It all began in 1983 under the name Xymox, a musical project founded and spearheaded by Ronny Moorings. Shortly after, the project evolved into Clan Of Xymox, marking the birth of a band destined to leave an indelible mark on the Dark-Wave scene. Signed by the legendary British label 4AD, the band released two seminal albums that would become classics in the genre. While they briefly returned to the original name, since 1997, they have been known exclusively as Clan Of Xymox. What makes Clan Of Xymox truly special is not only their pioneering role in the New/Dark-Wave movement but their unwavering ability to create valuable and impactful music over the decades.

Unlike many of their contemporaries, who often rely on the nostalgia of 80s hits, Clan Of Xymox has consistently released strong, fresh material, proving that their creative spirit remains as vibrant as ever. With a career spanning over 40 years, Clan Of Xymox has firmly established themselves as one of the most influential forces in Dark-Wave. Ronny Moorings has remained true to the essence of his sound while allowing it to evolve, ensuring a timeless yet contemporary edge. Their latest and 18th studio album, “Exodus”, released via Trisol (Germany) and Metropolis (USA), is a testament to this balance. Featuring a collection of masterful tracks, the album combines melancholic, dark, atmospheres with Pop-infused arrangements that are both haunting and danceable.

I felt it was the perfect time to take a retrospective look at Clan Of Xymox’s incredible journey. In this interview, Ronny Moorings graciously shared his insights, reflecting on the band’s beginnings, their evolution, and their current work. I am deeply thankful for his enthusiastic cooperation and for taking the time to answer in such detail. His dedication to crafting inspired music over such a long period is remarkable, as is the man behind the artist. Respect! (Courtesy by Inferno Sound Diaries)

‘I Wanted To Be A Part Of Things Which Were Happening In Front Of My Eyes’

Q: Getting back to the early 1980s which marked the rise of New-Wave music and subgenres like Dark-Wave, Cold-Wave, and Post-Punk. How do you reflect on those formative years and what do you recall from the very beginning of your career? Specifically, what events or circumstances led to the formation of Xymox and, later, Clan Of Xymox and what was your original dream when you first started making music?

Ronny: I will make this a short story because there is so much to say about how it came to be. I was in bands from on my childhood in my birth town Roosendaal (NL) where I already played live at the age of 11 with older 15 year old friends. When it was time for me to study, I first moved to The Hague, deciding after a year of Social Academy that I’d rather do a Sociology study in Nijmegen.

In the early 80’s there was a lot going on. Musically we had the Deutsche Welle and from the U.K. came New-Wave. This appealed a lot to me and DJed (what I also already did in Roosendaal as a teenager) this type of music in the local venue Doornroosje. It was volunteers work, but I got to see all the cool bands coming in.
The alternative scene was thriving in the whole of The Netherlands. Naturally many British bands were on the fore front of innovation. The Goth / Wave movement came also to Doornroosje. I remember especially Bauhaus and The Virgin Prunes making a big impression on me because they sounded and looked visually stunning. The Virgin Prunes making a complete theatre out of their show; it looked like genuine madness with a lot of stuff flying about on stage. With Bauhaus, Peter Murphy just looked the ideal part, a new ‘thin white duke’ with white light shining under his chin and the rest of the band in fluorescent colours, exposed with a black light.

Every week there was a brilliant band to be seen in Paradiso (Amsterdam) or in Doornroosje, like Echo And The Bunnymen In an army outfit with camouflage nets hanging over the stage, The Sound, Dance Society, The Birthday Party with Nick Cave swinging like a monkey from left to right from the light supports, giving it a high energetic performance, Siouxie And The Banshees, The Cure ( they played in a circus tent) and later seeing Robert Smith playing guitar with Siouxie in Rotterdam , Theatre Of Hate, Eyeless In Gaza, Black Flag, The Comsat Angels, Sisters Of Mercy, in the Milkyway Amsterdam,  of course with Wayne Hussey,  Further The Slits, Liaison Dangereuses, U2 ( played in Arnhem for 400 people) who was pretty unknown still etc. Too many to mention!

All bands not jet known by the majority of people but making a big impact on everyone alternative seeing them live. New-Wave, Deutsche Welle, Punk, Synth-Pop and New-Romantics was now a major alternative movement perfectly fitting the times we were living in.

Also the Netherlands produced influential bands who made quite an impression on me, like I already mentioned Mecano & Minimal Compact from Amsterdam, Nasmak from Eindhoven, Coitus Interruptus from Utrecht, and ‘famous’ local bands from Nijmegen like Mechanic Commando and Vice.

By seeing all these brilliant international and national bands I knew there and then that I had to start something new and interesting too. I wanted to make music like these bands. I was totally inspired. I wanted to be a part of things which were happening in front of my eyes. I wanted a band instead of just making things late at night on my own on a 4 track for no one else to hear.I wasn’t the only one feeling this way. It seemed that nearly anyone in the local scene started a band. In every squat people started a band and rehearsing was no problem in these industrial buildings we all occupied. Music was becoming a way of life, a means to express your views. There were enough opportunities for bands to play. There were always some old factories freshly squatted. One of the first shows I did was on a festival in De Plu Fabriek, a desolate disused umbrella factory. The festival had a social awareness theme about ‘Acid Rain’ of which maybe a handful had heard about. It was not taken very serious yet by the general public. It was the first ever show of Xymox there.

Round the same time at the University we had to do a video project. We had to film something about a socially significant social subject, so I started filming and interviewing the squatters local bands I knew. I still have the V2000 video tape but because of its backdated discontinued format, I haven’t been able to see it since the presentation at the University of Nijmegen.

In the beginning of 1980 in Nijmegen I had no real serious relationship with anyone. I was fairly new in town and most people I found quite uninteresting. The typical jeans and long hair student types, freshly coming from their cosy parental homes, with only one aim in life and that is to study, graduate and getting a job. Also most people were just coming out of the seventies and their clothes reflected that, very colourful shirts, a lot of blue jeans and mostly having long hair. In Rotterdam long hair in the back and short in the front was accompanied by a little moustache was the local fashion there.

Anyway, just after my initiation weeks of the University back in Nijmegen, one night I went out, going to a bar where I would normally not come with my fellow student friends. I was standing there drinking beer with my mates until I spotted this girl in the distance. She had the same kind of image as me. Out of place I thought. I simply had to talk to her and soon we were engaged in conversation and ended up spending the night together in her basement flat.. She told me she came from Nuenen, a small village close to Eindhoven but very famous for the house of Vincent Van Gogh. Her name was Anke.

In this period I wanted to start a Live band with the name I already had:  Xymox.  One day I showed her my songs I had recorded and asked if she would want to be in my ‘band’ which was just me at the time 😉 I said it would not matter that it was only the two of us because a lot of bands played with a drum machine and it would be a cool thing to do; she agreed. The songs were most of the time two or three chords so it was not too difficult for her to learn the tracks. I released this tape at the time, sold it for cheap (some people still have it). She liked the songs and decided to learn and play the bass guitar so she could play live. We started rehearsing together in 1982. I started sending my old Xymox demos to various venues and to my surprise a dozen clubs or so liked it.

Soon we played live with the two of us in various alternative clubs. I was singing, playing guitar and the synth plus operating the rhythm box. She played the bass by now and did some backing vocals . The songs were all mine, if you could call them songs 😉 For transportation I had my old cheap orange Renault 4 with a shift stick. All the equipment fitted in beautifully. Because we were just with the two of us and the fuel was very cheap, the money earned was very reasonable for those days.

Later we got asked by the locally known band Vice to support them. We did so and managed to play quite a bit of shows in the South of the Netherlands again. We felt we were getting somewhere.

Later a few friends to join our ‘band’ live. They were hitting metal pieces or doing backing vocals etc. Inspired of course by Einstürtzenden Neubauten. We started rehearsing in the empty vaults of a squatted bank building. Soundproof and safe it luckily was 😉

Anke wanted to move to Amsterdam in 1983, when she changed her study. She wanted to study Psychology and since I finished my Sociology ‘Candidates’ phase holding an official diploma. I was looking for a relevant Masters study so I decided to go to Amsterdam as well, I chose for  ‘Media Studies’ at the ‘University of Amsterdam’. Apparently you would have a lot of freedom with this study as well.

In Amsterdam I was asked by a friend in 1983, if I wanted to DJ for a local pirate radio station WHS. The show; ‘De Lege Huls’, translated ‘The Empty Shell’, would be late at night which of course I gladly accepted. I did this for quite some time well into 1985 until I got too busy with Clan Of Xymox and its many obligations.

As I already said I saved for a while every penny in order to buy my much desired object, a Teac 4 track multi tape recorder. I bought it in Antwerp, Belgium, November 1982. After many recordings of songs and ideas in Nijmegen I started a new In April 1983, frantically starting to record some new songs; the old ones were already more than a year old and I wanted to have new ones. With the help of the Teac 4 track recorder I could be more creative with writing and recording, bouncing previous recordings and build on that.

The instruments I had access to were: a Yamaha synth, Korg Poly 6 Synthesiser, Korg MS10 and MS 20, a rhythm box K500 , an electric Framus guitar, Welson Keyboard, a standard Shure 58 mike of course, my fantastic vintage space echo, melodica, guitar pedal effects and a bass guitar. A later valuable asset was later a Solina Strings but this one was borrowed once and a while.

All instruments were played in real time on tape. No sequencer used. That was too expensive.
These were the days computers were only academic and hardly used by anyone at all. Computers were just those big main frames standing in a government building or only portrayed in science fiction. Today our ears are completely trained to sequenced patterns, then it was something new, the ear was untrained to these sounds and pattern uses.

Soon things were ready. I asked Anke if she wanted to sing one song on the track I already prepared for her. It ended up with the title “Call It Weird “, so now  all tracks were done and everything was set up to bring these recordings to a mastering plant near Amsterdam called  Dureco. This was a vinyl factory specialised in producing Dutch product, the type like ‘Dutch Schlager’ like Vader Abraham known internationally for his “Smurf” songs. He was prominent on the wall everywhere in the factory offices. The main earner. Newer versions of this first EP exist: “Muscoviet Musquito” ( deliberately spelled this way) and “Going Round”. Both have various versions over the years.

‘I Felt That The Xymox Days Were Not The Right Way To Go’

Q: Xymox became Clan Of Xymox when you signed to 4AD, but later you reverted to Xymox before ultimately returning to Clan Of Xymox in the late ’90s. How do you view these shifts in retrospect? What, in your opinion, distinguishes Xymox from Clan Of Xymox?

Ronny: I started with the name Xymox and released my first EP “Subsequent Pleasures“ under this name. When Xymox got signed by 4 AD and the first debut album was called “Clan Of Xymox” I decided it was a slightly better name also because I had found people to play the songs live, so hence the ‘Clan’. I considered Xymox as my Pseudonym.

When Clan Of Xymox got signed by Wing / PolyGram USA I felt this was a significant change and wanted to underline this with shortening the name and perhaps with the reasoning that it would be easier for people in general to remember our name when it was shorter.

After 4 albums under the name Xymox, with the album “Phoenix” it had gotten too commercial in my opinion. With the 2 UK releases “Metamorphosis“ and “Headclouds” which were too Experimental and nothing much to do with the early material on 4 AD I decided in 1997 it was time to reintroduce Clan Of Xymox again with the same approach and attitude as in the earl 80’s. I felt that the Xymox days were not the right way to go and that it was better to stick to my own opinion instead of letting people influence me in one way or the other.

The result was the album “Hidden Faces” released worldwide on Tess Records and Pandaimonium Records in Germany in 1997. This was the start of Clan Of Xymox again. Since Phoenix I didn’t tour anymore. Had actually no live band anymore. I started to find again people who could play live with me and soon I had a live band ready to start promoting “Hidden Faces” and the older works on 4AD. Mojca my partner was there already since 1991 with me learning to play an instrument, keys and bass. She already designed the artwork from on 1992. In 1995 I decided to play in The Netherlands and promote “Metamorphosis” and “Headclouds”. The old live members from the 80’s Frank Weyzig and Will Anvers joined me on stage together with Mojca on Keyboards. This tour made me realise I missed playing live and soon since 1997 Clan Of Xymox played live each and every year till now and will keep on playing live.

I have a steady crew for more than a decade now with Mojca from on 1991 (of course), Mario ( more than 20 years), Sean and Daniel. I stay with the labels Metropolis (USA ) and Trisol (Germany ) as well as I run my own label Xymox Control now for decades a steady course with Clan Of Xymox, only expanding with my band, slowly but gradually. It manifests in the vast amount of sold out shows we are having each year.

‘We Were In Our Extravaganza’

Q: You were closely associated with 4AD, one of the most groundbreaking labels of the early New-Wave era. How did an unknown band from the Netherlands find its way onto such an iconic label? And how did your time with 4AD influence your evolution as an artist?

Ronny: Back in 1983 I felt that my former town Nijmegen ‘deserved’ a few copies of “Subsequent Pleasures” too. I was doing all the distribution myself. I sold 150 through Rough Trade UK, 150 in New Waves France and 150 export to Essen in Germany. Anyway, so I went to Nijmegen the night of the ‘Day of the Dead’, 1st of November.
I decided to visit a friend but he was not at home so not knowing what was going on that evening  I soon found out The Cocteau Twins were playing in Doornroosje that night, so I had to see them. There was still plenty of time left so I decided to have something  to eat in my favourite eating cafe De Plak. Whilst having dinner I heard English was spoken on another table, so my interest was aroused. Maybe this couple were The Cocteau Twins? Had to be! An English male and female.  Without any hesitation I went to their table and asked them all sorts of questions about their band The Cocteau Twins. They informed me politely that they were not The Cocteau Twins but were their supporting act called Dead Can Dance and if I wanted they could put me on the guest list; which I naturally did not decline since I was no longer active in Doornroosje anymore. In return I gave them a copy of “Subsequent Pleasures” for them to listen to.

Having seen Dead Can Dance they blew me away, just like of course The Cocteau Twins. After the show I went boldly to the dressing room and drank some beer with both the bands as they were sharing the dressing room and already established that we were all like-minded, talking to each other, or trying to, because Robin Guthrie of the Cocteau’s had a very heavy Scottish accent. Difficult to understand for a  Dutchman who knew and spoke only ‘school’ English. That night I learned then that Brendan was Irish, lived in New-Zealand, moved to Australia, met Lisa in Melbourne and moved to London to work on their musical career. A similar story was true for The Cocteau Twins who moved from Scotland to London to work on their career. All was very interesting and at the end of the night we swore to keep in contact and said our goodbyes.

During that time I kept in contact with Brendan and Lisa who lived together on the Isle Of Dogs. They invited me to their London home and I stayed at their place quite a few times. In those days I had to travel by ferry to the UK, a long journey. They lived on the 11th floor with a fantastic view over London. The flats were those typical council flats, ashen grey and reeking of urine in the elevators. They had a staggering amount of locks installed on their front door. With all their equipment at home I could understand their mistrust of their surroundings. It was all very depressing but very exciting for me. Brendan worked the same way as I did. We ended up with almost the same equipment in 1986. Brendan and Lisa were then still living together and were really dedicated to music. Every day they recorded or rehearsed. Lisa mainly singing and playing the Yang Ching. I slept in the living room and later on some visits they had a closet, like the one of “Harry Potter”. I slept there and was pretty cosy;)

Xymox started playing live in 1984 again. One day Brendan Perry called me up and asked me if we wanted to support them on a tour in the UK.  Without any hesitation I agreed to do it and almost a week later we were in London. Unfortunately when we arrived nearly all the dates of Dead Can Dance got cancelled and there were only three dates left:  one in London, Huddersfield and one in Dudley. We stayed with Brendan and Lisa, sleeping all on the floor in the living room, which I knew already too well.

During our first concert In London I nearly disappeared through the hole in the stage, I had to walk very carefully  because they did not manage to cover all the holes under the stained carpet. The father of Brendan was I believe the tour manager and his mother made sandwiches for Dead Can Dance when we went on the road to Dudley. The town looked nothing much and the bar we had to play likewise.. our dressing room was between beer barrels and if we wanted to have a drink we had to buy it at the bar said the promoter resembling “Dell Boy” of “Only Fools And Horses”. Still we had a great time hanging out with Brendan and Lisa, who were very generous to give us some money for covering our ferry expenses, which I know for sure they were paying out of their own pockets. After that we did more shows all over The Netherlands till summer.

Brendan Perry was the first one who told me about 4AD.  Before that I only paid attention to bands and not too much to record labels strangely enough.  He said he gave “Subsequent Pleasures” to Ivo Watts Russell , the label boss of 4AD, and so I followed up with sending a demo to 4AD with some newer additional tracks in July 1984, recorded in the Amsterdam Octopus 8 track studio. The demo I had sent 4AD after our shows in Paris’ old theatre La Seballe Club, several Dutch and the 2 UK dates. I was getting impatient as always. I gave Ivo Watts Russell a phone call. I was complaining about how the Dutch music industry sucked and that his label was the only independent label appealing to me. A week before that,  I had a meeting with the Dutch division label EMI but this meeting reminded me of all the cliches I ever heard about Major labels. To my absolute delight and surprise Ivo told me he liked what he had heard from the demo so far and wanted to meet, to see us in person and talk about it.

Ivo wanted to meet the band, so arriving in London, me and Anke  were heading to the private home of Ivo Watts Russell and his girlfriend Debby who also worked for 4AD as their press agent. They lived together in a residential SW12 London area. We stayed in their house for a week.

Anke and I had placed these long extra hair extensions in our hair so we looked a bit like ‘Uber Goths’ with a lot of make-up and special clothing we had designed for us by a friend who was handy with the sewing machine and wanted to become a fashion designer. I saw the surprise on Ivo’s face when he saw us for the first time. We were obviously not looking the way he expected us to look. Most of his bands on the label looked actually quite normal with no real image to speak of; so here we were in our extravaganza.

Luckily Ivo and Debby liked us or the music enough to offer Xymox a record deal and with that great news we went back home. The news had spread that we were the first band 4AD signed since two years of their last signing of Dead Can Dance. After this published fact my phone started to ring frequently and offers for radio and new Dutch live shows offers came in by the plenty.

When the self-titled album “Clan Of Xymox”’ was released funny enough nearly all the journalist thought we were Scottish by origin judging by their reviews. An Englishman is always very sensitive to accents. I saw it as a compliment though. Of course ‘Clan Of’ was suggestive enough 😉 . Most reviews were ecstatic, full of praise with five star ratings, the highest you could get. I guess we got lucky with my intention not to advertise we were Dutch. Having no names on the artwork and let the album speak for itself.

The British can be real chauvinists regarding their music industry, they didn’t take foreigners making music too seriously in those days. Of course the weekly music magazines Sounds, Melody Maker, New Music Express etcetera made up their ‘mistake’ in the eye to eye interviews, clearly pointing out us being Dutch and using the usual stereotype references, with headlines like ‘Dutch Bake’, ‘Dutch Courage’, ‘Going Dutch’, ‘Hollandaise Sauce’ and any phrase relating to the war between the Dutch and the Brits a few centuries ago. Anyway it did not matter anymore because we got the attention;  had a proper selling debut album. We did a lot of photo shoots with an English photographer using drapes in the back ground giving us a more Gothic image. This was used as our promo picture.The Music Maker and Sounds were giving us regular features and interviews afterwards, which gave us finally an international standing. Soon 4AD set up a few shows in Croydon and the University of London plus a John Peel session, which was very important to establish up and coming bands.

‘We Had To Prove Ourselves Time And Time Again’

Q: You’ve already mentioned several legendary British bands that were prominent in the 1980s and shared strong connections and camaraderie. What was your experience of the Dutch music scene during that time? How do you reflect on it now?

Ronny: I only had French, British and Scottish bands as friends. I could not get along with any band in The Netherlands in the mid-eighties. In the Netherlands there was a very strong Rock culture with no space for bands like us. We had to prove ourselves time and time again. I didn’t understand the provincial attitude towards synths coming from the Dutch critics. In a very first review the national music magazine Oor reviewed synths as magic boxes which made them nervous listening to them. When our first album came out we finally got greeted by the more alternative media which just got a foot in the door and were played on radio and TV, MTV and the like. Suddenly we were part of a movement to be reckoned with. Sometimes we even played live twice on a day in The Netherlands.

‘The Only Disappointment For Me Was That I Actually Never Got To Meet John Peel’

Q: During that period, you worked with or crossed paths with notable figures like the aforementioned Brendan Perry. But what about John Fryer, David M. Allen and John Peel? What can you share about those interactions and their impact on your journey?

Ronny: Our first John Peel session was in the beginning of  November 1985. It was pretty stressful for me. We had to record 4 to 5 songs with the live band in one working ‘BBC’ day of 6 hours or so. It didn’t occur to me that I should have taken adaptors for English power plugs with me.  Because it is the BBC, no one is allowed to change a power plug without the assistance of a fully qualified engineer, so it took them already one hour to find such a person as labour union regulations dictated that the technician supposed to have his tea break of an hour. We were already losing valuable time! We didn’t have computers in those days. My first Commodore computer with TV monitor I got in 1988 when I wrote the “ Twist Of Shadows“ album.  The Macintosh 128K a normal mortal could not afford. Clan Of Xymox did however use an 8 track recorder for the backing tracks, like Depeche Mode or The Cocteau Twins used as well. It consisted of individual drum tracks, sequenced bass triggers and strings. This made life a bit easier.  We could thanks to the ‘eight track’ finish within the timeframe of the BBC.

The only disappointment for me was that I actually never got to meet John Peel. Even then he was a legend, especially to me, because it was the best program for discovering new exciting bands. I only got to call him from the 4AD office, thanking him for the opportunity he gave us. He declared in his program that we were the pioneers of Dark-Wave. That was a huge compliment and recognition for Clan Of Xymox. Soon Dutch radios started to follow suit. We got to record a live show for Radio Veronica in Hilversum. Several TV shows invited us for music programs like the VARA. MTV picked us up too. We felt we were on a roll!

John Fryer I instantly liked as a person and sound engineer. He was the in house sound engineer of 4AD and knew what he was doing. He was not afraid to experiment with sampling sounds and replacing them. The AMS delay was his secret weapon. I remember sitting evenings together with John mixing tracks by hand. So I had to pull and push knobs on my side and he on his side. It was a lot of fun and very educational. Later in live John made me a remix for “Big Brother“ from the album “Limbo” (2021).

I worked with David M. Allen on tracks like “Out Of The Rain” and “Sing A Song” together with Jools of Nitzer Ebb. It was in Leamington Spa in John Rivers’s studio. I worked with John Rivers already on the “Blind Hearts”-EP for 4AD and several B-sides for later PolyGram. Now I was working with John on the “Hidden Faces”-album (1997) and we thought it would be very cool to have Dave M. Allen involved. This certainly worked. I wished we had the budget to work on all the songs but I was already glad these two songs worked out fantastically. Dave is a very likeable person with an air of mystique around him. He gives suggestions for you to try and they always make sense. He taught me to delve deeper when needed.

‘Without Me There Is No Clan Of Xymox’

Q: Both Xymox and Clan Of Xymox included founding members Anke Wolbert and Pieter Nooten. What role did they play in shaping the band’s identity, and how do you reflect on the line-up changes over the years?

Ronny: They were both not founding members. They joined me in the beginning of the Xymox period. First Anke as I told you and later in 1985 Pieter. Because they were the first ones joining they are seen as founding members but I am sorry to say; it was always my thing. I was and still am the driving force behind the band and it’s musical direction. No one else. They concentrated mainly on their own songs like “Masquerade” or “Stumble” and “Fall” back in the days. The bulk I wrote. I participated also on their songs as well.

Regarding the songs it is true we worked more together like a band should. In the beginning we rehearsed the songs for live shows and many got changed during this process. This was only sustainable for a short while as nobody liked to rehearse together.

We ended up as 3 individuals writers with different taste and musical directions so it was inevitable it wouldn’t work out long because we were all to egocentric to begin with. When I officially broke up with Anke it was also the end of working together as a collective. We all went our own way.

Indeed we had many changes but maybe the irony is in the word ‘Clan’, a group of close knitted people. So in the end there were many LIVE musicians joining the band for a short or longer period. Joining ‘the Clan’. The red line was and is simple: without me there is no Clan Of Xymox.

All happened really fast in those days. It was a learning process for all involved. Books about the music industry and bands hardly existed. Everyone was left to do whatever with their experiences, positive or negative.
I never knew or expected that just making music could make me enemies but also gaining a lot of friends of course. Jalousie and spite can make people really vicious and vindictive and yet equally so many fans or friends treat you with the utmost respect or even adoration. To me it is just music but soon you realise it is something more than that. 

Former friends or partners turning into your personal enemy. It is the worst thing that can happen, because they know your weaknesses and irritation points and will not shy away from using this against you if they have no pride, dignity or integrity.

Thinking back on this short period between 1985 and 1989 stir more negative emotions then positive ones in me. It wasn’t all bad of course but I can’t remember real long good periods. I realise looking back that I am only happy with the band since the beginning of the  mid 90’s to now, at least 33 years so far:)

Q: How does the young Ronny Moorings compare to the musician you are today? What traits have endured, and which aspects of your younger self do you miss in your music or approach to life?

Ronny: I was definitely very naive in the beginning. When I wrote a song for example I just split the rights between the band members because I thought it would motivate my band to pull more their weight in the band and…. after all I was a socialist and not a capitalist 😉

Soon I discovered that when people sense they don’t have to do too much and can simply lay back whilst I do the heavy lifting because they get paid anyway.

I started to get annoyed with this uneven situation and learned from this that I should not give away my rights that easily just to please band members or partner. So I ended this naive approach and never looked back.
Equally I used to work with bigger crews, managers, tour managers, lawyers and all the professional people they told you would need to have in order to make it as a band.

After many annoyances about the enormous bills I decided I could do most jobs way better. I know I am a control freak. You have to be. You have to understand the way things work. Now I have a lean machine and I like it a lot. Later I also learned to delegate things and that is also very rewarding. I guess ‘live and learn’ is true in my opinion.

‘Dark-Wave Has A Strong Hold All Over The World Like In The 80’s’

Q: Many legendary New/Dark-Wave bands achieved their greatest success in the ’80s. Why do you think those years were so special and unique for the genre? How do you see the evolution of New/Dark-Wave music from its origins to today, particularly in terms of its spirit and cultural significance?

Ronny: Yes, it was a new style taking over with fashion unseen before, It was against the Hippy culture, the jeans wearing long haired pot smokers. It was a clean break from all of this, plus the ‘no future’ feeling with all the political turmoil and nuclear threats hanging over our heads. Remember Thatchers England. Ronald Reagan as president.

These bands made the sound track of our lives and guess what? It is happening again. Dark-Wave has a strong hold all over the world like in the 80’s. Yes, it’s not on the dying radio or TV stations as we know it but streaming like crazy, this time on internet radios, YouTube, Spotify It feels a bit like maybe the pirates in the 80’s.

It feels the same to me and also we have the same nuclear threats back again. In a way it feels coming ‘full circle’.

Q: Over the decades, the music industry has undergone tremendous changes -rising social media, streaming platforms, declining physical album sales, advances in technology, and shifts in performance venues from intimate gigs to massive festivals. How have you navigated these transformations, and what are your thoughts on the (r)evolution of the industry?

Ronny: I navigate these changes just fine I think. I always welcomed change and will ever do. We need to improve. We need to move forward and not backward. When for the very first time in the 80’s I could get my hands on a computer I embraced it as a big help with sequencing and programming. It made endless rehearsing patterns on keyboards so much easier. Later it became my entire virtual studio platform. Streaming is now the most important thing now in the music industry and some artists do not like it, but remember when music was pirated and artists would get nothing from it financially and no insight how many like to listen to your music etc. I love Spotify and as an artist you have access to all date regarding what your fans are listening to.
Most music I listen to these days is from platforms, on my phone with airpods. This gives me more time to listen to music when I am on the move or outside. Everything in one device is just brilliant I think. Of course I have at home all old media devices still in place. I do play vinyl as well when I am in the mood. I still love vinyl and the looks of it. The best format for the artwork to shine.

Q: While it’s difficult for any musician to choose a single album or song as their best, is there a particular piece in your discography that holds special significance for you? Or do you believe that your most recent work is always your finest?

Ronny: I have to agree with my fellow musicians. My recent is indeed the best so far as I can see and feel 😉 It is simply because new songs are for the one who wrote and recorded it the most exciting, the most fresh and recent to your current experiences. You have to play them live which you haven’t done before and in the end they will sound different then when it came out. If you don’t have that feeling the artist should not release the album in the first place 😉

‘I Let The Listener Feel What I Feel’

Q: Your lyrics often feel deeply expressive, sometimes addressing social and political themes, other times delving into introspection. Do you see your lyrics as a reflection of your true self? What value and purpose do they hold for you?

Ronny: Sometimes yes and sometimes no. It’s complicated 😉 I definitely sing about emotions I feel or felt. Say I sing about Evelyn, Louise or Michelle. That doesn’t mean I know a person with that name or sing about a real person. All these names are fictional but the feelings and thoughts what went into these songs are real. Sometimes more than one person I think about finds its place into a song lyric. It all depends. Political themes are the ones which affected me like in the Lockdown periods in the early 20’s. It comes home, becomes personal and I describe more the situation than anything else. I let the listener feel what I feel.
Sometimes I write a song to blow off steam and feel good afterwards. Most of the time it’s about a person who doesn’t want to leave me alone almost my entire life 😉 I can keep going on like that. I always delve the lyrics out of the depths of my mind where it lay buried until I get it out through some type of instrumentation deciding for me what the topic is going to be. A new to be written song has most of the time its own will and direction.

Q: Clan Of Xymox has consistently attracted new fans over the years. What do your fans mean to you, and how does it feel to have a lasting influence on the Dark-Wave scene?

Ronny: Fans are the most important to me. Without a doubt. We meet so many dedicated fans, traveling to all of our shows they can reach within reason. We always talk to anyone after the show who’s interested, have selfies taken, give autographs, give something a fan would like to experience, a closeness you can’t give onstage. A hand shake, a look in the eye.

I am honoured to contribute to the Dark-Wave scene as it is today. All bands who are now big I met when they were still beginning and were our support one time or the other. I know that we had an influence on them but now they are an influence on me the same. So it works in the end both ways. To me this scene is the best scene ever for me.

Q: Looking back on your career, what do you consider to be your biggest milestones? And what were the most significant disappointments?

Ronny: I am still working on my biggest milestone 🙂 My quest is to see how long I can still play live with the band. That is my ultimate quest in life. Disappointments enough, especially in people, but to me that is also an inspiration to write songs about so in the end all turns out for the best. I am lucky I have many good friends in my life to compensate for the negative. Unfortunately I am a person who has to be on the darker side of things in order to feel inspired. So I don’t mind 😉

Q: How have you managed to keep finding fresh ideas and challenges over the years? Were there periods where inspiration waned, and if so, how did you overcome those creative blocks?

Ronny: I think in the beginning it was harder to write as it is now. To me writing comes very natural I think. Maybe because I have more to say now than when I was in my twenties. In that time I read a lot of books in order to get lyrically inspired. For a long time now I just write from what comes up in my mind and put it into lyrics. Way easier I think and less time consuming 😉 The music was never a problem. Finding words to it is a harder nut to crack sometimes.

A creative block I handle very easy: I put the song away and start with something else. Sometimes its years later that I have a look at it again, if I can do something with it and often that’s the case. So for me I don’t like to force a song if it doesn’t present it by itself.

‘Joy Division, The Sisters Of Mercy And The Cure Were Very Important To Me’

Q: One of the most surprising entries in your discography is “Kindred Spirits” (2012), a cover album featuring renowned songs and artists. How did you choose the tracks, and what connection do you have to those songs? Would you consider them key sources of inspiration?

Ronny: When I was young, the only means of getting to know music was the radio or “Top of the Pops” later in the 70s. In the Netherlands we had bands like Shocking Blue, Brainbox, Earth And Fire, Focus, The Golden Earring and such, which appealed to me a lot. These were the bands I was interested in. On TV we grew up with The Beatles, The Rolling Stones and of course The Monkees especially grouped for US TV. These bands made me want to play an instrument at a very young age. After that I always stayed on the alternative side of music. On my album “Kindred Spirits“ you can see and hear which artist influenced me in the direction I was going. Bands for example like Joy Division, The Sisters Of Mercy and The Cure were very important to me.

I gave or restricted myself to make a choice for ten songs of bands who had in one way or the other an impact on my musical taste. I wanted to give an ode to these bands and revive these songs in my memory to keep and make them as my own. In the end I did 11 tracks of my all-time favourite bands or songs.

Too many bands like to hide their influences or deny them. I decided to give them my own pedestal.

Q: This year marks the release of Clan Of Xymox’s 18th album, “Exodus”. What does this album represent within your extensive discography? Can you share insights into its creation?

Ronny: I finished and released the album “Limbo” in 2021 and I wrote the “Exodus” album after writing “Save Our Souls” in 2022 in 2023. The last song I wrote for this album was in January 2024 and here we are. In a way keeping the tradition of one album release in every two or three years.

We toured an awful lot so the little time I had, I spend in the studio taking my mind of things. The late general developments in the world I felt writing about. Instead of introspective lyrics I felt more like describing our current times we live in. After “Save Our Souls” I wrote “Fear For A World At War”, especially after all the rhetoric of Putin threatening Europe or the world with nuclear strikes. Because the world is massively gearing up for war.

When I was born there was the biggest world crisis between the Soviet Union and the USA about the missiles in Cuba.

It is ironic that now we are living with almost the exact conditions but this time closer to home, having a nuclear missile threat. History repeats itself . I certainly hope this is not getting out of hand but the signs are that we seem to step up our war talk more and more. SOS indeed. The world is at turmoil and nothing good will come out of this. Exodus for me as well when it gets out of hand. Anyway, this is the back ground for writing all these songs for “Exodus”.

Q: Talking about “Save Our Souls”, there clearly is a sense of commentary on the state of the world. Do you see music and this album as a unifying force in troubled times? How do you perceive its broader impact on society?

Ronny: “Save Our Souls” was specific about the invasion of the Russians into the Ukraine. It was a shocker for me. Especially after just having toured there in September 2021. I see music in troubled times more as a safety blanket you can wrap yourself in. It gives comfort and soothes your mind and well-being. An escape as it were from the daily sorrows we get bombarded with each and every minute. So far music can change or influence politics when masses cry out for social change. I don’t see that happen with this album or any of my albums;) Never intended for it either.

Q: Authenticity seems to be a hallmark of your music. Many fans describe a sense of genuine emotion and connection in your work. How do you experience this dynamic and interaction with your audience? How powerful or influential do you think music can be in bridging gaps and inspiring change?

Ronny: Wow, if you talk about the grand scale of things you might have a chance to do so but in the cult circuit we are maybe just the inspiring factor. That which might work on a small scale. I should certainly hope that our fans and other listeners get the music of Clan Of Xymox and feel the emotions I feel when I perform these songs with my band. Live you notice this the best. During the show I always look at people and there are so many various expressions on people faces, you feel that you are almost privileged to see an expression of someone when they sink into the song with mind and body. I love it!

‘Contrast Works Always The Best In A Way’

Q: Your music often combines dark, melancholic themes with an energy that makes people dance and feel alive. How do you reconcile these contrasting elements?

Ronny: Contrast works always the best in a way. I defines, it outlines. I have a lot of slow songs with equally dark lyrics but playing live I want to entertain people, want to make them move inside and out. I have luckily lots and lots of songs to choose from and during the years it taught me a lot about which songs people like to hear when they go to our concert. That means the classics are always included and never ignored.

Q: Finally, let’s end with a few rapid-fire questions:

• ‘Sex, Drugs, and Rock ‘N’ Roll’: does this resonate with you?

Ronny: During my long career all certainly resonates at one time or the other. Experimenting with drugs I steered away long time ago. It was perhaps hip in the 80’s or attractive to experiment but the same goes for smoking or anything else unhealthy. I value a healthy life style with perhaps an alternativee: Sex, Wine and Wave 😉

• Is there a band or artist you would have loved to collaborate with?

Ronny: It’s a shame I never got to work with David Bowie. I met him once in LA when he came to see our concert in the Palace. I was too starstruck to even think of asking him. What a missed chance !

• Do you feel a spiritual connection with any particular artist or band?

Ronny: Yes, plenty! I have got so many great friends in the current scene who make great music. Backstage is always fun when we meet.

• In a world without music, what do you think you’d be doing?

Ronny: Not breathe.

• Which Clan Of Xymox song would you recommend to someone who has never heard your music before?

Ronny: “A Day”, “She” or “Loneliness” as a starter.

• How many albums has Clan Of Xymox sold, and which remains the most successful?

Ronny:  Wouldn’t you like to know 😉 “Twist Of Shadows” was still the most successful in terms of hard record-CD/Cassettes sales because it was at the time people could only buy that and did. There was no piracy then, apart from the classic copying on a blank cassette. In terms of streaming and overall impact I have to point to my later works.

• What is the ultimate dream for Clan Of Xymox?

Ronny: To carry on like the last two years.

• What would you want written on your epitaph and that of Clan Of Xymox?

Ronny:  

See you on the other side.

I am the sunlight on ripened grain.

I am the gentle autumn rain.

Do not stand at my grave and weep.

I am a thousand winds that blow.

I am not there, I didn’t go.

I didn’t die, so you know. 

See you on the other side.

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

Athens, GA post-punk outfit Vision Video has launched the video for “Let Go of Time”, showcasing their “Modern Horror” album. The album was produced by Ben Allen (Erasure, Animal Collective, Washed Out, Deerhunter) and mastered at Abbey Road Studios by Frank Arkwright (The Smiths, New Order, Joy Division, Primal Scream, Blur, Mogwai).

Gannon shares, “I wrote ‘Let Go of Time’ not long after I was diagnosed with PTSD. I was watching my favorite vampire film (Jim Jarmusch’s ‘Only Lovers Left Alive’) and I found myself feeling a lot of parallels to how the character Adam felt about the world – having to endure for so long, but always feeling less and less purpose because of this diminishing luster of things. I think that film, and ultimately this song is about finding purpose, joy and love when it is most difficult to find those things in life.”

Vision Video was formed in 2020 by Dusty Gannon (aka Goth Dad) and Emily Fredock. You can order the full album 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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Originally formed in 1996, Swedish band Scheitan began its journey blending Black-Metal with touches of Gothic-Rock, creating a sound both intense and haunting. They released three notable albums in the late ’90s. This year, Scheitan has returned to the scene, unveiling their first full-length album in 25 years. Titled “Songs For The Gothic People” and released by The Circle Music, the album leans into Post-Punk influences, layered with melodic elements that build to an exhilarating crescendo. I had the chance to speak with Pierre Törnkvist, the sole driving force behind Scheitan, about the band’s resurrection and this impressive new opus. (Courtesy by Inferno Sound Diaries)

Q: “Songs For The Gothic People” marks Scheitan’s first new album in 25 years. It seems to represent not just a comeback, but a complete metamorphosis in genre and the evolution into a solo project. Could you share more about this revival and the shifts in genre and influences?

Pierre: Scheitan was a musical project that already back in the late 90’s shifted in style, and to be honest, I think what changed most from our 1999 “Nemesis” album and the new are the vocals. The rest was already there in 1999, maybe not in a clear form like this -and it’s certainly also a musical development but to me there was melodies, lyrical darkness, some slow songs, some up-tempo ones already back then.

Our first album in 1997 one could call a ‘Black-Metal’ album, at least musically but we already shifted gears in 1998 with the 4 more Gothic songs that were on “Berzerk 2000”. And for “Nemesis” the furious tempo was all gone. So, a part of the transition was already made. This was just the finishing touch. 

Q: When did you begin working on “Songs For Gothic People” and how did the album ultimately take shape?

Pierre: Well, I was experimenting in the studio, tired of doing the usual screaming stuff and decided to try to sing properly. This was not an easy task since I am 75% deaf since the age of 5 so singing in tune is a challenge. But things got better with time, I practiced a lot and at the same time I wrote the song “Lost In Time”. At first I did not know what to do with the song and was thinking of what to name this ‘project’. But the more I thought about it I felt that this would be a natural continuation of Scheitan, this would be the logical next step.

As I said, the music was already there and now the vocals would be in place. I did not have the opportunity to work with my singing like this back in the day so it could not happen then, and instead it happened now. I was always a fan of the Greek underground scene and when The Circle Music released the last Thou Art Lord-EP I sent the label-boss Maria an e-mail together with the song. She liked it a lot and asked if I wanted to do an album, and the rest is history. 

Q: The title is quite explicit, suggesting a clear target audience. Is there a deeper meaning behind it? Can you elaborate on the lyrical themes and influences that shaped the album?

Pierre: About the title, it’s not necessarily aimed at ‘Goth’ people. But rather at people who feel that they do not belong to this world and all the madness that is going on. That, to me, is what goth really represents, not how you look but how you feel. To look at all this insanity from the side, feeling and realizing it’s all wrong. Other than that, the lyrics are very dark and existential. I think this comes naturally with age, when you start experiencing the death of your friends and your parents combined with war and misery everywhere. Age teaches us to see the world from another perspective. And also realizing that life is not a clock spinning around and around but rather an hourglass running out of sand sooner than later did have an impact on the lyrics. 

Q: Transitioning from a band to a solo project is a significant change. How did this shift impact your process of composing and producing the songs? What were your greatest challenges and opportunities, as well as your most significant sources of satisfaction and pride?

Pierre: Well, Scheitan was never a ‘band’ anyway. Scheitan was me and Oscar, and that meant it basically was me writing songs and Oscar playing drums. He wrote music in many other musical projects, like The Everdawn and Helltrain but with Scheitain he trusted me 100% with the writing. Of course he did a few riffs here and there but he was usually happy with what I wrote and rarely had any wishes to change anything. And I think that if Oscar had been alive today he would have liked the new album a lot. He was the one introducing me to bands like Fields Of The Nephilim and Sisters Of Mercy from which I obviously have drawn inspiration to create this music.

But what really differs now from back in the day is that I have a studio in my own home, I have such better possibilities to create and record music, that is a huge change. The biggest challenge was the vocals, no doubt, but once I gained the self confidence that I could do it, very much coached during the process by Daniel Bergstrand who mixed the album, I think it moved on quite smoothly. The biggest opportunity is definitely the fact that I have infinite amounts of time in the studio as it is my own. And yes, I am really proud of this album, I have said it before, when I listen to it now there are times that I find it hard to believe that I did this all by myself, that I had this album in me.  

Regarding the solo project/band definition I would say that the ‘band’ feeling of Scheitan has never been as strong as it is today after me and Axel started playing live shows together. In the beginning I think both of us just tried to do our best to perform the songs but this has developed into a real project where we continuously improve our performance and discuss new ideas for the future. Axel has contributed a lot to both the visual identity as well as the contact with the audience during this short period of time. 

Q: How would you describe yourself as a musician, and what was your approach to creating the songs for this album? Were there any key moments or influences that significantly shaped your development as a musician?

Pierre: I think it’s more of a collection of things that made all this happen. Firstly of course the fact that I built the studio a few years ago. Then all the stuff I learned along the way, how to record, how to arrange the songs better, how to use the software, vocal practice… a lot of different things. I spent a lot of time the last few years listening to completely different music, like EDM, Pop stuff -really anything but Metal just to learn from songwriters with a different approach. I think this helped a lot to make me better at writing and arranging songs.

So I would not say there are key moments, rather persistence and the will to constantly keep going, keep evolving, staying curious with a will to learn new things. A lot of people talk about inspiration, they look to be ‘inspired’ to get something going. If there is one thing to pinpoint in all this I think it’s the lie of ‘inspiration’, there is no such thing. Just get in the studio, and start somewhere, after five minutes you will be lost in the flow and come out a few hours later. I think this approach is applicable to any kind of artist, it doesn’t matter if you write books, do paintings or whatever.

Q: What can fans look forward to in the coming months in terms of performances, new music videos, remixes, and other potential projects?

Pierre: Well, Scheitan recently released the new single “Fury Flow” which is a re-recording of a song from the “Nemesis”-album. Really just done out of curiosity and to prove the point that the songs on that album were not very far from what Scheitan is today. By the end of November there will be another single titled “Love n’ Death”, it will probably be released earlier on YouTube. Then by the end of January there will be another single, “Carry Me Home”. We also hope to book some more shows.

And yes, we are looking for a booking agency, so if anyone out there would be interested in working with Scheitan, just get in touch. Also, check out the website at www.scheitan.se 

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

Dark alternative / post-punk project …And We All Die, based between Texas and D.C., returns to celebrate Halloween with their new 4-track single / EP, “Static Age”. Musically the release blends hardcore, post-punk, noise-rock and industrial influences. “Static Age” by …And We All Die is available from 31 October 2024 via download from Bandcamp, and streaming from Spotify and all the usual digital music platforms.

You can however already catch an exclusive streaming of the …And We All Die feat. Gost track “TV Casualty (Industrial Mix)” right here on Side-Line!

The single is centred around covers of the Misfits’ “Static Age” and “TV Casualty”, augmented with two industrial-infused reworkings of the tracks featuring Metal Blade synthwave artist Gost. The Misfits are an American punk rock band often recognized as the pioneers of the horror punk subgenre, blending punk and other musical influences with horror film themes and imagery.

Founder Raymond Burton Estes, says: “We chose these Misfits covers because they’re great songs from the band’s early era that lend themselves to interpretation. We leaned into their heavier elements but chose a more post-punk or noise-rock approach, rather than a straightforward punk or metal one. Our releases usually come out in the Spring, but Halloween is a more appropriate time to share these songs and celebrate the Misfits.”

This release features Raymond Burton Estes on vocals and bass; joined by longtime friends and fellow East Texans, Walter Lee (Rockett Queen) on drums, and guitarist Guillermo Murillo (The Half Guided Hearts). Adding extra spice to the title track, the core trio is augmented by Shelby Cinca (catbeats) on additional guitar.

Both Estes and Lee play in Texas hardcore band Eleventh Hour together, while Estes has also been a touring bassist for Pop Unknown and Total Chaos. Cinca, now based in Sweden, previously played with D.C. post-hardcore outfit Frodus. Estes says: “…it was great having members of ‘90s hardcore bands collaborate on a Misfits song. Perhaps it’s a taste of what to expect with some …And We All Die in the future.”

James Lollar (a.k.a. Gost) has in turn been enlisted for synths on industrial versions of each song; with further synths and programming provided by William Faith (The Bellwether Syndicate).

About …And We All Die

…And We All Die first took shape around the year 2000 as an effort to collaborate with a diverse group of friends and artists; and with the idea of fusing heavy music in the vein of UK82 punk rock, US hardcore, and industrial bands (Exploited, Integrity, Ministry) with darker, melodic post-punk music (The Cure, New Order, The Sisters of Mercy).

From their self-titled debut in 2016, to the “Modern Day Privateers (Remixes)” collection in 2018, …And We All Die in 2024 continues to develop a rather distinct combination of hardcore, post-punk, dark alternative, noise-rock, and industrial music.

Asked what …And We All Die has been up to since 2018, Estes says: “We have been busy recording songs and have several releases in the works, including a dark industrial rock album; an EP of Cure covers; a rock record; and at least one new punk rock song. Our next release will be this dark album with a broad range of influences – post-punk, industrial, and noise rock. John Gable of post-punk revival band Knifight did the bulk of the
production, and it’s headed to William Faith for post-production and mixing. We hope to get this record finished and released in 2025.”

“Static Age” is the first new release from …And We All Die since 2018’s “Modern Day Privateers (Remixes)”, which featured such acts and musicians as Daniel Ash (Bauhaus, Love and Rockets, Tones On Tail), Assemblage 23, Gost, Ego Likeness, The Gothsicles, and others.

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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Helder Camberos returns with a new opus under his Red Industrie project. The Mexican artist and owner of the Advanced Synergy label has already enjoyed a prolific career with various projects (including the Minimal-Electro act Isis Signum), but Red Industrie has clearly become his most prominent work. Over the years, his sound and influences have evolved, yet they remain rooted in an Electro/Minimal-Wave style, fused with elements of Electro-Pop, Cold-Wave, and even Punk. While the core is still an Electro production, the presence of guitar adds a Dark-Wave and Post-Punk influence. Sometimes dreamy, sometimes geared toward the dancefloor, the album offers a broad range, even featuring guest vocalist Sarah Noxx on one song. Red Industrie remains a fascinating project that, in my opinion, deserves more recognition. (Rating:8).

Listen to “Going Round 2024”:

https://redindustrie.bandcamp.com/track/going-round-2024

Inferno Sound Diaries

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

www.side-line.com

The Athens, GA-based post-punk band Vision Video has released its third album, “Modern Horror” which holds 11 tracks. The album is available now via Bandcamp and other platforms.

Produced by Ben Allen (known for his work with Erasure, Animal Collective, and Deerhunter) and mastered at Abbey Road Studios by Frank Arkwright (The Smiths, New Order, Joy Division), thematically the album explores the unsettling realities of today’s world.

The album was introduced through three singles—”Stay”, “In My Side (Modern Horror Version)”, and “Dead Gods”, the latter critiquing the violent dogma and authoritarianism that often dominate global narratives.

Fronted by Dusty Gannon and keyboardist Emily Fredock, Vision Video brings raw goth rock. Gannon, an Afghanistan war veteran and former firefighter-paramedic, channels his experiences into the themes of “Modern Horror” and is much darker than their previous works, such as “Inked in Red” (2021) and “Haunted Hours” (2022).

Gannon has openly discussed the album’s themes, saying, “I see regression happening all over the world. We’re watching the failure of systems like capitalism and religious fundamentalism, and it’s causing unnecessary hardships. This record is my way of addressing these issues and urging for change.” He continues, “Modern Horror is a reflection of the atrocities that we’re witnessing today, but it’s also a call for people to confront these horrors head-on, just as you would face a monster in a horror film.”

Vision Video tourdates

• Oct 25   Athens, GA – 40 Watt Club (Southern Gothic Festival)
• Nov 25  Berlin, Germany – Urban Spree
• Nov 26  Hamburg, Germany – Hafenklang
• Nov 28  Bochum, Germany – Die Trompete
• Nov 29  Bielefeld, Germany – Movie (with the Cassandra Complex & SJÖBLOM)
• Nov 30  Rotterdam, Netherlands – Soundville (with Lifeless Past)
• Dec 1  Brighton, UK – The Hope & Ruin  *
• Dec 2  Nottingham, UK – Bodega Social
• Dec 3  Liverpool, UK – Quarry  *
• Dec 4  Kings Heath, UK – Hare & Hounds  *
• Dec 6  Bristol, UK – Marble Factory  ^^
• Dec 7  London, UK – O2 Shepherds Bush Empire  **
• Dec 9  Dublin, Ireland – Opium  *
• Dec 10  Belfast, UK – Limelight Complex  *
• Dec 12  Glasgow, UK – The Garage  ^^
• Dec 13  Newcastle Upon Tyne, UK – Riverside 1  ^^
• Dec 14  Manchester, UK – Albert Hall  **

^   with The Nightmares
*    with Mark Burgess (The Chameleons)
^^  with The Chameleons
**   with The Chameleons and The Membranes

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

Bootblacks and Divine Shade are co-headlining a UK tour, starting tomorrow in Edinburgh at Bannermans.

Bootblacks is a Brookyn, New York-based post-punk band formed in 2010 and with a line-up that consists of Panther Almqvist (vocals), Barrett Hiatt (synth) and Kalle Fagerberg (guitar). Although drawing inspiration from the post-punk and darkwave movements of the 1980s, the trio also incorporate contemporary electronic elements into their sound. Bootblacks have released several albums that include “Veins” (2016), “Fragments” (2018) and “Thin Skies” (2020), and have also toured extensively throughout North America and Europe. They are currently putting the finishing touches to a new album entitled “Paradise” that will be issued soon.

A French trio formed by Ren Toner in 2014, Divine Shade is a combination of styles and influences inspired by cold wave culture, along with a touch of industrial rock and electronic music. Releasing several singles and EPs that have included remixes by Chris Vrenna (ex-Nine Inch Nails), the group have toured Europe extensively and were the opening act on Gary Numan’s 2022 UK tour.

Bootblacks and Divine Shade UK tour 2024

• 23.10.24 Edinburgh – Bannermans
• 24.10.24 Newcastle – Cluny
• 25.10.24 Glasgow – Ivory Blacks
• 26.10.24 London – Omeara Kitcat Club*
• 27.10.24 Sheffield – Corporation
• 31.10.24 Bristol – Exchange
• 01.11.24 London – Lexington

*event starts 10.30pm

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 Vancouver dungeon-grunge trio Joey Chaos and The Ghosts have just released their brand new “Graces” EP (available here on Bandcamp). Joey Chaos and The Ghosts were featured on our post-punk compilation “Post​-​Punk (Genesis)” with the track “Immolate”.

“Graces” is the third and final installment in their release cycle, following “Elegy” (2019) and “Immolation” (2021). The band says this about their new release: “This EP delves deeper into our sound than ever before, serving as the concluding piece of a triptych that explores the realms of industrial, grunge, and darkwave.”

It was written, recorded, and produced by Joey Chaos in the band’s East Vancouver studio, with mastering by engineer Greg Reely.

The three tracks on the EP follow the trajectory of three fervent falls from grace so the band explains: “‘Crustin’’ traces the fall of social graces under duress amidst the habituation of serial breakdowns. ‘Swing Low’ is a searing anti-nuke jam witnessing the downfall of humanity against dictatorial whims. Graces climaxes with ‘Bad Beat’, a demonic tale of a hypocritical, ecclesiastical temptation teetering on the edge of lust and the divine. All three songs veer into the periphery of grunge, industrial and darkwave and are heavily inspired by the multitude of genres in Vancouver’s thriving underground music scene.”

Joey Chaos and The Ghosts consists of Joey Chaos on vocals, Megan Krenbrink on drums, and Andrew Walker on guitar. Musically they blend post-punk, industrial, and 90s alternative music into one mix.

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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Washington, D.C.’s dark romantic electro-rock band Amulet have just released “Katharsis”, their new 19-song album, on the Distortion Productions label. Fronted by Stephanie Stryker and backed by multi-instrumentalist MJ Phoenix, Amulet new album explores themes of love, loss, and the supernatural.

This is Amulet’s second album and during the 74 minutes you get a blend of bass-driven, post-punk, and darkwave influences.

The album is out now via all streaming and digital platforms along with a limited edition CD.

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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Today we can offer you the exclusive full album stream of the new album by Killer Couture, “Everything Is Normal”. Killer Couture is an industrial band founded and based in Sacramento, CA. Though starting from influences such as Ministry, Nine Inch Nails, Einstürzende Neubauten, and more, Killer Couture have fused synthesizers and sampling, scrap metal and drum machines, and guitars, to create an own sound.

You can check out “Everything Is Normal” right below and order it on Bandcamp. The album will be officially out on October 31st.

“Everything Is Normal”’s themes largely stem from the frustrations of the political upheaval of the time as well as mental health issues being exacerbated by quarantine. “The album challenges that there ever was a status quo to begin with. It also addresses the people who feel the need to try and uphold the illusion, and the psychic maelstrom of living in the true chaotic reality beneath the mask.”

About Killer Couture

The band formed in 2016 and started to perform live using of metal and power tools as instruments. In 2018, they self-released their first album “God Forgive The Children”, followed by 2019’s “What’s Left?”.

After the pandemic in 2020, unable to perform or write together, and post-departure of their third member, Killer Couture was forced to find a new way to survive. Writing music separately throughout the pandemic, the remaining duo (and original lineup) of Set Draven and Elliott Petrella were finally able to begin merging their ideas.

As soon as it was safe, with Set coming to San Francisco from Sacramento across several weekends, they began writing, editing, and tracking the demos for what would take shape as Everything Is Normal.

This is the first album to feature Elliott’s guitar-playing and songwriting skills, and also their first album to be mixed and recorded non-independently by Set, but instead, working with the post-punk and metal producer (and musician in his own right) Pat Hills, of Sacramento’s EarthTone Studios. It was through Pat that they came into contact with the Bay Area’s independent label Transylvanian Recordings. Read the review of ‘Everything Is Normal’.

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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London-based garage post-punk band Nothingheads are set to release their debut album, “The Art of Sod”, on November 8th, 2024 through Sister9 Recordings. This follows their EP “Sunlit Uplands”.

The first single from the album is titled “Blindspot“, and you can check it out below. The band describes the track as “a reflection of the chaotic satisfaction of anger outbursts, a sonic embodiment of frustration and confusion.” The single was produced, mixed, and mastered by Wayne Adams.

The band consists of Rob Fairey (guitar/vocals), Matt Holt (bass/synths), Ed Simpson (guitar) and Chanter Whitehurst (drums). and was formed in 2021. Musically Nothingheads blend elements of dark post-punk and garage punk, drawing comparisons to Public Image Ltd, Oh Sees, and Girls in Synthesis.

“Blindspot” is available to stream now. Expect a UK tour announcement shortly. Read the review of ‘The Art Of Sod’.

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 March Violets hold a special place in the collective memory of 80s Post-Punk lovers. Core members Rosie Garland and Tom Ashton, now joined by bassist Mat Thorpe, have released a new album featuring 9 tracks. While the heyday of the 80s and the band’s biggest hits are long behind them, the signature guitar sound remains largely intact. You can still hear the Post-Punk influences from their early days, though the new material leans more towards a ‘catchy Rock’ style. Personally, I favor the darker, harder elements of the album, which, unfortunately, don’t appear as often as I’d like. It’s worth noting that Rosie Garland’s vocal timbre is remarkably consistent, sounding nearly identical to what it was 40 years ago. Overall, it’s not a groundbreaking album, but a decent nod to nostalgia. (Rating:7).

Listen to “Bite The Hand”:

https://marchvioletsband.bandcamp.com/track/bite-the-hand Read the news on ‘Crocodile Promises’.

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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(Photo by Mick Peek) Influential UK post-punk band The Chameleons have today released “Tomorrow Remember Yesterday”, a new EP featuring re-recorded versions of some of their earliest songs. The release comes during a year of rejuvenated activity for the Manchester-based group, who recently returned with their first new music in over two decades.

The EP is available digitally via Metropolis Records, with a limited edition 12” vinyl available through Berlin’s Aufnahme+Wiedergabe, with select copies also sold via Metropolis mail order.

The Chameleons have revisited songs that predate their debut album, dusting off tracks written before their first John Peel session in 1981. Vocalist and bassist Mark Burgess explains that these songs were initially discarded due to feeling unfinished but have been re-recorded to reflect the band’s current musical identity.

“These were amongst the very earliest songs we got together, but were discarded at the time due to them feeling unfinished,” Burgess explains. “We revisited them to record versions that reflect who the band is now, not who we were in 1981. We’re thrilled with the results.”

Among the tracks of the EP is “The Fan and The Bellows”, a track once considered by CBS/Epic to be their debut single. However, the band rejected it in favor of the song “In Shreds”, a move Burgess stands by to this day. Another song, “Nostalgia”, also appears on the EP and provides the source for the EP’s title. Both tracks were originally recorded with producer Steve Lillywhite during sessions in the early ’80s but have now been given new life through these re-recordings.

“Tomorrow Remember Yesterday” serves as a precursor to The Chameleons’ new album “Arctic Moon”, set for release in 2025. It will be their first full-length studio album since “Why Call it Anything” in 2001.

The Chameleons have been busy with an extensive tour schedule in 2024. Following a successful run of dates in both the UK and the US earlier this year, the band will close out 2024 with seven UK and Irish dates in December.

The Chameleons Tour Dates

• 06.12.24 – BRISTOL, Marble Factory
• 07.12.24 – LONDON, O2 Shepherd’s Bush Empire
• 09.12.24 – DUBLIN (IE), Opium
• 10.12.24 – BELFAST, Limelight 2
• 12.12.24 – GLASGOW, The Garage
• 13.12.24 – NEWCASTLE, Riverside
• 14.12.24 – MANCHESTER, Albert Hall

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 decade after their self-released debut album, Astari Nite returns with their sixth full-length release. The band’s influences have remained largely consistent over the years, staying true to their signature Post-Punk sound. This sound blends dark, melancholic guitar riffs and deep bass lines with icy electronic textures and synth leads, creating a compelling contrast. This time, however, the vocals stand out more prominently than ever before, evoking an intriguing blend of David Bowie and Peter Murphy. While not every track hits the same high, the album contains real gems, particularly in its first half. It’s worth noting that, especially in Europe, this band still doesn’t receive the recognition they deserve. (Rating:7½).

Listen to “Tongue Tied Galore”:

https://astarinitengp.bandcamp.com/track/tongue-tied-galore

Inferno Sound Diaries

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

www.side-line.com

The goth rock act Midnight Configuration releases “Radford”, a collection of rare and previously unreleased tracks recorded between 1993 and 1995. Discovered during a reorganization of the Nightbreed Recordings studio archives, these tracks document the band’s early sound development.

Recorded on a 4-track porta-studio at 13 Osbourne Street in Radford, Nottingham, the tracks capture the band’s initial sound, influenced by Chrome, Killing Joke, Play Dead, and Hawkwind. The music carries a heavier tone than the band’s debut album, “Gothtec”, with lower-pitched, distorted vocals.

Despite the effects of time on the tapes, the music remains intact. These restored tracks, mastered at Nightbreed Studio in August 2024, thus provide an authentic record of the band’s formative years.

Radford is the first of two volumes and out now. The next release will feature early versions of songs from “Gothtec” and “The Kissing Skull”.

About Midnight Configuration

Midnight Configuration emerged in the early 1990s as one of the defining bands of the UK gothic and industrial underground. Founded by Trev Bamford in Nottingham, England, the band formed under the umbrella of Bamford’s own label, Nightbreed Recordings. With a sound that fused darkwave atmospheres, gothic aesthetics, and industrial beats, Midnight Configuration carved out a distinct niche in the gothic subculture.

The origins of Midnight Configuration trace back to Trev Bamford’s involvement in various gothic and post-punk projects during the late 1980s and early 1990s. Bamford had already established Nightbreed Recordings as a label dedicated to supporting and promoting dark alternative music. Midnight Configuration allowed Bamford to experiment with merging industrial and gothic elements, drawing influence from bands like Killing Joke, Chrome, Hawkwind, and Play Dead.

Initially, the band’s music leaned heavily into darkwave and post-punk roots, combining dense, atmospheric synthesizers with drum machines and heavily distorted guitars. These early influences also extended into lyrical themes, exploring death, occultism, and societal decay, themes that would become central to the band’s identity. Bamford’s vocal style in the early recordings was marked by deep, distorted vocals.

In 1994, Midnight Configuration released their debut album “Gothtec” that blended gothic rock with industrial and electronic music.

Following the success of “Gothtec”, Midnight Configuration released “The Kissing Skull” (1995). This album expanded on their sound with more complex song structures, while continuing to explore themes of occultism, death, and sexual politics.

Throughout the 1990s and early 2000s, Midnight Configuration released several more albums, including “Funeral Nation” (1998) and “Dark Hours of the Southern Cross” (2004).

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 pioneering Swedish electronic band Cosmic Overdose is set to re-release “Final Koko”, which includes the first and last recordings the band made in English before they disbanded in 1981 and reformed as Twice A Man. Originally issued in early 1982 as a highly limited cassette, “Final Koko” has since become one of the rarest and most sought-after items in Sweden’s electro music scene.

Now, this album is being reissued via Progress Productions on November 22nd, remastered by Hans Olsson at Svenska Grammofonstudion in Gothenburg. As an added bonus, the re-release includes several remixes that were previously only available in digital format, offering fans a more comprehensive experience of the band’s final works as Cosmic Overdose.

About Cosmic Overdose

Cosmic Overdose was a pioneering Swedish electronic band formed in 1978 by Dan Söderqvist and Karl Gasleben (Ingemar Ljungström). Both musicians came from experimental backgrounds in Sweden’s alternative music scene – Söderqvist from the psychedelic band Älgarnas Trädgård and Gasleben from the ambient group Anna Själv Tredje.

Initially a duo, the band expanded to include additional members before returning to its core trio by the time they recorded their first album, “Dada Koko” (1980). Their sound was a mix of electropunk, post-punk, and experimental electronic music, influenced by acts like Cabaret Voltaire and Joy Division​.

Cosmic Overdose released two studio albums, “Dada Koko” (1980) and “4668” (1981), before transforming into the synthpop group Twice a Man, which became one of the leading names in Swedish electronic music. Despite their short existence under the Cosmic Overdose name, they left a lasting impact on the Swedish electronic and post-punk scenes​.

In 2016, their work was revisited with the release of a 3CD box set, “Koko Total”, which included remastered albums, singles, and unreleased material​.

Bernard - Side-Line Staff

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

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(Photo by Jim Louvau) US indie/alt-rock artist Love Ghost (Finnegan Bell) and Swedish industrial icon Tim Skold (known for KMFDM, Marilyn Manson) dropped their third collaborative single, “Ski Mask” as Love Ghost x Skold, via Metropolis Records.

The track captures a journey through emotional upheaval, dealing with personal struggles like overmedication and societal collapse. Bell explains it through the metaphor of a heist, where the listener is led through haunting, personal revelations.

The single arrives ahead of their eponymous debut album, set for release on November 22. Known for exploring darker themes, “Ski Mask” follows previous releases like “Nightshade and Cocaine” and “Payback”, each contributing to the album’s overall ominous, grunge-industrial soundscape.

Tim Skold brings his iconic industrial background from his work with KMFDM, Marilyn Manson, and Motionless in White. His dark soundscapes are mixed with Love Ghost’s indie-rock roots. Love Ghost, fronted by Finnegan Bell, is an LA-based act blending grunge, alt-rock, and post-punk influences with modern darkwave and emo elements. Their collaboration with Skold is the latest in a series of partnerships.

You can order the full album from Bandcamp.

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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Alaska’s only goth rock duo, Cliff and Ivy, have launched their album “Sinister Stars”. It is their first release on vinyl, available on CD and all major digital platforms, including Bandcamp and Spotify. Thematically the album delves into creativity, love’s redemption, death, magic, and breaking free from oppression.

Cliff and Ivy have taken full advantage of their diverse recording environments, splitting production between their House of Extreme Darkness Studio in Anchorage, Alaska, and studios in Los Angeles, Chicago, and New Jersey.

Good to know, “Sinister Stars” features collaborations with several well known collaborators:

• Paul Roessler (The Screamers, Nina Hagen Band) served as the album’s producer and synthesizer expert, recording tracks at Kitten Robot Studio in Los Angeles. Roessler is known for his work in LA’s punk and industrial scenes.
• Martin Atkins (Public Image Limited, Nine Inch Nails, Killing Joke) contributed live drums and bongos on various tracks, recorded at his Post-Punk Industrial Museum (PPIM) in Chicago.
• Jim Babjak, lead guitarist of The Smithereens, plays on the song “We Ignite”.
• Kurt Reil (The Gripweeds) handled mastering at House of Vibes Studio in New Jersey.

You can order the album 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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Athens, Georgia-based post-punk band Vision Video has just dropped their latest single, “Dead Gods”, a critique of those who use dogma and ideology to perpetuate violence and authoritarianism. The single comes ahead of their third album, “Modern Horror”, which is set to release on October 22. The band is known for their mix of modern goth rock with post-punk elements.

Dusty Gannon, the band’s frontman, describes the track as “a defiant anthem” against rising fanaticism. Gannon, a former Afghanistan veteran and anti-war activist, draws from his personal experiences to challenge the justification of war through religious dogma.

Vision Video’s “Modern Horror” album takes a darker and more visceral approach than their earlier releases, reflecting on the brutality and disenfranchisement present in today’s society. The album is produced by Ben Allen (Erasure, Animal Collective), and mastered at Abbey Road Studios.

The band was formed in 2020 by Dusty Gannon and Emily Fredock.

As Vision Video prepares for the release of “Modern Horror”, they have also announced a European tour starting in late November, with performances in Germany, the Netherlands, the UK, and Ireland. The tour includes several high-profile dates alongside The Chameleons and The Membranes.

Vision Video EU tour

• Nov 25: Berlin, Germany – Urban Spree
• Nov 26: Hamburg, Germany – Hafenklang
• Nov 28: Bochum, Germany – Die Trompete
• Nov 29: Bielefeld, Germany – Movie (with The Cassandra Complex & SJÖBLOM)
• Nov 30: Rotterdam, Netherlands – Soundville (with Lifeless Past)
• Dec 1: Brighton, UK – The Hope & Ruin (with Mark Burgess)
• Dec 2: Nottingham, UK – Bodega Social
• Dec 3: Liverpool, UK – Quarry (with Mark Burgess)
• Dec 4: Kings Heath, UK – Hare & Hounds (with Mark Burgess)
• Dec 6: Bristol, UK – Marble Factory (with The Chameleons)
• Dec 7: London, UK – O2 Shepherds Bush Empire (with The Chameleons & The Membranes)
• Dec 9: Dublin, Ireland – Opium (with Mark Burgess)
• Dec 10: Belfast, UK – Limelight Complex (with Mark Burgess)
• Dec 12: Glasgow, UK – The Garage (with The Chameleons)
• Dec 13: Newcastle Upon Tyne, UK – Riverside 1 (with The Chameleons)
• Dec 14: Manchester, UK – Albert Hall (with The Chameleons & The Membranes)

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 Swedish new wave band The Search is back with their latest album “Indulgence”. Fronted by singer, guitarist, and lead vocalist Razmig Tekeyan, the band has been active for years now offering a melancholic sound. “Indulgence” is now available in all download stores and streaming services.

The Search is a Swedish new wave and post-punk band, originally formed in Uppsala in 1999 under the name The Silverslut. They changed their name to The Search in 2003 and have been active in the indie music scene ever since. Known for their melancholic sound and introspective lyrics, The Search blends elements of new wave, indie rock, and post-punk, creating atmospheric and emotionally resonant music.

Led by singer, guitarist, and primary songwriter Razmig Tekeyan, the band has undergone various transformations over the years, with Tekeyan also continuing the project as a solo endeavor at one point. The Search has released numerous albums, including their debut self-titled album in 2004, “Heart’s Racing” (2020), and their latest release, “Indulgence” (2024), which explores themes of yearning, love, and the human condition.

The lineup now consists of Razmig Tekeyan, alongside Måns Hartman (bass), Stephen Burt (lead guitar), and Johann Bernövall (drums).

You can check the new album out 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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(Photo by Daniel Kwon) The Stockholm, Sweden-based duo Hatif has released its latest single “Broken Bucket”, now streaming on all major platforms via Town And Towers Records. The track marks the first release from the duo’s forthcoming sophomore album.

“Broken Bucket” is about conflict, loss, and perseverance and showcases Hatif’s signature dark electronic sound. You can watch a visualizer below.

Hatif was formed in 2020 by Markus Majdalani and Johan Eckerström. Their music blends dark electronic and industrial elements with influences from both post-punk and Middle Eastern traditions. The duo’s name, “Hatif”, is derived from Arabic, meaning a voice heard without a visible source, which aligns with their soundscapes.

Hatif’s music often explores themes of emotional tension, rebellion, and resistance, with their debut album “Everything Is Repetition” (2022) focusing on life’s cyclical nature, distance, and connection. Their latest work, including singles like “Broken Bucket” and “Disappear in Seoul”, shows an evolution toward a more raw, intense sound while maintaining their signature dark, introspective style.

The duo also collaborated with acts like Agent Side Grinder and released music under labels like ScentAir and Town And Towers Records. Hatif plans to release a full-length album in early 2025,

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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(Photos by Doug Moore, Lisa Hagen Glynn, Brady Tuazon and Erik Meharry) Portland-based psychedelic gaze-wave band Sun Atoms has teamed up with Isaac Brock, the frontman of Modest Mouse, to release the single, “Narco Polo“.

Sun Atoms is composed of a group of musicians: Peter G. Holmström (The Dandy Warhols, Pete International Airport) on bass and production, lead vocalist Jsun Atoms (The Upsidedown, Daydream Machine), multi-instrumentalist June Kang, saxophonist and trumpeter Mars de Ponte, drummer Eric Rubalcava, and guitarist Derek Spencer Longoria-Gomez (Hi Hazel).

As Sun Atoms was working on their forthcoming album “Everything Forever”, set to be released on November 8 via Little Cloud Records, Holmström sent Brock early mixes of the track “Narco Polo”. Months later, Brock invited Holmström to his Ice Cream Party Studio in Portland, where Brock recorded his vocal contributions. The song was mixed by producer Jagz Kooner (Massive Attack, Primal Scream) and mastered by Keith Tenniswood (Spiritualized, Death In Vegas).

Ahead of this release, Sun Atoms dropped two singles from their sophomore album. “Ceiling Tiles”, a new wave-influenced track, was paired with a tribute to Leonard Cohen, “Tower of Song”.

Another single, “Take This Love,” came with the B-side “And The Lion Saw The UFO” accompanied by a sci-fi-themed music video shot at Oregon’s famous Airplane Home.

Sun Atoms’ music mixes psychedelic rock, indie pop, and post-punk. Their debut album, “Let There Be Light” (2021), was produced by Holmström and mixed by Stephen Street (Blur, The Smiths). It included collaborations with Alex Maas of The Black Angels, Jasno Swarez of The Vandelles, and producer Gregg Williams (Sheryl Crow, Blitzen Trapper).

Sun Atoms Concerts

• Nov. 09 – Portland, OR – Show Bar at Revolution Hall (with The Veldt, Asteroid #4, and Los Mundos)
• Nov. 16 – Portland, OR – Belltown Yacht Club (with Valley Suns)
• Dec. 11 – Portland, OR – McMenamins Mission Theater (with LSD & The Search For God and TREMOURS) – Little Cloud Records Showcase celebrating The Dandy Warhols’ 30th Anniversary

Bernard - Side-Line Staff

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

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The Leeds-based post-punk act Red Lorry Yellow Lorry have just released “Driving Black (Ding’s Remix)” – their first new single since “Talking Back” which was released in 1991.

“Driving Black (Ding’s Remix)” is an exclusive mix by the band’s bassist and producer, Simon ‘Ding’ Archer (The Fall, Pixies, PJ Harvey, 1919, etc.). The new track is out now and comes hand in hand with the presales for Red Lorry Yellow Lorry’s forthcoming EP, “Driving Black”.

About this single the band says: “We never wrote songs with singles in mind. To us they are just songs that we thought good enough to release. Some songs seem better suited as singles. I think when everything is ready you pick what seems suitable. For a single, you want the maximum impact in a short space of time, and to get people curious about the other stuff.”

The Driving Black EP will be out 6 December via COP International, in 12” vinyl and digital download formats. The EP also announces the band’s new album, “Strange Kind of Paradise”, due out February 2025.

The six-track “Driving Black” EP offers three exclusive, non-album tracks (“Safe as Houses”, “Living with Spiders”, and “Piece of My Mind”) alongside three mixes of songs from the forthcoming album. The lead single “Driving Black” receives two exclusive mixes for the EP: one from Ding, and the other from producer John Fryer (Depeche Mode, Nine Inch Nails, and Cocteau Twins). “Chickenfeed” gets the remix treatment from German dark indie rock outfit The Halo Trees.

Featuring a cover painting by Wolfie, the “Driving Black” EP has been pressed as a limited-edition coloured vinyl 12” EP – only 1,000 copies available worldwide.

About Red Lorry Yellow Lorry

Red Lorry Yellow Lorry formed in 1981 and soon got known for their dark, minimalist sound, mixing punk, post-punk, and industrial influences. The band is led by founding member and vocalist Chris Reed and longtime guitarist and cowriter Dave ‘Wolfie’ Wolfenden.

The band released such albums like “Talk About the Weather” (1985), “Paint Your Wagon” (1986), “Nothing Wrong” (1988), and “Blow” (1989), before calling it a day with fifth album, “Blasting Off” (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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The Russian White joins Distortion Productions for their new album “Funeral Art” that has just been released, featuring mixing and production work by Tim Heireth of silver walks.

The Russian White vocalist Tom Rhymer says, “I feel like this is our most pure TRW album where Mike and I didn’t have to make any compromises. We have a good mix of club bangers and cinematic and emotional tracks here.”

The Russian White is a dark electronic and deathwave band based in Pennsylvania, USA, formed in 2011. Known for blending genres such as post-punk, synthwave, and witch house, the band has a distinct, haunting sound reminiscent of 80s horror film soundtracks. Their music often features electronic beats, eerie atmospheres, and lush vocals, telling stories of obsession, beauty, and the unknown.

The band gained recognition with their debut self-titled album in 2015, followed by their sophomore release “The Haunted Beach” in 2019. They have also contributed to various compilations and performed alongside acts like Aesthetic Perfection and Thrill Kill Kult.

Look for The Russian White on tour with Solemn Shapes. Read the review of ‘Funeral Art’.

The Russian White – Art of Darkness Tour 2024 (w/Solemn Shapes)

• 10/10 Rochester, NY – Bar Bad Ending
• 10/11 Pittsburgh, PA – Cattivo
• 10/12 Youngstown, OH – Westside Bowl
• 10/13 Chicago, IL – Fallen Log
• 10/15 Iowa City, IA – Gabes
• 10/16 Madison, WI – Crucible
• 10/17 St. Louis, MO – – Mosh Mellow
• 10/18 Cincinnati, OH – Oddfellows (No Shapes)
• 1018 Bloomington, IN – Gallow Dance (No TRW)
• 10/19 Indianapolis, IN – Longshot (No TRW)
• 10/20 Memphis, TN – Growlers
• 10/22 Dallas, TX – Renos
• 10/23 San Antonio, TX – The Mix
• 10/24 Houston, TX – Black Magic Social Club
• 10/25 New Orleans, LA – Dark City Fest
• 10/26 New Orleans, LA – Dark City Fest
• 10/27 Atlanta, GA – Boggs
• 10/28 Charlotte, NC – Milestone
• 10/30 Lancaster, PA – Little Mutants (No Shapes)
• 11/10 Millersville, PA – Phantom Power (No Shapes)

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 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.

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

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

Cd 2

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

Cd 3

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

Cd 4

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

Cd 5

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

Cd 6

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

Cd 7

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

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

Date At Midnight is an Italian Post-Punk and Goth-Rock band formed in 2007 in Rome. This year, they released their third full-length album, “Fading Into Grace”, through Manic Depression Records. The album features well-crafted, professional compositions that seamlessly blend the band’s signature alluring guitar work with more melodic and atmospheric electronic elements, all underscored by deep, brooding vocals. It’s a standout release that is sure to captivate the international Post-Punk community. I had the opportunity to chat with the entire band to learn more about this remarkable album. (Courtesy by Inferno Sound Diaries)

Q: You’ve been active as Date At Midnight for several years now. What initially brought you together, and how do you reflect on what you’ve achieved so far?

Pasquale: When we embarked on this journey back in 2007, the Goth scene in Rome was a vibrant tapestry of parties, concerts, and kindred spirits. Both Daniele and I had our roots in other bands, but we yearned for something new, a vessel to express ourselves, revel in the joy of creation, and craft our own music. Little did we know that Date At Midnight would endure, becoming a cornerstone of the Italian scene with countless gigs across Europe. It’s a peculiar blend of pride and a slice of healthy melancholy that fills me when I reflect on our path.

Daniele: I wholeheartedly echo Pasquale’s sentiments. The early days were filled with unforgettable moments, both within the band and in the thriving scene that birthed us, and this feeling is still alive.

Francesco: I joined Date At Midnight in 2012, after their initial works, and I was elated to receive their call, having been an early supporter. It felt like coming home, and I immediately sought to contribute, which I believe is evident in the evolution of our drumming from the early works to “Songs To Fall And Forget” and beyond. The camaraderie we share, especially backstage, after shows, and during our travels, are my most cherished memories.

Nunzio: Though I joined just a few months ago, I’ve known Date At Midnight for years and even shared the stage with them with some of my previous projects. Playing with them is a source of immense pride, and our first gig together in Budapest last July is a memory I will treasure forever. I truly look forward to what will come next, from every point of view!

Q: Why are there always years between each album release? Is it challenging to win back fans after such breaks? What keeps you busy when you’re not making music?

Daniele: Balancing Date At Midnight with our daily lives can be challenging and, since we care a lot about our live performances, when we have to play live we prefer to focus on the setlist rather than composing. After the very good outcome of “Songs To Fall And Forget” in 2016, the plan was to release a quick follow-up EP, which we did with “Reverse Resilience” in 2018, and then a new album. However, COVID disrupted our plans, and furthermore our original guitarist’s departure forced us to start again almost from scratch. These challenges have certainly impacted our timing, but the important thing is that we are now here, alive, kicking, and with a great new album out!

Pasquale: Each album has its own unique story. We’ve always been a band that thrives in the rehearsal room, sharing every step of the creative process. Especially in the last years external factors like lineup changes, personal commitments, and the pandemic have all played a role. Fortunately, we have a loyal and patient fan base that continues to grow with each release, and that’s truly heartening.

Francesco: My two daughters and my day job keep me busy, but I relish every moment in the rehearsal room. The creative phase is very exciting, and we take our time composing, recording, and mixing. Our fans seem to appreciate this approach, and that makes it all worthwhile.

Q: Tell us more about your latest work, “Fading Into This Grace.” What is the album about, and what influenced its composition? How did it all come together?

Pasquale: “Fading Into This Grace” is our most complex work, with layers of sound, extensive use of synthesizers, and deeply introspective lyrics. From the bass guitar perspective, we aimed for a prominent sound that also contributes melodically, in true Post-Punk and Dark-Wave tradition. The album delves into obsessions, impulses, disillusions, and emotions, addressing unresolved questions in a symbolist and visionary manner. It explores the inexorable flow of time, the need and urgency of losing yourself in a state of grace that probably cannot ever come, the illusory yet essential nature of love, and the societal traps of pre-packaged definitions, all while clinging to the vital, albeit potentially tricky, flame of hope.

Daniele: The new album features nine tracks, each distinct, reflecting our eclectic approach. We blend Gothic-Rock, Post-Punk, Dark-Wave, Death-Rock, and Cold-Wave without boundaries. The vocals are varied and expressive, with moments of climax, liberation, and desperation. I aimed for a more spontaneous vocal approach, and I believe we achieved that. To me, the entire work is inspired by love and sorrow.

Q: Who handles what when it comes to the writing and production process? And what contributes to the chemistry among you?

Daniele: Our music has evolved with our lives, from a more whimsical youth to a view of things characterized by greater focus and less haste. This evolution is mirrored in our collaborative songwriting process, where we share ideas and feelings from the early composition stage to the final result. It’s a magical synergy that has persisted for years, fueled by our diverse musical tastes and immense passion, as we all listen to different kind of music and so each one tries to bring its own and evolving background when it comes to write a new song.

Pasquale: The writing process is truly collaborative, with each member contributing to their own instrument and providing feedback on others; this is my favorite part of the job. While the rehearsal room remains central, I must say that for “Fading Into This Grace” there has been a bit more ‘home based’ contribution, as some songs such as “No Contact/Red Zone”, “Carmilla”, “The Privation” have been fully composed and recorded in a rough demo version by myself and then finetuned all together.

In production, we closely collaborate with our sound engineer, trying always to experiment with something new; for our last works I particularly take care of this step. I want to make a special mention concerning the mastering of “Fading Into This Grace” since it has been made by William Faith in his studio in Chicago: he did it great, providing the best listening experience. Apart from the technical aspects, it has been a true honor for us to have him onboard for this release.

Q: How do you feel about the album now that it’s out? Are there any aspects you think could have been done better or differently? What do you particularly like about the songs?

Nunzio: As someone who wasn’t part of the recording process, I approached the album as a listener. I was immediately struck by its complexity and modern sound. I particularly enjoyed songs like “No Contact/Red Zone” and “The Line”, but each song has its own personality and style, keeping me engaged throughout.

Francesco: I’m very satisfied with the result. While there may always be minor details I’d tweak upon re-listening, songs like “Another Grace” and “Rendez-Vous” are so powerful that I was eager to record and release them. “Carmilla,” dedicated to my first daughter, is a particular point of pride for me, and an act of love from the whole band.

Daniele: I believe this is our best album yet, and I still enjoy listening to it, which I didn’t make so often in the past. Occasionally, I notice small things that could have been recorded differently, but it often depends on my mood. The album’s layered nature means each listening experience is unique.

Pasquale: The album has received numerous reviews, and a common sentiment is that it feels too short, leaving listeners wanting more. I think that this is the highest praise it could receive.

Q: I noticed you have some live performances coming up. What can fans expect from your new live shows, and how do you prepare for a performance?

Francesco: We’re thrilled to be back on the road. Live shows are a chance to connect with fans and fellow artists. Over the years we have connected with lot of people and with many other bands whose mutual support still endures. We’re training hard to deliver the best performances, and fans can expect an atmosphere and energy that have always been integral to our shows.

Pasquale: To prepare, we rehearse as much as possible and then we live the moment, maybe having a couple of drinks before going on stage… We’ve also revamped our visuals to align with the mood of the songs. Our “Into This Grace Tour” has begun, and we’re pleased with the live renditions of the new songs. Fans can look forward to a mix of new tracks and beloved classics, including some we haven’t performed in years.

Nunzio: I look forward to be on stage again, fully integrating myself in Date At Midnight’s interplay, which makes our shows unforgettable for everyone.

Daniele: I won’t spoil the surprise. I invite everyone to attend our shows and experience it, so… check our calendar and get ready for your Date At Midnight!

Watch the clip from “Another Grace”

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

Following the release of the post-punk/dark-wave album “Danse Danse” by Mekong on the 3rd of May 2024, the third single, also titled “Danse Danse”, is now live.

The track comes accompanied by a music video directed by Pedro Viernes which stars Liudmyla Radyk continuing her role from the previous two singles’ videos “Going Numb” and “Ice Cold”. The track is now streaming on all major platforms and the video is available below.

Mekong is a Kraków, Poland-based act which crosses post-punk with a glimpse of 80’s goth culture.

You can download the album 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

(Photo by E Gabriel Edvy) Out on September 27 via Metropolis Records is the brand new PIG EP “Feast Of Agony”. The EP – available now in pre-order – holds six songs and encounters with the “Lord of Lard”, in which he “brings word to the wordless and truth to the truthless”.

The EP kicks off with “Heroin for the Damned”, a song co-written with Watts’ collaborator Jim Davies (a longtime member of Pitchshifter). The accompanying tracks are “Fallout“, “Comedown”, “Hand of Mercy”, “The Ratchet Effect” and “Baptise Bless & Bleed” (in a remix by Jim Davies).

“Feast of Agony” follows the recent remastered reissue of PIG’s landmark 1995 album “Sinsation” and the 2024 studio album “Red Room”, both of which are available via Metropolis Records.

This Autumn PIG will playing live during the Heroin for the Damned tour across North America.

About PIG

PIG is an industrial music project led by British musician Raymond Watts, who is also known for his contributions to the pioneering industrial band KMFDM. Formed in the late 1980s, PIG blends aggressive, distorted electronic sounds with dark, often satirical lyrics. Watts is the primary creative force behind the project, and over the years, he has collaborated with various musicians, including members of KMFDM, Einstürzende Neubauten, and Nine Inch Nails.

The band’s early work was heavily influenced by the industrial scene of the 1990s, with albums like “A Poke in the Eye… with a Sharp Stick” (1988) and “Praise the Lard” (1991) establishing PIG’s signature mix of gritty electronics and harsh, guitar-driven beats. Despite being less commercially prominent than some of his contemporaries, PIG developed a cult following for its theatrical performances and provocative style.

In the 2000s, after a period of hiatus, Watts resumed recording and touring under the PIG name. Albums like “The Gospel” (2016) and “Risen” (2018) brought fresh energy to the project, with Watts continuing to explore themes of sin, salvation, and decay, often framed in a darkly humorous context.

PIG’s music incorporates elements of industrial rock, post-punk, and electronic body music (EBM), creating a sound that is both abrasive and experimental.

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 Chicago-based duo [melter], comprised of Jax Allos and Robert Hyman, has unveiled its latest video, “Catwalk”, a visual representation of personal torment. The release follows their July single, “blacklist”, and marks the continuation of a busy year that includes a recent tour with Hemlock for Socrates and the launch of their “Imperfect Waves Remix” EP.

[melter] is now preparing for the upcoming Imperfect Waves Tour across the US East Coast.

Initially, vocalist and lyricist Jax Allos hadn’t intended to address the heavy subject of suicide in “Catwalk” publicly. However, with the release coinciding with National Suicide Prevention Month, Jax decided to share more about the song’s origins: “What really helped me in that moment was writing down my thoughts and feelings, and eventually I crafted those into lyrics. [melter] entered my life at a pivotal time. ‘Catwalk’ was the first [melter] song I wrote lyrics for, and what started as a very difficult, challenging subject ultimately became a positive experience.[melter] made me feel welcome and really helped me find my voice. It has allowed me to reconnect with those aspects of my life that I needed so badly and, in its way, it saved my life.”

Known for blending industrial, dark alternative rock, punk, and noise, [melter] shifts their sound in “Catwalk” towards a moodier, post-punk style, reminiscent of The Cure’s albums “Pornography” and “Disintegration”. Drummer and multi-instrumentalist Rob Hyman from his side says this: “highlights the unique musical approach, describing the track as ambient, driven by piano sounds and a heavy, rumbling rhythm.“Within our repertoire, ‘Catwalk’ has an ambient feel – it’s dreamier and more abstract. The music for ‘Catwalk’ excited me. The rhythmic track is built off of piano sounds, believe it or not, and it has this overwhelming rumble to it that I really wanted to hear blasted over a PA at high volume.”

The video for “Catwalk” was entirely self-produced by the duo during a break between tours. Hyman envisions the visuals as a slow, introspective experience with blurred faces and deliberate movement. Jax Allos echoed these sentiments, adding that the intense color scheme was designed to reflect the internal struggle portrayed in the lyrics: “It’s an uncomfortable subject, and I hope the video conveys those feelings of desolation and resilience.”

[melter] Imperfect Waves Tour 2024 Dates

• 20 Sept: Lake Worth Beach, FL – Nights in Necropolis @ Propaganda
• 21 Sept: Tampa, FL – New World Brewery
• 23 Sept: Ypsilanti, MI – Ziggy’s
• 24 Sept: Pittsburgh, PA – Poetry Lounge
• 26 Sept: Philadelphia, PA – Sanctorium @ The Fire
• 27 Sept: Providence, RI – Fete Music Hall
• 28 Sept: Harrisburg, PA – JB Lovedraft’s Micropub
• 29 Sept: Richmond, VA – Fallout RVA

Bernard - Side-Line Staff

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

side-line.com

(Photo by Bobby Talamine) Bill Leeb’s first solo album, “Model Kollapse”, drops tomorrow. Leeb, a Vancouver-based musician, is best known as the mastermind behind electro-industrial giants Front Line Assembly and ambient-pop duo Delerium. He’s also played a pivotal role in projects like Noise Unit, Intermix, and Cyberaktif.

This marks Leeb’s first solo effort since the early days of Front Line Assembly in the mid-80s, when he began recording in his bedroom and released his work on limited edition cassettes. Nearly four decades later, “Model Kollapse” was crafted between Vancouver, Toronto, and Los Angeles, with production support from Dream Bullet, long-time collaborator Rhys Fulber, and mixing engineer Greg Reely.

You can now stream the full album exclusively on Side-Line, including standout tracks like “Demons” and “Terror Forms”.

Today we can also present you this brand new video for “Muted Obsession”.

Musically, “Model Kollapse” taps into the legacy of post-punk electronic pioneers like DAF, Front 242, and Skinny Puppy (Leeb himself being an original member), while also drawing from more contemporary influences like Gesaffelstein and ADULT.

The album’s title refers to a phenomenon in artificial intelligence where trained models, particularly those dependent on synthetic or AI-generated data, degrade over time. Leeb elaborates, “As we push forward with unprecedented technological advances, I wonder how much longer we can truly stay in control. Automation has already consumed entire industries. With tech ruling much of the world, are we headed for a ‘Model Kollapse’? Chaos would surely follow.”

Released by Metropolis Records, Leeb notes the label’s crucial role in alternative music, saying, “This album was possible thanks to my long-standing friendship with the late Dave Heckman, who gave me complete artistic freedom.” Heckman, Metropolis’ founder, passed away in the summer of 2022.

Videos from “Model Kollapse”

Bernard - Side-Line Staff

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

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

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

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

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

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

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

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

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

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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Schröttersburg is a Polish music project that was originally set up in 2008. The band kept experimenting with new influences and music styles, resulting in a lot of albums, but at the same time more explicit Industrial influences mixed with Trance/Tribal elements. Their last album “Kosmogonia” was released at the end of 2023 on Zoharum -and also on DIY Kolo, Bat Cave and N.I.C. Records, is a continuation of the previous work. But above all it is a feast for the ears for all fans of early Industrial music and it is not without reason that names like SPK and Test Department came to mind. I talked about it all with 2 members of the band: Krzysiek and Michał. (Courtesy by Inferno Sound Diaries)

Q: Schröttersburg has been around for a few years now. How did the band saw the light of day and what brought you together in terms of music, influences and life experiences?

Krzysiek: The band as a musical creation came into being around 2008, but in its current form since 2010. The starting point was Punk/Post-Punk, but over time there was a desire to further explore and exploit other musical regions. Hence, we have evolved from Punk roots (“Krew”), through Post-Punk melancholy (“Ciało”, “Melancholia”), fascination with the orient and Industrial (“Om Shanti Om”) to Tribal rhythms (“Kosmogonia”). Everyone listens to a variety of music. The guys in the rhythm session tend to be fascinated by heavier sounds, while Michał seems to listen to everything from Free-Jazz, Experimental and Electronic music to Black-Metal or Industrial.

For me personally, the musical form/style doesn’t matter that much. I treat music as a form of expression of what lies somewhere under my skin, and which is difficult to express through words. My experience of battling with inner demons certainly has a significant impact on the sounds I generate. Powerlessness, hopelessness, emptiness, inner screaming and anxiety are certainly hidden between the words and sounds in our songs. That is why our songs have a rather Trance-like, Psychedelic and neurotic structure.

Michał: Actually, Schröttersburg has been around for more than a decade. We were brought together by the desire to play, to express ourselves in a sonic language, to experience sonic transcendence during concerts, to create in general. At the very beginning we were mainly inspired by music from the 80s, New-Wave, Cold-Wave, Post-Punk, but Noise-Rock, Industrial, Kraut-Rock, Dub were also important, which later became evident on our next albums.

Q: I understand that the band’s name refers to your hometown, Plock, which was renamed Schröttersburg by the Germans during World War II. This seems somewhat controversial. Why did you choose this name and is there any deeper meaning behind it?

Krzysiek: For me, as a resident of Plock, the very name Schröttersburg has a pejorative connotation. When I hear this name, I sense anxiety, pain, hopelessness and suffering, and I imagine what the inhabitants of our town must have felt when they had to live at that terrible moment in history. I would like to remind you that 30% of the inhabitants of Plock were thrown out of their homes, deported to concentration camps and mostly murdered there. Many of our town inhabitants are unaware of the gehenna which the people of Płock endured during the years of occupation. By naming the band under this name, we wanted to pay tribute to those inhabitants who were not able to survive the end of the war, and somehow make the locals aware that apart from the good periods in the history of our city, there were also those, about which there is silence.

Q: Your albums show a variety of influences, with a noticeable Industrial feel, especially on the new release “Kosmogonia”. How do you assess the musical evolution of Schröttersburg, especially on the latest album?

Michal: We set ourselves from the very beginning to draw from different sources and combine musical genres. We have never been able to stand in one place and lock ourselves into ‘one sound’. Maybe it’s because we listen to a lot of different sounds, we try to get to know new artists, new records. To find something interesting in the world of music, both old and modern. I see our evolution as developing and going even further, expanding on what we started with breaking down our boundaries that we sometimes set for ourselves.

Q: Can you talk more about the origins of “Kosmogonia”? What is the album about and what stages did you go through to create it?

Michal: When we started working on “Kosmogonia” a certain common thing emerged that set the tone for this album. It was the rhythm. A Tribal, Trance-like, blunt rhythm that gives the hallmarks of urban shamanism. When creating this album, we thought of something primal and raw, something that could take us back to the place of the Beginning, the birthplace of… everything.

Q: How do you see the evolution of Schröttersburg over the years and what elements from your earlier work are still present in “Kosmogonia”? Do you think that the latest album is always the best?

Michal: I don’t think so, in fact I try not to go back to the past. I’m interested in creating rather than analyzing. The evolution of Schröttersburg is of course audible. The Trance and mixing of different musical currents is still present here. Anyway, we never assumed beforehand that a particular album should sound a certain way. It always came from interaction, improvisation, new sound sources, new instruments and how we influence each other when playing.

Q: How do you take your music from the studio to the stage and how would you describe Schröttersburg as a live band?

Krzysiek: In our case, working in the studio is similar to playing live gigs. We record on a set basis, so we use exactly the same instrumentation as in a live show. We don’t play around with recording separate tracks and adding instruments one by one, because we think it sounds artificial and lacks the authenticity and energy we produce when playing together. Only the vocals are recorded at the very end, so that Michal can concentrate fully on his instrument.

Michal: During the recording process we use a lot of instruments, machines, scrap metal and effects. We take all of this with us to the concerts in order to accurately capture the sense of the Schröttersburg sound. It wasn’t easy, but now we have mastered it. For me, every concert is about going into a trance. Entering an inner or transcendental dimension and passing it on to the audience. Our live performances have a beginning and an end, they are concise and blunt. Even when we sound rather atonal or noisy, everything has a structure and a meaning.

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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(Photo by Roger op den Camp) COP International Records and Strict Tempo announce the USA leg of the CX40 World Tour by the legendary Anglo-Irish post-punk group The Cassandra Complex. The band has been celebrating their 40 year anniversary in 2024 with an extensive world tour spanning Europe and the Americas.

As part of the tour they will be making a rare visit to play in the USA in September – October, starting with an appearance at the Cold Waves festival in Chicago, and continuing through the West Coast of the USA. The last time The Cassandra Complex played in America was almost 20 years ago, so this will be a unique chance to see their live show. The second leg of the tour will commence with shows in the USA and Latin America in the Fall, followed by more shows in the UK and EU later in the year.

The band will be supported on USA shows by DJ Vox Sinistra and on European shows by the Swedish post-punk duo Sjöblom. Tickets can be order now.

• 29 Sep 24 Chicago IL, Cold Waves Festival
• 30 Sep 24 Portland OR, Dante’s
• 02 Oct 24 Seattle WA, Central Saloon
• 04 Oct 24 San Diego CA, Corazón del Barrio *
• 05 Oct 24 Long Beach CA, Que Sera *
• 06 Oct 24 Albany CA, The Ivy Room (SF Bay Area) *
• 12 Oct 24 Ciudad de México, Foro 28
• 15 Oc t24 San José Costa Rica, Amon Solar
• 18 Oct 24 Santiago Chile, RBX
• 19 Oct 24 Sao Paulo Brazil, Madame
• 23 Nov 24 Leeds UK, The Old Woolen
• 24 Nov 24 London UK, The Black Heart
• 26 Nov 24 Reading UK, The Facebar
• 28 Nov 24 Bochum Germany, Matrix **
• 29 Nov 24 Bielefeld Germany, Movie **
• 30 Nov 24 Cologne Germany, Blue Shell **
• 04 Dec 24 Berlin Germany, Urban Spree **
• 05 Dec 24 Copenhagen Denmark, Lygten Station **

* with Vox Sinistra
** with Sjöblom

About 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

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 is the second single from Штадт (Stadt) since joining Artoffact Records. “Wild High” holds a broad reach of ingredients including industrial, synthwave/retrowave, and post-punk.

The single follows last month’s label debut single, “Вплив Бездіяльності (Impact of Inaction)” which the band commented “is a song about being trapped in the vacuum cage of darkness and self-destruction.”

Штадт (Stadt) is an EBM/post-industrial project created by Dmytro Filiushyn from Donetsk, Ukraine. Throughout its career, the project has released three EPs and two LPs, performing across Europe at solo gigs and festivals. The latest album, “Мразь” (“Scum”), features a collaboration with the EBM project Qual.

Stadt was founded after Dmytro left Ukraine in 2018. Following Russia’s invasion of Ukraine in 2022, the project relocated to Serbia.

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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Canadian electropop musician and visual artist Shannon Hemmett aka Leathers has released her debut album “Ultraviolet”. Hemmett is best known as member of the Vancouver-based post-punk band Actors. The album is available across all major music platforms, including Spotify, Apple Music, and Bandcamp.

In addition to the album, Hemmett has created a limited-edition art book that complements the music. The book features over 60 pages of original photos, song lyrics, and designs. Hemmett explains, “I wanted the relationship between our songs and the visuals to feel vivid to the listener. Along with the album, I put together an art book containing over 60 full-colour pages of original photos, lyrics, and design. It’s the perfect companion piece to the album.”

Before the album’s release, Hemmett launched a series of singles compiled in the “Reckless” EP.

Bernard - Side-Line Staff

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

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(Photo by Steve Gullick) Sex Swing have just share a new track from their forthcoming album inspired by the region between Myanmar, Thailand and Laos: “Boten, Route 13”. The single is out now via God Unknown Records together with a video.

This is the latest single from their third studio album, “Golden Triangle”, set for release on 4 October 2024 via God Unknown Records. The collective of revered UK underground musicians (comprising members of Earth, Mugstar, The Keep and Jaaw) have also detailed new UK tour dates that start on 5 October with a performance at the God Unknown 10th Anniversary show in London.

Sex Swing frontman Dan Chandler explains that “Boten, Route 13” is about illegal logging with Boten, Route 13 being a road near the Laos Chinese border, a route the smugglers take. “It really is an endless seam of activity,” Chandler explains of the region between Myanmar, Thailand and Laos that inspired the title of their new album.

The album line-up for this release was completed by bassist Jason Stoll, drummer Stuart Bell, guitarist Jodie Cox, synthesist/guitarist Oli Knowles and saxophonist Colin Webster.

“Golden Triangle” began as a project of creating beats and recording tracks remotely during the pandemic. The ideas were later developed during focused writing sessions at a quiet farm in Oxfordshire. The album was recorded by Stanley Gravett at Holy Mountain Studios in Hackney, mixed by Wayne Adams at Bear Bites Horse, and mastered by James Plotkin. The band also continued their collaboration with artist Alex Bunn, who designed the album cover.

The band will perform on Saturday 5 October at a very special show celebrating 10 years of the label on a lineup that includes Duke Garwood, Rainbow Grave, Sneers, Cassels and more – all taking place at Walthamstow Trades Hall – before embarking on further UK dates in December.

Sex Swing live

• 5 Oct – London, Walthamstow Trades Hall (God Unknown Records 10th Anniversary)
• 13 Dec – Tunbridge Wells, The Sussex Arms
• 14 Dec – Leeds, Headrow House
• 15 Dec – Bristol, The Louisana

About Sex Swing

Sex Swing is an experimental rock band formed in London in 2015. The group is known for a unique sound that blends elements of noise rock, post-punk, and avant-garde jazz. The band comprises Dan Chandler (vocals), Jodie Cox (guitar), Oli Knowles (keyboards), Colin Webster (saxophone), Stuart Bell (drums), and Jason Stoll (bass).

Before forming Sex Swing, the members were involved in various underground acts. They debuted with their self-titled album in 2016.

In 2020, they released their second album, “Type II”. Followed by the remix album “Passovers” (2020, Rocket Recordings). Last year saw the release of the live album “Grade A Peanut Sauce” (2023, Sonic Whip Records).

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 Dortmund-based post-punk / darkwave act Days of Sorrow has a new single and video out for “Tears”. It is the first release of the forthcoming two vinyl EPs out later this year. The video was filmed and directed by luigsfilms.de.

The release comes after their comeback three years ago. This new single also means the introduction of a new member, Kati von Schlotterstein on bass and keyboards. “Tears” is now available on all major streaming platforms.

The band says this about the new single: “We wanted to create a song that speaks to the enduring human experience of heartache and hope. “Tears” is a testament to our journey as a band and our connection with our audience. It’s about finding beauty in the midst of pain and using music as a means to heal.”

In addition to the single, Days of Sorrow are working on two vinyl EPs, set to be released later this year. The two EPs will hold a collection of new material.

About Days of Sorrow

Days of Sorrow is a post-punk and dark wave band originating from Dortmund, Germany. Formed in 1981 by William Lennox (vocals, keyboards) and André Schreiber (bass), the band quickly became a notable name in the German post-punk scene during the 1980s. They were heavily influenced by the burgeoning post-punk and new wave movements, which were at their peak during that time.

The band’s first lineup was rounded out by Wolfram Hubert on guitar and Nicolai Sabotka on drums. Their break came in 1984 when they were discovered by John Tollhaus, who overheard them playing their song “Wild World” and decided to produce and release it as a full 12″ EP titled “Remembering the Days” under Tollhaus Records. This release featured tracks like “Wild World” and “War” and saw the band performing extensively across Germany.

In 1985, the band underwent lineup changes with the addition of Claudio Stöber on keyboards and Kurt Voigt on drums, which allowed Lennox to focus more on vocals. They signed with Rough Trade Records and recorded new material, including a reworked version of “Wild World”. This led to the release of their second EP, “A Thousand Faces”, in 1987. However, the band split shortly thereafter, just before a planned tour in Spain.

After a long hiatus, Lennox and Schreiber reunited in recent years, joined by Frank Junge, and began working on new music. In 2023, they released the album “Soulmate Sister”.

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 Danish electronic duo Vaylon, composed of Ole Ulrich Jensen and Dan Holte Beck, has just released their latest single, “In The Shadows” via the Danish label Town & Towers Records. The song mixes classic post-punk and dark wave with Ole Ulrich Jensen on vocals.

You can enjoy “In The Shadows” on all major streaming platforms.

Formed in the early 2010s, Vaylon released arias albums and singles including “Primus” (2014), “The Void of Silence” (2016), “Fragile Entity” (2014) and “Wishful Thinking (Remixed)” (2022). That last remix album includes a collection of remixes that offers a fresh take on some of their previous tracks.

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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Breaches, the post-punk duo from Wellington, New Zealand, is composed of Hayden Ellis and Matt McGuiness.

Following their recent performance opening for Ville Valo (formerly of HIM) in Auckland, the band has been actively releasing new music. Their latest singles, “Twist the Knife” and “Left Behind,” have set the tone for their sound.

They now also unveiled a video for “Twist the Knife,” a track that holds significant meaning for the band. According to Hayden Ellis, “’Twist the Knife’ was the first song we wrote together, and it really defined our direction as a band. The song deals with the feeling of being lost in an unfamiliar place and is dedicated to the memory of a late friend who was always searching for an escape.”

With new music coming in the months ahead, Breaches will support Attrition (UK) in Wellington in November.

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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Crying Vessel, the Swiss-American post-punk and darkwave duo, has made a return with the announcement of not one, but two new albums after a two-year hiatus. These albums, titled “Sepulchers – The Servant” and “Sepulchers – The Maiden”, are set to be released in early 2025 under Cold Transmission Music. Each album contains 10 tracks.

“Sepulchers – The Servant” will offer Crying Vessel’s signature elegant synth-driven style, leaning into the more melodic and danceable aspects of their music. On the other hand, “Sepulchers – The Maiden” delves into darker, heavier soundscapes, reflecting the band’s recent explorations in more intense, moody territory.

The lead single from “The Servant”, titled “Falling In Love With A Ghost”, is out now. The accompanying music video was directed by Basil Oberli.

About Crying Vessel

Crying Vessel, a Swiss-American post-punk and darkwave duo, began as a solo project by Slade Templeton in 2010. Over time, it evolved into a full-fledged band with the addition of drummer Basil Oberli. Their sound is deeply influenced by the aesthetics of the 80s and 90s but with a modern twist.

They have released six albums, with their seventh, a double album titled “Sepulchers – The Servant” and “Sepulchers – The Maiden”, expected to release in early 2025. The band’s music often explores themes of love, loss, and the supernatural.

Their work has been released on several labels, including Manic Depression Records, Cleopatra Records, and Cold Transmission Music.

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

“Fading Into This Grace” marks Date At Midnight’s first new album since 2016’s “Songs To Fall And Forget.” This release captures a nostalgic yet refreshing Dark-Wave/Post-Punk sound. The guitar revives the quintessential dark, 80s influence, while the Electro arrangements add smoothness and a melodic touch. Few bands manage to evoke the era’s characteristic enthusiasm as effectively. This album stands strong with several standout tracks, though the final two songs, while not bad, feel more floaty and less impactful. (Rating: 8½)

Listen to “Another Grace”:

https://dateatmidnight.bandcamp.com/track/another-grace-2

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

On August 16th, Principe Valiente will release a remix EP, “In This Lights (Remixes)’, in collaboration with fellow artists from Metropolis Records.

This project features contributions from Girls Under Glass, Paradox Obscur, Magic Wands, Winter Severity Index, and Sean de Winzer from Clan Of Xymox, each offering their take on the singles “Something New” and “Inspired By Me”. You can already pre-order the new EP on Bandcamp.

Earlier this year, the band already released a remix for Clan Of Xymox in May and is set to reveal another remix for Magic Wands later this year.

Principe Valiente, a band from Stockholm, Sweden, brings a blend of dark pop, post-punk, and shoegaze influences. Formed in 2005, they have released several albums under Metropolis Records, including “Barricades” and their latest, “In This Light”.

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

Post-punk comes in many forms and shapes. Here’s a good example. The new album “Mirror Mirror” by the New York based post-punk / no wave act OOF is coming out on August 30th on the label 20/20 Records and Tapes. One track is already up on Bandcamp and the band is already taking pre-orders for CDs and cassettes.

Note that OOF also features a baritone sax, setting them apart from the usual post-punk acts. “Mirror Mirror” is already the band’s fifth album to date and was recorded and mixed by Craig Bowen at Tempo House Recording in Baltimore. The release has Anna Hochhalter on vocals and baritone saxophone, Peter Joseph on vocals and guitar, and Linda Casey on drums.

The band formed in 2007 and has brought social commentary “about our mundane or political lives”.

The trio will be doing a mini-tour to support the album release kicking off in Brooklyn at Mama Tried on Aug 29, followed by Aug 30th at True Vine in Baltimore, and Aug 31st at Rhizome in D.C.

Bernard - Side-Line Staff

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

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(Photo by 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 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

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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After years of releasing only singles, the darkwave project Deus Ex Lumina present its first full album “As Above So Below” on Cold Transmission Music. The album holds 18 tracks including re-mastered versions of some the singles combined with new tracks.

Hailing from the shadows of Berlin but with roots in Buenos Aires, Deus Ex Lumina is the solo-project of Del Darkwave, a graduated music producer and former post-punk drummer. Deus Ex Lumina was launched in 2020 as his primary solo venture.

The album is out now on vinyl, CD and in digital format.

Deus Ex Lumina will present his new album live at Amphi Festival in Cologne/Germany this weekend on July 28th.

Bernard - Side-Line Staff

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

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(Photo by Lindsay Ann Snyder) Atlanta-based darkwave act Now After Nothing has announced the release of their debut EP, “Artificial Ambivalence”, set to drop on September 13 on their own label, Living On Neptune(s). The EP will be available on all digital platforms and vinyl.

Frontman Matt Spatial and drummer Michael Allen have released a series of singles, showcasing the band’s goth and post-punk influences. This debut EP features additional guitar work by Mark Gemini Thwaite, known for his collaborations with Peter Murphy, The Mission, and Gary Numan.

Here’s the video for “Sick Fix”.

The band plans to tour in support of the EP, starting with a hometown show on September 14 at Center Stage. They will be joined by Glass Spells and DJ Goth Dad (Dusty Gannon from Vision Video).

In addition to their music, Now After Nothing supports Atlanta’s Lifeline Animal Project, a non-profit organization with a no-kill mission for animal shelters in Atlanta’s main counties. The band will sell a special ‘Meow After Nothing’ cat design T-shirt at shows and online, with a portion of proceeds donated to the organization.

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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“Black Magic” is the third album by Italian Dark-Wave/Post-Punk band They Die. As with their previous works, their sound is characterized by a bleak and dark atmosphere, reminiscent of bands like The Sisters Of Mercy and Suspiria. The album features a perfect blend of somber guitar riffs and melodic synth arrangements, creating a hauntingly beautiful soundscape. The vocals are deep and possessed, adding to the overall sense of despair. This album includes several standout tracks that reaffirm the band’s remarkable talent. (Rate:8).

Listen to “Black Magic”:

https://swissdarknights.bandcamp.com/track/black-magic Read the news on ‘Black Magic’.

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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(Photo by Kevin Estrada) Los Angeles-based collective Beauty In Chaos has released the music video for “Holy Ground” featuring Patrik Mata of Kommunity FK. This track is part of their upcoming fourth album, “Dancing With Angels”, set to be released on July 24, 2024. “Holy Ground” showcases a departure from BIC’s usual goth rock/post-punk sound, diving into the darkwave genre.

Here’s the video for “Holy Ground” featuring Patrik Mata of Kommunity FK.

“Dancing With Angels” includes contributions from artists such as Wayne Hussey of The Mission, Kat Leon of Holy Wars, Ashton Nyte of The Awakening, and more. The record follows the release of the single “Diving For Pearls”, which also features Wayne Hussey.

Beauty In Chaos was formed in 2018 by guitarist Michael Ciravolo, known for his work with Human Drama and Gene Loves Jezebel, alongside producer Michael Rozon. The collective has involved various prominent musicians from bands like The Cure, Ministry, and Nine Inch Nails.

Track Listing

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

The album will be available on limited edition multi-color vinyl, CD, and digital formats. The first 100 vinyl copies include two signed posters.

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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Swedish post-punk outfit Then Comes Silence has kicked off a string of European tour dates in support of their seventh album “Trickery” (out now via Metropolis Records), also presenting “Ghost House” featuring tandem vocals by Emma Nylen (Emmon). You can check the track below.

Formed in Stockholm in 2012, Then Comes Silence is made up of frontman Alex Svenson, drummer Jonas Fransson and guitarist Hugo Zombie (Los Carniceros del Norte). The new album is the follow-up to their 2022 album “Hunger”, released via Nexilis Records / Schubert Music (Europe) and Metropolis Records (North America).

The 13-track record features guest appearances by Gözde Duzer of Aux Animaux, Emma Nylén (Emmon), Jörgen Wall of Whale, Thåström and Dusty Gannon of Vision Video.

Recorded by Jörgen Wall (Jay-Jay Johanson, The Hellacopters) over three days at Stockholm’s Kapsylen Studio and mixed by Tom van Heesch (Rammstein, Apocalyptica, Backyard Babies), the album was mastered by Svante Forsbäck / Chartmakers (Rammstein, Amaranthe, Ville Valo, The Rasmus, Apocalyptica).

Then Comes Silence Europe Tour Dates

• Jul 27, Cologne DE 🇩🇪
• Aug 23, Ostend BE 🇧🇪
• Sep 15, Berlin DE 🇩🇪
• Sep 19, Oberhausen DE 🇩🇪
• Sep 20, Liege BE (sold out) 🇧🇪
• Sep 21, Rouen FR 🇫🇷
• Sep 22, Paris FR 🇫🇷
• Sep 23, Toulouse FR 🇫🇷
• Sep 24, Nantes FR 🇫🇷
• Sep 25, Marseille FR 🇫🇷
• Sep 26, Liege BE 🇧🇪
• Sep 27, Frankfurt DE 🇩🇪
• Sep 28, Skurup SE 🇸🇪
• Nov 1, London UK 🇬🇧
• Nov 2, Whitby UK 🇬🇧
• Nov 15, Gothenburg SE 🇸🇪
• Nov 16, Copenhagen SE 🇩🇰
• Dec 5, TBA ES 🇪🇸
• Dec 6, Bilbao ES 🇪🇸
• Dec 7, Zaragoza ES 🇪🇸
• Dec 8, TBA ES 🇪🇸

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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UK dark electro pop act 404 Error has shared a new single and video, “Vote for Us”. Released last Friday to coincide with the immediate aftermath of the UK General Election 2024, “Vote for Us” also features a new virtual B-side, a reworking of XTC’s post-punk/new wave classic, “Making Plans (for Nigel)”.

“Vote for Us” is the latest offering from 404 Error‘s new album, “Scene Killers”. A semi-anonymous project, 404 Error is the work of a musician going by the name of 36663, whose debut album combines minimal synth, alt electro, darkwave, and synthpop influences.

In a comment the band says that the new 404 Error album, “Scene Killers”, “explores themes around regionally skewed histories and rose-tinted remembrances of the dark alternative scene; the pressure from gatekeepers and influencers to “support the scene” or lose it; and the persistent scapegoating of fans amid accusations of “killing the scene”, when bands, DJs, and promoters fail to generate interest in their events.”

“Scene Killers” by 404 Error is out now from Bandcamp, Spotify, and all major digital music platforms.

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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