, music production has been forced to change… or if they are headphones, they are buds which have a terrible sonic response. The challenge is to create something that will sound massive on all systems. Increasingly I need to make the music less dense, as rich thick complex music does not work on a mobile device.

Funny, we though cyber-punk would be this huge movement that would free us… but instead it’s trapped us in a mall, forced to watch Disney on a tiny screen, while the ‘great algorithm’ feeds us what it deems fit for us.
I’ll be using a sledgehammer on the next album…

Don’t give up – the World needs your awesomeness!

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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