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

The Danish duo Am Tierpark celebrates 10 years of music-making. Comprised of Claus Larsen (known for Leaether Strip, Klute ao) and John R. Mirland (Mirland ao), they present their fifth album, staying true to their distinctive Electro-Pop sound. Across 10 tracks, the music feels both familiar and fresh, with verses that are often darker and more intense, driven by heavy basslines, before transitioning into melodic, sometimes playful, choruses. Am Tierpark delivers what can be described as ‘dirty Electro-Pop’, a style I’ve come to appreciate. The album is filled with unmistakable 80s influences, noticeable in the typical effects, drum programming, and melodies. “In Dreams” stands out as one of the best Am Tierpark tracks I’ve heard, though the album is packed with other gems waiting to be discovered. (Rate:8).

Listen to “In Dreams”:

About Am Tierpark

Am Tierpark is the Danish synthpop and EBM duo of vocalist Claus Larsen, the man behind Leaether Strip, and programmer and keyboardist John R. Mirland, who also records solo as Mirland. The duo marked ten years of music-making in 2024 with the release of “Shameless”.

The project released a split 7-inch single with En Esch, “Do Me / No One Can Be Changed”, in 2016 on Distortion Productions. The albums followed on the Læbel imprint: “Uncaged” and “Trashy Luxury” in 2017, “Kings Of Failure” in 2019, and “Forevermore” in 2022. Mirland talked about his various projects in an earlier Side-Line interview.

“Shameless”, again released through Læbel as a digital and CD album, is the duo’s fifth full-length and the release reviewed here.

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

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

A few weeks ago we taled about the excellent God Is War single, “Opium Den“. Today we can announce the full debut album “Boogeyman Inc” which is out via Profound Lore Records. Behind the project God Is War we find Lebanese American artist Mack Chami who will now go on tour with Lockstep this November.

The full length album consists of glitchy-IDM type beats across 7 tracks. And it probably holds the longest song title (track 7) we ever saw: “I Remember You Told My Parents That I Was Going To Get Shot But When I Googled You, It Was Just You And Your Cute Little White College Friends”.

Formed in 2018, God Is War focusses on an excellent produced blend between noise and industrial adding extra bass on top. His work has been released on labels such as No Rent, Industrial Coast, Phage Tapes, and Deathbed Tapes. The project really took off in 2022 when both “I Have No Enemies, I Permit No Such Thing” (Federal Prisoner) and “Predation Perfected” (Closed Casket Activities) were released.

In 2023, God Is War/Andy Nolan released the collaboration album “The Hunt” (Closed Casket Activities) including more dub and hip-hop influences then on previous releases, including even a full hip-hop track with Toronto-based rapper New Villain.

God Is War on tour

• 11/01 Chicago, IL @ Cobra Lounge
• 11/02 Indianapolis, IN @ Black Circle
• 11/03 Detroit, MI @ The Sanctuary
• 11/05 Toronto, ON @ Monarch Tavern
• 11/06 Queens, NY @ Trans-Pecos
• 11/07 Cambridge, MA @ Middle East (Upstairs)
• 11/09 Philadelphia, PA @ Milkboy
• 11/11 Washington D.C. @ Pie Shop

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

For its 25th anniversary, Mesh make their long-time out of print second album “The Point at Which It Falls Apart” available again via Dependent Records. For the occasion the full-length has been remastered by German producer Olaf Wollschläger. The album reissue comes in a art book format with extensive bonus materials and extra tracks on a second CD.

The art book comes as a 48-page hardcover book (ca. 18x18cm) with 2 CDs: the original album (remastered 2024), an 11-track bonus CD with remixes and rare B-Sides, plus liner notes by Mark Wybrew (Electronic Cafe) & Jan Winterfeld (Pluswelt).

Mesh Mark Hockings says: “I am very proud and excited to see this album re-released with its stunning new (and yet familiar) artwork, and the pristine sound of the new remaster. This has been a long time coming. For those that heard the album the first time around, I hope it brings back some powerful memories as it has for me. For those that are hearing it for the first time, I wish I could share that experience with you.”

Richard Silverthron adds: “For me, ‘The Point at Which It Falls Apart’ marks a period in time where we found that sound that is immediately identifiable as ‘Mesh’. We were deeply into using sampling technology, creating and recording drum loops, ambient atmospheres, and guitars parts. Our pick for the first advance single, ‘Needle in a Bruise’ is an excellent example of this. This song sits comfortably between being an emotional electronic piece through the verses and then opens up with layered guitars in the chorus that turns it into an anthemic rock track.”

The recording line-up of this album consisted of Mark Hockings, Richard Silverthorn and Neil Taylor.

To introduce the sound of this remastered album, the single track “Needle in a Bruise” is available now for preview. Mark Hockings and Richard Silverthorn are currently in the process of writing the next Mesh studio album.

Tracklist bonus CD

1. People Like Me (With this Gun) (Alt.MESH.Mix)
2. It Scareas Me (Mesh Remix)
3. Not Prepared (Radio Version)
4. The Damage You Do (Perfect Porno Remix)
5. Safe WIth Me (Snare’s Epic Edit)
6. People Like Me (With this Gun) (Extended Shotgun)
7. It Scares Me (Mesh Locarno Mix)
8. Not Prepared (Mesh Club Mix)
9. This Without You (Fallen Mix)
10. It Scares Me (Fearful)
11. Not Prepared (Blowhole Mix)

About Mesh

Mesh was formed in 1991 when lead singer and guitarist Mark Hockings and keyboardist and vocalist Richard Silverthorn met, leading to the formation of the band. Richard Silverthorn composed the music, while Mark Hockings penned the lyrics. The duo was soon joined by Neil Taylor on keyboards, who had already been playing in another band with Silverthorn.

The band debuted with the “Fragile” EP in 1994 followed by the full-length debut “In this Place Forever” two years later in 1996. In 1999 came the next milestone with the sophomore album “The Point At Which It Falls Apart”.

The major label release of “Who Watches over Me” in 2002, propelled Mesh further into the limelight and marked a turning point. A surge of popularity across Europe, particularly in Germany let the UK band climb higher up the festival billings.

What followed was a collaboration with former Depeche Mode producer Gareth Jones for “We Collide” (2006). Adapting to lineup changes, Mesh continued their musical journey with the core-duo, augmenting live performances with drummer Sean Suleman and additional live keyboardists.

“Automation Baby” (2013) and “Looking Skyward” (2016) followed. Mesh also collaborated with a classical orchestra at the ‘Gothic meets Klassik’ festival in 2015.

By 2023 the band was joined by Vaughn George for their live lineup in April 2023.

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

Piston Damp and Ray Noir, two acts that hadn’t played in Oslo before, booked the final day of August for an evening of electro-metal/goth and synthpop tunes at the club Revolver. Then a surprise dropped the day before the show, announcing that Apop (Stephan Groth’s solo version of Apoptygma Berzerk) would kick off the evening with a set of analogue-modular music!

(By our Norwegian correspondent Jan Ronald Stange. Photos by Halvor Bodin, Tarjei Krogh and Jan Ronald Stange)

We had to get more info and reactions from all involved, so the week after was spent interviewing by Messenger and e-mail, starting with Apop.

Side-Line: Tell us how this gig came about, seemed a bit surprising for most since your participation was announced just the day before? 

Stephan Groth: Ray Noir and Piston Damp were going to be playing a show in Oslo on August 30, so I asked if I could play support since I have not played live in Oslo for a long time. It was already a sold out show, so I just tagged along. We all had great fun, and it felt good to show the Oslo crowd a side of APOPTYGMA BERZERK that they have not experienced before. 

 This is the 3rd time I have played live under the name “APOP”. It’s been just me alone on stage, improvising and tweaking modular synths and FX in the style of “Exit Popularity Contest”.

S-L: Is there any improvisation live, or all planned beforehand?

 STP: Oh yes, lots of improvisation. I have planned beforehand what songs to play, and for how long. 

Then I have preprogrammed 3 sequencers who are controlling the modular rig, so I arrange and mix the first half of the show live. 

The other half of the performance I play a few APOPTYGMA BERZERK songs with vocals. This last part is less improvised.

S-L: As mentioned you’ve done some of these sets before, will there be more in the future?

STP: I’m having a lot of fun doing this, and it seems people are enjoying it as well. It is also a great way to test out new material and new ideas. It is quite different from what I have done earlier in my career, and therefore also very refreshing and exciting for both the audience and myself. The first time I played this kind of concert was in Jönköping, supporting Swedish synth pop legends PAGE.
Will there be more of this in the future? I hope so 🙂

The prize for being most energetic went to the second act of the night, Ray Noir, who filled the club with beats as he used every inch of the stage – and some of the floor interacting with the audience too!

S-L: First time with a live show in Norway – what’s your impression?

Ray Noir: Heyy! Thank u so much for coming 🙏🏽 It was an awesome night. Playing a hometown show for the first time was nothing but amazing! Really cool to see so many beautiful faces there, and being supported by one of my all time favourite bands Apoptygma Berzerk was nothing but surreal. And doing this co-headline show with Piston Damp was a dream.

S-L: Anything else brewing with more releases or gigs?

RN: I’ve finished some new tracks, hopefully there will be one more release before the end of the year, there’s also some London shows planned before the year is over.

Piston Damp, the duo Jonas Groth and Truls Sønsterud, were the final act, making people dance and really enjoy their set. Top notch vocals and synth, and their surprising cover of The Cure’s “The Walk” was the show’s icing on the cake. Release that track ASAP!

S-L: First time in Oslo, how was the gig for you?

Piston Damp: Our first gig in Oslo was really cool. Super small – and sold out – venue, but awesome nonetheless. When we announced it from the stage, someone yelled out: “About time!!!”, which was hilarious although quite flattering.

Jonas has known Ray Noir since he was a very young guy behind the counter at Body Map in Arcaden, Oslo. Great guy, and so much fun to be with.

And for the third time, we’ve been able to bring along Stephan with his plip-plop-instrumentals, which we adore. Having him there adds a dimension to the evening.

S-L:  More releases or gigs planned?

PD: We most definitely have releases coming in the near future. We’re working on the follow up album to Making The World Great Again, which is exciting since we are no longer inventing Piston Damp. We are now developing Piston Damp. It’s really amazing to discover how alike we are. We really don’t seem like we would be able to get along style-wise, but we really do. Every single time.

We have about twenty songs in the can now. Now we’re trying to figure out how to sort them. Which goes where?

We are old-timers who love a good album with strong songs, singles with unforgettable b-sides and extended remixes, and live versions of songs, which give the songs more feet to stand on.

Watch out for our upcoming album. It’s going to be a great volume. Hint hint…

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

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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!

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Former OOMPH! frontman Dero Goi has released the video single for his latest track “Whistleblower”, a tribute to whistleblowers who risk their lives and freedom to expose serious crimes. This track is from his forthcoming debut double album, “1984”, scheduled for release on November 29, 2024.

“The lyrics of ‘Whistleblower’ and the theme of the video are directly related to the title of the track,” Dero Goi explains. “Julian Assange’s release was a surprise and a relief, but there are still many whistleblowers who continue to suffer in silence. It’s shameful that the German government remains indifferent to Edward Snowden’s situation, a critical voice in our fight for truth and transparency.”

“1984” marks GOI’s first major project since his departure from OOMPH! in 2021. Known for pioneering the Neue Deutsche Härte genre with his former band, GOI has since taken a different creative path, embracing electronic influences. His vast array of inspirations, ranging from industrial legends like Front 242 to icons like Depeche Mode and ABBA.

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 History of Guns present the short film “Drug Castle” which is also accompanied by the companion 3-track remix single, “Last Train to Drug Castle”, featuring remixes and alternate versions of the single tracks. The video follows the releases videos for the tracks “No Longer Earthbound”, “When You Don’t Matter”, and “What’s Buried (Will Rise)”.

The short film is made for one of the more experimental parts of their latest album, “Half Light”, in which they take their instruments to the beach, and experiment with different audio and emotional frequencies, “in an effort to contact beings from another world.”

Filmed, directed and edited by Howard Gardner, the short film “Drug Castle” comprises two tracks from History of Guns’ eighth album, “Half Light”: namely, “Drug Castle” and “Survive the Night”.

Producer, co-writer and keyboard player/programmer Max Rael says: “Drug Castle was the nickname given to a facility in England where they used to conduct what were often unethical, experimental, psychological procedures during the ‘60s and ‘70s. No one’s quite sure of its exact location, other than it was near the sea, and some of the sessions happened out on the beach. It was originally built for use in World War II, but no one seems to know what its original purpose was. Different psychologists and psychiatrists could effectively book it out, and then take patients or unwitting volunteers down there for however long, and do whatever they liked. There are some good stories from people who received really helpful treatment there, but it’s probably more famous for some of the awful horror stories and reports of deaths and extreme abuse. Apparently, there was very liberal use of experimental drugs and techniques, hence the nickname. One of the experimental treatments was called Frequency Therapy which involved using sonic frequencies to match or harmonise with emotional frequencies, which would cause a third frequency to be created, which caused some quite profound healing and bizarre experiences.”

“I first told Howard about the sci-fi plot I had for the album, one night after a few drinks when we were at Infest together a good few years ago. He’s been a solid, trusted and much-loved friend and collaborator on a range of projects over the years, so this seemed a perfect chance to continue our collaboration.”

Max Rael and filmmaker Howard Gardner are also collaborators in London-based experimental electronic trio, Decommissioned Forests. Gardner describes the process behind the Drug Castle film: “I listened to the tracks for the first time in a darkened room and they absolutely blew me away, so bleak and powerful was the imagery. I imagined the band all sitting around a campfire at night near the shore, playing the song while being plagued by demonic hallucinations or visions. I described this impression to the band, and they absolutely loved it, so we went from there. I’m a huge fan of David Lynch and I often solve filmmaking problems by trying to imagine what he might do. This was certainly the case with ‘Drug Castle’. Owing to the song’s length I imagined a slow-burning and ambiguous narrative with harsh lighting thrown by the fire, with slow edits and dissolves. For some of the more way-out visuals I took inspiration from Lucio Fulci (the decayed corpse-like figure) and The KLF (the trio of handmaidens sitting on the rocks). We shot it in a single evening in June, down on the Kent coast, and the band were very good-natured and cooperative the whole way – even when I asked Del to lie in the freezing cold sea and be splattered with fake blood. Max got an antique oscilloscope to work in the middle of a beach without any mains power, for which I think he deserves some sort of commendation!.”

Guitarist and co-writer, Caden Clarkson, who is both the newest addition to the group in its current iteration, and Rael’s son, says of both the recording and the video: “On ‘Drug Castle’ I had to take a different approach to what I’d normally do. I used the guitar as less of an instrument, and more of a means to create rich and somewhat haunting textures and soundscapes. I also used my Theremin to add the click beeping sounds and higher frequencies. The video recording was not at all what I had expected. When I read the script saying that Del would have to lay partially in the sea, I thought there would be no chance he’d do it, but he jumped right in and did such an amazing job of it, it was genuinely impressive to watch.”

Vocalist and co-writer, Del Alien adds: “I had not seen Howard in years! It was great to see him again. He had the video all planned out way before we got there. The last bit of the film was shot first, as it had to be in daylight, but I had to get on the beach with the freezing cold waves slightly coming up – sadly for me, I hate the cold! But to the others, great laughter was had. We misjudged the tide at one point, and I got frigging washed over! Luckily, Howard could see how bloody cold I was, and did that bit of the filming as fast as he could. And I must say, I think the end result of a very long and challenging day paid off.”

About History of Guns

Formed in Cheshunt, Hertfordshire in 1996, the duo became frontrunners of the Wasp Factory / FuturePunk scene of the early 2000s. The band went on hiatus in 2012, returning with 2022’s album “Forever Dying In Your Eyes” before setting about finishing an electronic project they’d begun in 2008 – resulting in “Half Light”.

The starting point for this album lays in Robert Anton Wilson’s words “The future is up for grabs; it belongs to any and all who will take the risk and accept the responsibility of consciously creating the future they want.” The release contains elements of a story currently being written as a novel by Max Rael, with these 10 tracks exploring inner and outer space.

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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Bryan Zentz has been a dynamic force in the music scene for over 20 years, building an impressive discography that now includes his latest release on Sonic Groove. This American artist continues to showcase his passion for Acid and Techno, blending both genres with a heavier, darker edge. The five tracks on the release hit hard and maintain a raw, unpolished quality—one of the key elements that give the production its unique charm. The final track, however, takes an unexpected turn, adding a groovy, sensual touch to round off the album on a surprising note.(Rate:7½).

Listen to “Street Creeper”:

About Bryan Zentz

Bryan Zentz, also known as Barada, has released acid and techno records since the early 1990s, starting on labels including Experimental and Bush. He has returned repeatedly to Sonic Groove, the Berlin-based techno and industrial label run by Adam X, with the ongoing “Barada Trax” series. “Barada Trax Six” is his latest EP for the label.

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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Michael Belletz, who is best known for his work as Mnemonic, has already released his fifth opus from his so-called ‘Ambient’ project Architrav. I believe that this latest work goes much further than just Ambient; it is an impressive mixture of influences and styles that ultimately form a fairly compact whole. It is not only Ambient but also Cinematic; but there are also explicit Industrial elements and even a very surprising song that sounds like a mix between Ambient and Gothic. Ultimately, there is also a Neo-Classic touch towards the end. Belletz does not set any boundaries for himself, but experiments wildly. The surprising thing is that it all still sounds good, but is especially fascinating because of countless details and overwhelming arrangements plus spooky vocals. This work sounds like an imaginary Industrial requiem that I can strongly recommend. (Rate:8).

Listen to “Werden Und Vergehen”:

About Architrav

Architrav is the ambient-oriented project of German musician Michael Belletz, who is also known for Mnemonic and Sühne Mensch. Architrav’s albums have appeared on Ant-Zen and Halbsicht Records, including “Panophobie” in 2021 and “Arctic Museum”. “Welk” is Belletz’s fifth album under the Architrav name.

Inferno Sound Diaries

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

www.side-line.com

Out on September 6, is the newest single from the Swedish electro-pop duo Sjöblom, “Dead For Years”. “Dead For Years” is the lead single from their forthcoming album “Dead Of Night”. The single is available for pre-order now, and the upcoming album is set to be released later in the year on COP International.

The single also features two remixes: the “Apparition mix” by Fracture Foyer and the “Rapid Eye Movement mix” by Operation Blue Eyes.

Sjöblom, comprised of Johan Sjöblom Eliot and Robert Eklind, drew inspiration from iconic bands like Depeche Mode and Apoptygma Berzerk for the sound on this new single. “It’s funny how perception works,” says Robert. “I always intended for this track to have a darkwave or even gothic sound, but a friend mentioned it reminded him of Depeche Mode, which is a huge compliment.”

The lyrics are based on a text by Johnny Nattsjö (DJ Batcat). The production was handled by Jon Bordon and Sjöblom at Joniverse Studios.

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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En Esch (KMFDM and PIG) has a new album out on September 27th via GIVE/TAKE. The new release is his first one in eight years, “Dance Hall Putsch”.

The album features fellow KMFDM band members Raymond Watts, Guenter Schulz and Mark Durante, plus Vas Kallas (Hanzel und Gretyl), Mea Fisher and Erica Dilanjian (Lords of Acid), Hope Nicholls (Pigface) and more,.

En Esch says he began work on “Dance Hall Putsch” in the early days of Covid-19: “I was trying to create an upbeat, rather positive and very danceable album to leave the pandemic days behind us. Then it happened that a war began near where I live with tens of thousands of civilians killed and wounded so far. Everyone was caught by surprise and it influenced me, especially lyrically. This current conflict is just 500 miles away from Berlin, and while that does not make it more horrific than other wars, it is very close to home. From living with this ‘war next door,’ the album turned out much more sinister than originally planned. It became a rather political album that reflects on the senselessness and nastiness of all the current wars around us. It’s always the innocent and those who hold no power that suffer the most. Their fate isn’t always death, but many times indescribable and long-term suffering. We must not forget them or turn a blind eye.”

The album will be out on limited translucent Coke bottle clear vinyl, CD and digital.

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 God Is War.) Out now is the newest – and delicious – God Is War single, “Opium Den“. The track is taken off the upcoming “Boogeyman, Inc” LP on Profound Lore Records. Behind God IS War we find the Lebanese American artist Mack Chami who co-wrote “Opium Den” with Crawl Of Time.

Formed in 2018, God Is War focusses on an excellent produced blend between noise and industrial adding extra bass on top. His work has been released on labels such as No Rent, Industrial Coast, Phage Tapes, and Deathbed Tapes. The project really took off in 2022 when both “I Have No Enemies, I Permit No Such Thing” (Federal Prisoner) and “Predation Perfected” (Closed Casket Activities) were released.

You can pre-order the album below.

In 2023, God Is War/Andy Nolan released the collaboration album “The Hunt” (Closed Casket Activities) including more dub and hip-hop influences then on previous releases, including even a full hip-hop track with Toronto-based rapper New Villain.

Below is another album track to check out.

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 latest Seigmen single “(Dyret) 23 bud” was released August 9^th, a week before the band attended the festival Midgardsblot, and had its premiere live performance there on Friday 16th as Seigmen was the final band on the main stage Helheim.

(By our Norwegian correspondent Jan Ronald Stange / Indie Recordings pressrelease. Photos by Einar Låker, Jan Ronald Stange)

“(Dyret) 23 bud» song’s lyrics consist of twenty-three “rules” from Seigmen of 2024, projected back through time towards the young band that just released their debut album «Pluto» in 1992. And to everybody else who needs to hear that you must have faith in yourself, you must believe to make your dreams come true.

With a steady pace of one album each decade since the turn of the millennium, Seigmen released their latest album «Resonans» in May 2024. Then they took us all by surprise by suddenly releasing brand-new single AND announcing a new album to be released next year! And another one in two years!

With this single release they also make a connection back to their first release “Pluto” in April 1992. The band’s symbol and logo, “Dyret” (eng. “The Beast”) among friends, was introduced to the world as it was radiating from the center of the deep, maroon cover. Fast forward to the summer of 2024 where the vibrations from «Resonans» still lingers, the single are the first taste from the bands next album; «Dissonans».

However, there are other and more tangible links to the past. When Seigmen played their first ever concert in their hometown of Tønsberg, they shared the stage with a local band called Floodland. The guitarist and vocalist in Floodland, Espen Winther, would later become a skilled instrument maker and a member of the medieval/folk band Eldrim. Going even further back to Winther’s teenage years we find him playing in a band with Seigmen drummer Noralf Ronthi and his brother younger Dag Reidar. Winther is the one that opens “(Dyret) 23 bud» in a majestic way with his home-made wooden harp called “Gnaal”.

The album trilogy has been the plan all along. Seigmen have made the most out of the last four years, during lockdown and health challenges, resulting in a long and involuntary hiatus from concerts and touring. «Resonans» was the first part of what in time will become a trilogy, consisting of «Resonans», «Dissonans» and «Substans». Three albums in three years, it seems almost surreal when you take the bands last 25 years of release history into account.

«Dissonans» will be the second part of the trilogy and is scheduled to be released on October 23rd 2025 on the 30th anniversary of the major breakthrough album “Metropolis”. The third and last part of the trilogy called “Substans” will follow in 2026 if all goes to plan. Three albums with a common thread running through them, but still three very diverse and different releases.

We managed to have a chat with guitarist Sverre Økshoff when he had a break after the band’s sound check.

Side-Line: What’s the story behind this surprising single release and albums announcement?

Sverre Økshoff: It’s been many simultaneous thoughts and actions these last 7-8 years, wondering if we’re still a band, then came corona and cancellations of shows, Alex’ health issues, so it piled up to a lot of reason for us being somewhat inactive outwards. But, in the meantime we’ve been working, started off with a weekend at an abandoned house on the beach, doing demos, me and Alex sleeping there so we could look after our equipment. First score was for “Arcadia Ego”, worked a lot on that, and got a good feeling that this was something we could have ownership and pride in.

The last years songs and texts keeps pouring out from Kim, and we started discussing if we should release single tracks like so many others, or if we should do something else with 30-something tracks. Or EPs? Or whole albums?  

S-L: A trilogy of albums, was that the idea from the start?

SØ: We had a long time quietly working without involving others, makings songs and having ideas how it should be presented, and it grew upon us that it should end up in a trilogy.

S-L: Must say it’s a clever naming of the albums! And now you have lots to do the next years?

SØ: Yes, Kim’s lyrics give clear lines for the naming of the albums. But if I am to say something about this with my perception and interpretation, it will be that “Resonans” (as already mentioned) resonates a long friendship and brotherhood between us guys. A bit pompous, but it’s a musical pact between us where either everyone is in or no one plays. So if one quits, Seigmen also disbands. “Dissonance” and “Substance” I haven’t quite got into yet. Something happens when the songs are released and played. Content and meaning are also processed. So, feel free to ask me again later.

Now we have a lot to do, we’re playing gigs again and will complete Dissonance in the next few months.

We do small sessions in the studio, during a weekend with a couple of songs at a time. It is new compared to before where we practiced for a long period and went into the studio and made the whole record in 3-4 weeks. Short cuts give the whole thing a slightly more spontaneous feel. Delicious actually.

S-L: Was it because of Midgardsblot you timed the release of the “(Dyret) 23 bud” single to just a week before?

SØ: Well, when seeing forward in time and having an idea about which instruments to use, it all came together as a good fit. And when involving Espen Winther we connected with pre-Seigmen history, Espen playing with Noralf and winning the Norwegian Rock Championship as the band Twilight Zone. Espen have been around the whole time, and now it was a good time for a collaboration with his harp and this festival.

S-L: With one single out there, a couple more are to be released before the next album – any info on them yet?

SØ: No, not decided which ones yet, so they’ll come as more surprises. I also think we’ve taken another steps backwards regarding the next album, and what I can disclose now is that it’ll be insanely fun to play!

S-L: How was this performance for Seigmen?

SØ: It was awesome to see the Vikings rocking in front of us! Very strange that so many people hang in there and were on fire at “Dyret”, a song that few had heard in its entirety! We are also really at home when we play in these areas. We had a fantastic night – thank you from the whole band!

Side-Line also covered seigmen’s ‘Så nært’.

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

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Raymond Watts, better known as PIG, has released a fully remastered version of his iconic 1995 album, “Sinsation“. Out via Metropolis Records (CD, digital) and Armalyte Industries (deluxe 2xLP vinyl), this reissue arrives nearly three decades after the original, just in time to coincide with Watts’ forthcoming North American tour.

“Sinsation” originally hit the scene on Nothing Records, the label spearheaded by Nine Inch Nails’ Trent Reznor. The album emerged shortly after PIG opened for NIN, and as a result PIG found himself labelmates of acts such as Marilyn Manson, Autechre, and Einstürzende Neubauten.

Watts says this about the actual album: “Every record I make is PIG through a different noose, and when I made ‘Sinsation’ the noose hung high. It was born at Ranch Apocalypse in London, a place where creation and cremation coexisted. I was locked inside both the studio and myself, with only [guitarist] Steve White and a large box of drugs for company. ‘Sinsation’ was the sound of the last card turning and burning. The only way out was through. I had to give birth to the noise inside my head and record it.”

The remastering process was an emotional experience for Watts: “I was surprised and saddened to revisit ‘Sinsation’. Surprised by the energy and invention and saddened to hear the pain. But, I was strangely glad to have visited hell, and blessed that I didn’t stay.”

The original ‘Sinsation’ was a collaborative effort, recorded and mixed by PIG and Helen Woodward, featuring contributions from Karl Hyde (Underworld), Jimmy Cauty (The KLF), Steve White (KMFDM), Carol Anne Reynolds (Sow), and Japanese artists Imai Hisashi (Buck Tick) and Hoppy Kamiyama.

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!

side-line.com

Out next week is a revised version of the Stoneburner album “Red In Tooth And Claw”. The record has been polished up with some minor edits, it has been remastered and includes a new song. Behind this industrial music project we find Steven Archer, one-half of the band Ego Likeness, which he co-founded with Donna Lynch. Stoneburner focuses on a blend of tribal rhythms, industrial beats, and dark ambient soundscapes.

“Red In Tooth And Claw” tells the story of The World Wolf, a massive wolf god that guides humanity’s development. Steve explains: “The story begins with the wolf finding his mate dying after drinking from a polluted river. The betrayal enrages him and he turns on our careless civilization, destroying city after city. After multiple months of chaos, he is visited by the spirit of his mate, Cyan, who points out that all of the killing and destruction is not bringing her back and the only way to end his rampage that will help humanity is by allowing them to kill him. He accepts this as his fate but vows to not make it easy for them. He will not go down without a fight. As his blood pours out and his life comes to an end, she visits him again to help him come to terms with the experience. The moment of his death passes but, to his surprise, his spirit continues, just as Cyan’s did.”

This story will also be released as a 200+ page graphic novel via Raw Dog Screaming Press. Written and illustrated by Steven this novel contains over 400 images expounding on “Red In Tooth And Claw” and connecting it to the stories on the 2018 release “Apex Predator”.

Both the book and re-release will be available in August 2024 from Cop International and Raw Dog Screaming Press, respectively.

The first two chapters of the book can be read here. Read the review of ‘Red In Tooth And Claw’.

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

On their second conceptual album “Motorik”, the Swedish minimalistic electro-pop act, ELEKTROKLÄNGE revives the vintage Kraftwerkian “Düsseldorf sound” with their topnotch synth-pop signature style. “Motorik” is a sonic journey inspired by KRAFTWERK’s groundbreaking “Autobahn” album, celebrating its 50th anniversary. Curiosity serves as the compass, and humour as the travel companion, as ELEKTROKLÄNGE explores and enhances the lyrical, musical, and conceptual themes presented in KRAFTWERK’s masterpiece… We hacked ELEKTROKLÄNGE’s “Bordcomputer” to better understand how we should best read/listen to all these tiny well-hidden details…

The release is available as download via Bandcamp and other services plus on CD via the Alfa Matrix webstore.

S. “Motorik” is described as a sonic journey inspired by KRAFTWERK’s “Autobahn” album. What drew you to pay homage to this particular album, and how did it influence the creation of your own conceptual work?

F. “Motorik” is basically a love letter to “Autobahn”, a record that has meant a lot to us. “Autobahn” captured (and still captures) our imagination with its hypnotic rhythms and minimalist aesthetic. The electronic textures, melodic motifs, and thematic depth inspired us to explore similar themes in our own work while also paying homage to the iconic soundscapes and visionary spirit of Kraftwerk.

S. You mention curiosity and humour as key elements of “Motorik.” How do these themes manifest in the album’s lyrics, music, and overall concept?

F. For us, curiosity and humour have served as guiding principles in “Motorik”, shaping the album’s lyrical content, musical compositions and visual presentation. We definitely sprinkle in some lyrical and biographical Easter eggs throughout “Motorik” for attentive listeners. There might be a turn of phrase or a specific sound effect that subtly (and sometimes, perhaps, not so subtly) nods to “Autobahn” and other albums by Kraftwerk. Curiosity and humour add layers of depth and entertainment, encouraging listeners to engage with the music on multiple levels. A little bit like a journey down the autobahn, “Motorik” unfolds with twists and turns, surprises and revelations.

S. The album features tracks with titles like “Abfahrt,” “Bordcomputer,” and “AutoRadio.” Can you elaborate on the narrative or thematic journey these tracks represent as listeners progress through the album?

F. Each track on “Motorik” serves as a chapter in our sonic journey. “Abfahrt” sets the stage for the entire album, acting as the sonic ignition for the journey with its pulsating rhythms and playful melodies, evoking the excitement and anticipation of embarking on a journey. “Bordcomputer” (together with the first track “Vorprogrammierung”) explores the connection between man and machine, echoing the thematic exploration present in much of Kraftwerk’s work. As the album progresses, “Autoradio” introduces upbeat melodies and catchy synth hooks that evoke the sound of classic driving music. Just as drivers tune their car radios to find the perfect soundtrack for their journey, this track perhaps explores the significance of music as a companion on life’s road. Or, the lyrics could just be nods to different song lyrics by Kraftwerk.

S. ELEKTROKLÄNGE is known for reviving the vintage Kraftwerkian “Düsseldorf sound.” How do you balance staying true to this classic style while also incorporating your unique modern twist?

F. You could think of it as an ongoing, and sometimes lively, conversation between the past and the future, where Kraftwerk’s legacy paves the way for Elektroklänge’s sonic exploration. We might reimagine a particular melody, chord progression or rhythmic pattern, but recontextualize it within our own sonic and thematic framework. We believe that our commitment to the “Düsseldorf sound” ensures continuity, while our forays into unexpected sonic territories keep the journey exciting and somewhat relevant. We hope that listeners will appreciate the respectful references and subtle nods to the original while also recognizing the melody-driven retro-future sound that makes “Motorik” distinctly Elektroklänge.

S. “Motorik” aims to envelop listeners like passing landscapes on a journey. Can you describe the creative process behind crafting the repetitive yet evolving motifs and rhythms that define the album?

F. “Autobahn” functions as a cohesive journey and we wanted “Motorik” to achieve a similar effect, but through the lens of Elektroklänge. To achieve this, we developed a narrative arc that explores the themes of “Autobahn” from our perspective. This involved crafting a thematic flow between tracks on the album, ensuring they built upon each other and hopefully offer a fresh interpretation of the original concepts. On a song level, this meant meticulously crafting repetitive motifs and rhythms that would become the building blocks of the album. We built upon these motifs and rhythms, adding layers of texture and variation throughout each track. This involved introducing new sonic elements, such as shimmering synth pads or vintage speech synthesis.

S. With tracks like “Glitzerstrahl” and “Auf der schönen grauen Autobahn,” how do you use musical elements to evoke the imagery and feeling of a car journey?

F. We used a variety of musical elements to evoke the imagery and feeling of a car journey. Both tracks build on a steady, driving beat that creates a sense of forward motion and momentum. We also use different synth textures such as lush, evolving synth pads that represent the vastness of the open road ahead, while arpeggios and simple repeating melodies evoke a sense of hypnotic movement akin to watching the scenery fly by. Perhaps most evident on “Auf der schönen grauen Autobahn”, the compositional structure plays a big part. The track (just like the album itself) is structured to mirror the flow of a car trip by combining faster, more intense sections representing high-speed stretches with sections of a more meditative quality reflecting long stretches of highway.

S. What was the most challenging aspect of creating “Motorik,” and how did you overcome it to ensure the album captured the essence of both ELEKTROKLÄNGE and KRAFTWERK’s influence?

F. We hold immense respect for Kraftwerk’s pioneering work and their influence is undeniable in our music. The most challenging aspect was creating an album that paid tribute while retaining Elektroklänge’s distinct sonic identity. We tried to overcome this by focusing on reinterpreting, not replicating. We meticulously programmed sounds and textures that resonated with “Autobahn’s” core aesthetic while adding different layers that reflected our signature style. This involved a lot of experimentation and refinement to ensure each element served the music without cluttering the sonic space. We used “Autobahn” as a sort of blueprint, employing its themes and motifs to craft new compositions that reflect our own musical perspective. In that sense “Motorik” is a tribute to the past, reimagined for the present.

S. As you celebrate the 50th anniversary of “Autobahn,” what do you hope listeners take away from “Motorik,” and how do you want it to impact their perception of electro-pop and its roots?

F. We haven’t given much consideration to that question. But ultimately, “Motorik” isn’t just an homage; it’s an invitation. We invite listeners to explore the roots of what you call electro-pop and appreciate the enduring influence of these musical pioneers. We hope “Motorik” inspires a renewed appreciation for the power of minimalism and experimentation. We also want listeners to rediscover the potential of the concept album format, where music and ideas intertwine to create a more cohesive experience.

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

Maurizio Landini (Onasander), Peter Verwimp (Ashtoreth), and Abby Helasdottir (Gydja) have joined forces for an international collaboration inspired by the philosophies of Rudolf Steiner. “Animic Atmospheres” comprises eight tracks drenched in dark, haunting soundscapes that evoke a sense of foreboding and the uncanny. The music is a meticulous blend of electronic and acoustic elements, creating a deeply textured and detailed listening experience. The album’s first half is particularly mesmerizing, though the latter tracks don’t quite reach the same heights. Nonetheless, this collaboration stands as a powerful and immersive work. (Rating:8½0)

Listen to “The Mystery Of Golgotha”:

About Onasander, Ashtoreth & Gydja

Onasander is the alias of Italian artist Maurizio Landini, known for a prolific string of collaborative albums with artists including Kloob, Ajna, Empusae, Alphaxone, and Nimh, alongside solo work such as “Dawn Metrics” on Winter-Light. Ashtoreth is the alias of Belgian artist Peter Verwimp, who has also collaborated with Nicolas Van Meirhaeghe (Empusae), recording as Penumbral Aethyr, on the album “Naiad”, also released on Winter-Light. Gydja is the project of Abby Helasdottir.

“Animic Atmospheres” brings the three artists together for the first time, continuing Winter-Light’s run of collaborative Dark-Ambient and Cinematic releases.

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

LA music acts Love Ghost and Skold sign to Metropolis Records for their debut album. A lead single, “Nightshade and Cocaine”, will be out August 28. The full album will be out November 22.

2023 already brought the debut single from Love Ghost’s collaboration with Tim Skold (SKOLD, Shotgun Messiah, KMFDM, Marilyn Manson, Motionless in White), “Payback”.

“Metropolis Records is proud to announce the debut collaborative album from Love Ghost and Tim Skold. Metropolis has had a long-standing relationship with Tim Skold, and it has always been a pleasure to work with this very talented person. When Tim brought this project to us, there was no doubt in our mind that we wanted to take it on. This is our first time working with Love Ghost. In welcoming him to the Metropolis family, he has been nothing but an absolute joy to work with,” says Nina Heckman of Metropolis Records.

Love Ghost front woman Finnegan Bell says this about the collaboration: “I met Tim Skold and his wife Erin on Halloween night at the Viper Room in Los Angeles. I was a massive fan of Skold, and I was surprised to see him there. I asked him if I could take a picture with him and was very excited when he said yes. To my surprise, Erin and him reached out about the possibility of us making music together. I was ecstatic about the opportunity. We have an electric synergy together, and Skold’s wisdom and creativity really pushed me to my fullest artistic potential. Creating the album with Skold, was a unique and magical experience.”

Tim Skold adds, “I still remember meeting Finn the first time because of his almost electric energy but it was my wife Erin’s idea that he and I should make music together. I have worked with many different artists by now but this one is still a unique and refreshing experience. We came together with a special chemistry and I really feel that it is well represented in the music. The first single ‘Nightshade and Cocaine’ shows off an almost schizophrenic diversity that is a thread for the entire album.”

You can pre-order the new single on 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!

side-line.com

The Belgian Metroland has been highly active in recent years. Their latest album -“Forum,” directly inspired by the economic forum in Davos, delivers a fresh dose of Robotic/Kraftwerkian-Electro. This album was preceded by the “Industry” EP, a song which offers different versions depending on the format (digital or CD). The other tracks remain the same, showcasing a rich and sometimes complex sound. Ranging from Experimental to Kraftwerk-Pop, this new work has much to offer, including a few standout tracks towards the end of the album. Metroland stays true to its signature sound and influences while embracing unexpected concepts. The Belgian duo continues to be a leading force in Electro-Pop, though they no longer surprise me as much as they did in their early years. (Rate:8).

Listen to “World Economic forum”:

Read the news on ‘Forum’.

About Metroland

Metroland is a Belgian electro-pop duo on Alfa Matrix, working in a Kraftwerk-influenced robotic electro style. The duo released the album “Forum,” inspired by the Davos economic forum, in 2024, and discussed their approach in a Side-Line interview that July, where they described every new release as “a fresh new audio canvas.” Metroland followed “Forum” with the second EP in a four-part series, “Cooperation,” in September 2024, the single “Activity” in February 2025, and the digital EP “Reset” in June 2025, which concluded the “Forum” cycle.

Inferno Sound Diaries

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

www.side-line.com

(Photo by Fabio Calabretta) On September 13th, the Barcelona-based, post-industrial duo Dame Area will release their fourth studio album, “Toda la verdad sobre Dame Area” (“The Whole Truth about Dame Area”), a collaboration with the labels Mannequin Records and Humo Internacional.

The album serves as a companion piece to 2022’s “Toda la mentira sobre Dame Area” (“All The Lies About Dame Area” – Màgia Roja and B.F.E Records), which had a stronger focus on melody, while this latest record is more aggressive and industrial-influenced, with a greater emphasis on percussion.

Here’s already a new track, “Si No Es Hoy Cuándo Es“.

Formed in 2017 within the underground scene of Barcelona’s Màgia Roja club, Dame Area comprises the Italian-Catalan duo Silvia Konstance and Viktor Lux Crux. They fuse industrial-tribal polyrhythms with minimalist synth basslines, drawing inspiration from avant-garde masters such as Esplendor Geometrico, Throbbing Gristle, Suicide, Einstürzende Neubauten, Can, Coil, Swans, Big Black, and Wolf Eyes. Dame Area released their debut album “Centro di Gravità” in 2018 on Màgia Roja and B.F.E Records. This was followed by “Ondas Tribales” in 2021, released on the Berlin-based label Mannequin Records.

Dame Area Tour Dates

• 09/08/2024 – WINCHESTER (GB) Three Wheel Drive Festival
• 10/08/2024 – CASTELBUONO (IT) Ypsigrock Festival
• 16/08/2024 – ALVESTA (SE) Kalabalik på Tyrolen Festival
• 17/08/2024 – SAINT-MALO (FR) La Route Du Rock
• 23/08/2024 – TORREMOLINOS Canela Fest.
• 24/08/2024 – LEIRIA (PT) Extramuralhas
• 30/08/2024 – BIRMINGHAM (GB) Supersonic Festival
• 14/09/2024 – LEFFINGE (BE) Leffingeleuren Festival
• 19/09/2024 – MEXICO (MX) 316
• 20/09/2024 – SAN JOSE (CR) Edificio Steinvorth
• 21/09/2024 – BOGOTA (CO) Asilo
• 27/09/2024 – SANTIAGO (CL) TBA
• 28/09/2024 – SAO PAULO (BR) Club Madame
• 03/10/2024 – MUNICH (DE) Rote Sonne
• 04/10/2024 – BERLIN (DE) Neue Zukunft
• 05/10/2024 – HAMBURG (DE) MS Stubnitz
• 11/10/2024 – PARIS (FR) Petit Bain (Gonzaï Night)
• 12/10/2024 – AURAY (FR) Les Nuits Soniques
• 18/10/2024 – MADRID (ES) TBA
• 19/10/2024 – VITORIA (ES) TBA
• 24/10/2024 – BRUXELLES (BE) Beursschouwburg
• 25/10/2024 – CHARLEROI (BE) Le Vecteur
• 26/10/2024 – INNSBRUCK (AT) Positive Futures Festival
• 31/10/2024 – LUZERN (CH) TBA
• 01/11/2024 – LAUSANNE (CH) Le Romandie : Le Bourg
• 02/11/2024 – LONDON (GB) The Lexington
• 05/11/2024 – BRIGHTON (GB) The Hope and Ruin
• 06/11/2024 – LEEDS (GB) Headrow House
• 08/11/2024 – BRISTOL (GB) Strange Brew
• 09/11/2024 – COURTRAI (BE) Sonic City Festival
• 10/11/2024 – POITIERS (FR) Salons de Blossac – Groweekend
• 15/11/2024 – ARLES (FR) Cargo de nuit
• 23/11/2024 – LEEUWARDEN (NL) Explore The North
• 29/11/2024 – LORIENT (FR) Hydrophone – Soirée LFSM
• 30/11/2024 – SAINT-BRIEUC (FR) Pavillons des expositions Temporaires
• 01/12/2024 – ANGERS (FR) Joker’s Pub
• 14/12/2024 – MILANO (IT) Arci Bellezza

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

London Records has released the Superchumbo remix of the Bronski Beat hit “Why” featuring Pet Shop Boys frontman Neil Tennant. This is the third remix from the upcoming 40th-anniversary deluxe reissue of Bronski Beat’s 1984 album “The Age Of Consent”, out October 18th. It follows reworks of the classic queer anthem “Smalltown Boy” by producers Absolute and Planningtorock.

The song, originally recorded at RPM Studio in New York City and mixed at Townhouse Studios in London, features lyrics that focus centrally on anti-gay prejudice. The song was written for Martin, a friend of the Bronskis who was hounded out of the country by his boyfriend’s irate and violent parents. You could say it was a sequel to their debut single “Smalltown Boy”, continuing the tale of a young gay man suffering humiliation and animosity as he tries to live his life.

The song opens with a questioning vocal by Bronski Beat frontman Jimmy Somerville and the sound of shattering glass. It was the trio’s second Top 10 success in the UK, throughout Europe, and in Australia, and is considered a popular gay anthem today.

The drawing for the original single cover, depicting a man with his head in his hands, was created by Glasgow artist Robert McAulay, who was associated with the band at the time.

Here’s what Jimmy Sommerville says about the collaboration with Tom Stephan (aka Superchumbo) on this new mix: ”I’ve known Tom for a good few years now and when I asked him if he’d like to do a remix of ‘Why?’ he said yes straight away. The song is a part of his story. I was so moved when he shared that story with me. The lyric is our shared experience as it is for so many others…and forty years later the lyric still tells the story of LGBTQi+….the hate, the violence, the discrimination, the imprisonment and state sanctioned murder of those who dare to be their true selves and it’s happening somewhere right now as I write this.”

Speaking on the rework, Tom explains: “My goal was to create an updated mix that fits well with contemporary sounds while preserving the original intensity and energy. After I submitted the mix, Jimmy asked me if I could include a few more lyrics from the original song. I had recently watched a Pet Shop Boys documentary where Neil Tennant read some of his lyrics, which moved me to tears,” he continues. “I imagined Neil speaking these lyrics, creating a powerful contrast. I left Neil a voicemail on my way to a gig abroad and by the time I reached Heathrow I had his vocals on my phone, added them to the track on my flight, and played it that night! It is a great honour to work on this iconic song with two legends who were lifelines to me while growing up gay in a small town.”

“I was fucking whooping like a banshee round my kitchen when Tom told me Neil would like to contribute! ” adds Jimmy. “To speak the lyrics of ‘Why?’ and to hear Tom’s musical reworking of the track is fucking mind-blowing. So to hear Neil, one of our greatest pop lyricists, speaking my words… It brings it into the here and now and also retains its history with my original vocal. I genuinely felt moved.”

4CD+DVD deluxe set tracklisting

The 40th-anniversary reissue of “The Age of Consent” will be available in a variety of physical and digital formats, including a 5-disc deluxe edition (4CD+DVD): featuring 4 essays by Tom Rasmussen, Lesley Chow, Lucy Robinson, and Barney Ashton-Bullock, the original album, bonus tracks, remixes, rarities, early versions, and rare radio sessions. Its DVD comes with restored promo videos, Top of the Pops performances, and original TV adverts.

Other formats include 2CD with new reworks, 2LP (with “The Age of Consent” and its neighbouring remix album “Hundreds & Thousands”), a yellow 1LP edition (Lexer Music Exclusive), and a super deluxe edition exclusive Blu Ray edition featuring “The Age of Consent” and “Hundreds & Thousands” in Dolby Atmos & 5.1 mixes.

Disc One

The Age Of Consent – The Album Plus

1. Why?
2. It Ain’t Necessarily So
3. Screaming
4. No More War
5. Love And & Money
6. Smalltown Boy
7. Heatwave
8. Junk
9. Need A Man Blues
10. I Feel Love / Johnny Remember Me
11. Smalltown Boy (Dj 7” Edit) – Bonus Track
12. Why? (Remix) – Bonus Track
13. It Ain’t Necessarily So (7” Version) – Bonus Track
14. I Feel Love (7” Version) With Marc Almond – Bonus Track
15. Run From Love (Radio Version) – Bonus Track
16. Hard Rain (Nme 7” Version) – Bonus Track

Disc Two

Hundreds & Thousands – The Remix Plus

1. Heatwave (Harvey Goldberg Remix)
2. Why (Harvey Goldberg Remix)
3. Run From Love (Dominic Maita Remix)
4. Hard Rain (Harvey Goldberg Remix)
5. Smalltown Boy (Harvey Goldberg Remix)
6. Junk (Harvey Goldberg Remix)
7. Love And Money (Hundreds & Thousands Remix) * – Bonus Track
8. Infatuation / Memories – Bonus Track
9. Close To The Edge – Bonus Track
10. I Feel Love (Cake Mix) With Marc Almond – Bonus Track
11. Cadillac Car (Extended) – Bonus Track

Disc Three

Consent Extended – The 12 Inches Plus

1. Smalltown Boy (12” Version)
2. Why? (12” Version)
3. It Ain’t Necessarily So (12” Version)
4. I Feel Love (12” Version) With Marc Almond
5. Run From Love (Us Club Remix ‘85) *
6. Smalltown Boy (Us Club Remix ‘84) *
7. Red Dance
8. The Potato Fields
9. Puit D’amour
10. Signs (And Wonders)
11. I Feel Love (Fruit Mix)

Disc Four

Ignore At Your Peril – The Rarities Plus

1. Smalltown Boy (Capital Radio Session, May ‘84) *
2. Heatwave (Capital Radio Session, May ‘84) *
3. Hard Rain (Capital Radio Session, May ‘84 )*
4. Why? (Early Version, March ‘84) *
5. Crazy Maraquitta (Studio Session) *
6. It Ain’t Necessarily So (Early Version) *
7. Upside Down (Studio Session) *
8. Screaming (Early Version, March ‘84) *
9. The Power Of The Gold (Studio Session) *
10. Love And Money (Early Version) *
11. First Church (Feel Love) (Studio Session) *
12. Junk (Early Version 2) *
13. Walking (Studio Session) *
14. No More War (Early Version) *
15. Go (You & Me) (Studio Session) *
16. Close To The Edge (Early Alternate Extended Mix) *
17. Heatwave (Early Version) *
18. The Other Side Of The Tracks (Studio Session) *
19. Smalltown Boy (Early Version, March ‘84) *

Disc Five

The First Chapter – The Videos Plus [Dvd]

1. Official Music Videos
2. Smalltown Boy (Restored Promo)
3. Why? (Restored Promo)
4. It Ain’t Necessarily So (Restored Promo)
5. I Feel Love (Restored Promo) With Marc Almond
6. Top Of The Pops Performances
7. Smalltown Boy (Bbc ‘Top Of The Pops’, June ‘84)
8. Why? (Bbc ‘Top Of The Pops’, September ‘84)
9. It Ain’t Necessarily So (Bbc ‘Top Of The Pops’, December ‘84)
10. I Feel Love (Bbc ‘Top Of The Pops’, April ‘85) With Marc Almond
11. Original Tv Adverts
12. The Age Of Consent – Tv Advert #1 (December ‘84) *
13. The Age Of Consent – Tv Advert #2 (January ‘85) *

* Previously Unreleased

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

Data Void emerged from the collaborative efforts of Don Gordon (Numb, Halo_Gen) and James Mendez (Jihad ao). This year, they released their debut album, “Strategies Of Dissent,” on Metropolis Records. The songs feature a Dark-Electro and EBM sound, yet there’s an overwhelming Cinematic vibe running through the work. It is a remarkable opus, and I had the opportunity to connect with Don and James, who revealed many details about their work and album. (Courtesy by Inferno Sound Diaries)

Q: The two of you have been in the music industry for a long time, but what has brought you together, and what has led to the origins of Data Void?”?

JM: The very beginnings of the project initially began back in June of 2020, where I initiated the idea of collaborating on a song to see how things would progress. In response, Don shared some early ideas that which evolved into the track “Seven Seconds”. The idea of collaborating on music together was something that came up after many different discussions we had (both music / non-music related) throughout the approximate year and half we remained in contact since meeting up in Southeast Asia where I met Don for dinner in Ho Chi Minh City where he was living at that time. From there, it wasn’t something we both knew we were going to pursue and continued working on more ideas/material which sort of played out organically throughout the entire process up to what you hear on the finished album.

DG: While there wasn’t an initial plan to release anything we realized quite quickly that there was something quite unique coming together out of the experiments. This led to discussion about possibly releasing some of the material as an EP which over time expanded into an album. The conceptual framework for the album emerged after the first couple of songs were finished. The name of the project was suggested by the alignment between themes we were exploring lyrically and articles that I was reading concerned with information data voids and misinformation/propaganda.

Q: I can imagine that such a new project must be very exciting. Did it feel that way for you throughout the entire writing and production process? How did the songs on the album come together?

DG: The album was developed through the online exchange of audio and MIDI files and lots of discussion. This meant that there wasn’t a lot of real-time interaction during the writing phase. The process would start with one of us sending a sketch of a groove or harmonic progression to the other person who would use this as a creative jumping off point. The first couple of exchanges usually led to quite marked departures and evolutions from the original source idea. This iterative back and forth allowed for unexpected ideas to be introduced and a more reflective approach to development of ideas. After structuring the primary instrumental components of a song, I would write lyrics and record a version of the vocals. These were forwarded to James who would then record an alternate variation. The most interesting elements from these different versions were then used as the basis for a song’s vocals. This resulted in some songs in which the main vocal part would alternate between James and myself in the verses and chorus (i.e. “Crash, Burn & Resurrect”), other songs where both vocal approaches were integrated throughout, and in some there would only be a single vocalist (i.e. “A Failure Of Language”, “This Night Goes On Forever”). While I executed the final mixes, these too would undergo revision based on discussion.

JM: I was really exciting to see how the ideas we started out with would evolve as they developed into full-length songs, and in turn how this would lead to a complete album. It was quite interesting to see how we both approached the song writing process, along with all technical aspects (i.e., sounds, textures, percussion, mixing elements, etc.).

Regarding how the songs came about on the album; one of us would start out by sending the other a short clip (~45s – 1m) that would entail several different sequences  that represented the beginnings of an idea where the other would then add additional parts to compliment where the other left off. Going back and forth in this fashion until we completed the outline of what felt like the song should be. We would complete a rough draft of each song and then repeat the process again, starting out with more ideas until we eventually completed the next song and so on. As we continued working on each song, we would also discuss all of the details via email, chats, and video calls when things became a bit more complex, as this would save a lot of time in conveying our thought process.

We both use different DAWs (Logic Pro and Ableton Live) when writing music but also use several of the same virtual instruments / effects which helped make things a little easier when sharing files back and forth. We would share a combination of audio files, MIDI, VST patches, screenshots, configuration files, etc. so we could essentially mirror all of the individual sequenced tracks and song structures on both of our DAWs respectively as we continued to complete each song.

After we finished each song, Don would write lyrics and share them along with a rough sketch as to how they may be structured. The vocal structure would also undergo the same iterative approach going back and forth until we were content with the final outcome. After finishing three songs, we both reevaluated what we were going to do as far as a release was concerned and decided to continue working on more music until we felt we had enough songs to complete an entire album.

Q: The title of the album, “Strategies Of Dissent”, sounds intriguing and particularly relevant in the context of world politics. What is the album all about, and what inspired the lyrics?

DG: Lyrically and conceptually the album explores the themes of power, control and resistance to it, and the attraction for many to ‘lost causes’. Each song takes a different perspective, a different strategy if you will, to engaging with these themes. Not surprisingly, information spaces, misinformation, conspiracies, and technology figure into this with most of the songs having their basis in contemporary events and social/political currents. That being said, the lyrics were constructed so as not to come across as didactic, but instead to present these ideas at a more personal level.

“Nothing Changes” is intended as a ‘call to arms’ in response to the deception and erosion of individual control being exercised by big tech, corporations/banks and governments. The dilemma is that this is not some unified grand conspiracy but rather the outcome of a number of overlapping and competing self-motivated agendas.
“A Failure Of Language” and to a degree “What’s Left Unsaid” question the current collapse of language, the appeal of conspiracy theories and skepticism, and the increasing failure of our ability to communicate meaningfully and where this leads. A new Babel?

“Echoes Of Ritualised Performance”, while an instrumental track, was inspired by our need to repeat inherently negative social behaviors/tropes of the past and a seeming inability to learn from these… each echo a further degraded/distorted version of an initializing event from the past.

“This Night Goes On Forever” was conceived of as a reflection on the individual consequences for those who found themselves supporting and surviving a major conflict started for the wrong reasons, and the resultant aftermath of physical, psychological traumas and guilt that extend far past the event.

The 2020 Hong Kong protests and the 2021 coup in Myanmar resonated strongly with me after having lived in Southeast Asia for 20 years. So “Alien” was inspired by photos, reportage and interviews about these events and was an attempt to try and put yourself into the head of a person who has found their world suddenly and radically changed and themselves unexpectedly at the center of violence and/or as a symbol of resistance.
“The Goal Of Seven Seconds” was to evoke an anthemic quality while presenting a scathing critique of those who ‘sell dogma and deceit’ in order to incite an ill-conceived end of days for their own personal gain.

The tracks “Crash, Burn And Resurrect” and “Control” were written as a comment on the rise of extremist rhetoric and behavior.

Q: You’ve explained how this collaboration took shape, but can you tell us more about the chemistry between you?

DG: My sense is that the chemistry comes from our overlapping but distinct musical reference points and different approaches to our creative processes. It was the embrace of these differences that provided the creative dynamic that led to many of the interesting ideas as we developed over album.

JM: It was quite interesting for me to reconnect with Don 22 years after first meeting him in 1996 Austin, TX when Numb was on tour with FLA and Die Krupps. It became clear that we share some common perspectives and ideas about different things, which also happens to carry over into music. And because of our similar yet different musical preferences and approaches in our writing styles, this played a significant part into how the album turned out. As part of the musical journey when collaborating on the album, one thing I can appreciate is being challenged in a way that I would constantly be conscious of the writing style and mood I would contribute, to deliberately not write in the same fashion I am typically accustomed to and comfortable with. It certainly helped me take a different approach to writing for this project and in general.

Q: “As experienced musicians, do you still have certain influences or references when making and finishing a song? Also, how would you describe the album “Strategies Of Dissent”?

DG: In many ways you never outgrow your early influences as they are a baseline to which you add, refine and push-back against over the years. While I’m always listening to new artists and across genres, I find those early influences still subtly find their way into my more recent work.

“Strategies Of Dissent” is an album in the ‘old-school’ sense, a series of thematically connected songs that have been ordered in a manner so as to present the listener with a loosely structured narrative rather than just a collection of songs. I feel this provides a more interesting experience for the listener and allows them to get a better sense of where the project is coming from.

JM: Having been exposed to so many different kinds of music styles, genres, and artists over the years (to include the discovery of new bands regularly), there are many references I feel that have made their way (subconsciously) into music I’ve written years ago including some of the more recent work I’ve done. I think it’s inevitable.

With “Strategies Of Dissent” we set out to capture the intensity of early Electro-Industrial and integrate this into more contemporary Electronic music sound. The album as a whole, in my opinion, is homogeneous in that each song works well independently and thematically throughout the entire album.

Q: What does the future hold after this album? Do you have any concrete plans at the moment?

DG: We’ve been thinking about a follow-up release (EP?) with a combination of new material and dub versions of some tracks from “Strategies Of Dissent”. We’re also exploring the possibility for a version of Data Void to do some live European shows.

JM: We have discussed in passing the idea of working on some new material, whether that would be a new single/EP or possibly a new album at some point to also include some alternate versions of existing tracks. We’re also considering live alternate versions of the songs for some shows in Europe later this year and next.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bernard - Side-Line Staff

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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Police Des Mœurs is a Canadian band known for its Electro-Wave and Minimal-Electro music. Formed in the early 2010s, they have released several notable works. The current line-up features core member Francis Dugas and Manuelle Gauthier. Their latest album, “Commencement,” is an outstanding piece of music that creates an imaginative sonic bridge between classic 80s elements and a more personal touch, highlighted by French female vocals. (Courtesy by Inferno Sound Diaries)

Q: First things first; tell us a bit more about the way your duo saw the daylight and what was the initial plan referring to music, sound and inspiration?

FD: Well, it did not start as a duo with Manuelle. Police Des Moeurs released records and played shows before she joined in 2016 (?). Then I met her, and we were lovers for a few years before she joined. When she joined, we were first a trio, and now we are a duo. So it’s quite a complex evolution. I would say at first, I really wanted to have that typical minimal synth sound, but as I am into so many different styles on music, I soon wanted to take it further and incorporate other influences such as Punk, Techno or Psychedelic. When Manu came in, it was an opportunity to continue to expand the sound by using her input into composing and producing. 

MG: I refused a few times to join the band because at first, I didn’t really like the idea of being the ‘leader’s girlfriend’ (I don’t like opportunism, and I told myself that if I wanted to make music, I had to take my own initiatives). Also, being rather introverted, I was afraid to play live. Finally, I accepted and everything went well. Then, it was impossible for me to just play someone else’s tracks, so I started composing. In conclusion, I am very grateful to Francis because his invitation allowed me to do one of the things I love most, with my favorite person: him. If I had known, I would have started much sooner.

Q: You previously released four albums on Mannequin Records so how does the new opus “Commencement” differ from your previous works in terms of composition & production and lyrical themes?

FD: I don’t really see a rupture, just an evolution. In some ways, each record is a step away from the previous one. Having Manu take more place just accentuate this impression. Even though she has been involved in the last 3 LPs, this is probably the one with the most input from her.

MG: For me, “Commencement” is a logical continuation of “Péril”, because it was composed in the same breath, the same movement and therefore, very quickly after “Péril”, even if we took a little longer to release it, because of the attention we paid to the mix. 

Q: What inspired you in the writing of “Commencement” and can you tell us a bit more about the global production process of the album? Who’s responsible for what in the entire process?

FD: It depends on the song. Some songs were done entirely by Manuelle, and some were mostly produced by me. Manu did all the vocals, lyrics, and record cover and almost all the mixing. As for me specifically, I just start from scratch, try to build loops that makes sense and continue to build them into a coherent whole. I don’t have precise inspiration or goal when I start a song. And if I do, it usually change during the process, as the song leads me elsewhere. So you have to let the music show you where to go and not be too rigid about what you’re trying to achieve. 

MG: As Francis states, each one initiated certain tracks. In addition to the lyrics and the vocals (that I record myself, in our basement), I added melodic elements and arrangements on all songs. Otherwise I’m always impatient to hear Francis’ proposals because they always contain an element that quickly inspires me a melody, a narrative, or a global mood (arrangements).  At that moment, I listen his proposition in a loop, as if to enter a trance and find the contribution that could honor his work. For example, “Reprendre”, “Soif” and “Fatigue” immediately inspired me to create complementary melodies (and from this moment, I am very excited to get to work).

Q: What have been the main challenges and eventually difficulties you faced while composing this album? And what are the main points of satisfaction?

FD: I’m under the impression it took us ages to finish it, I don’t know why. It was quite hard to do. So there was some frustration with that, I guess. It’s also not always clear who does what on some song, so we have to draw a line, which ain’t always easy. On the other hand, the result is interesting and surprising. It’s a bit too diverse and unfocused, maybe, but on the other hand, ironically, it’s probably what I like the most about the record.

MG : I mixed the whole album (after Francis made a first mix on his own parts), which for me was laborious, since I’m self-taught and we weren’t very well equipped (I worked without a sub monitor, which I wouldn’t do again). It’s easy for me to get obsessed with details (which sometimes annoys Francis, he he), and I don’t always have the technical knowledge to achieve the ideal I aspire to, so the mixing stage can get painful at times. 

The satisfying point is that I learned a lot by trying to mix this album and at the end, I’m pretty happy with the result (except for a detail or two but it’s good for a first job).

Q: You sound has this retro-like feeling getting me back to the 80s. What does this era and the 80s music mean to you and how do you transpose these -and other influences, into your work?

FD: I’m a kid of the 80’s, so sure, there is some retro aspect, but it is also a part of who I am in the present. It feels natural. It wasn’t a conscious choice to go ‘retro’, it just what came easily. That said, we really want to push this further. We don’t want to be prisoners of a sound that was popular decades ago. I’m definitely not a purist on that aspect and Manu ain’t either. You have to play the music that is living inside of you, whatever that is. It needs to be incarnated and seems vital  and obvious to you. It’s the same, whether your music sounds like 40’s big band Jazz or ultra-Avant-Garde forward thinking Electronic music. It has to come from the heart.  

MG: Strangely, I don’t really perceive it as an 80’s sounding album (Am I in denial? Ha ha). One thing is certain, it’s absolutely not intentional. Personally, I choose synth patches according to their frequency or emotional evocation: so that the sounds best serve the track or best match the other elements or frequencies contained in the track. Just like Francis, I listen to many styles, from several decades. Very current stuff too. I’m not nostalgic for a musical era and I don’t idealize an era either.

Q: Do you have any plans for live shows and eventually a tour to promote “Commencement” and especially in Europe? And what else can we expect from Police Des Moeurs?

FD: We don’t play live at all these days. We haven’t played since fall 2019. I guess one day, we’ll go back on stage. So to answer your question, nothing is scheduled right now, even though we have offers once in a while, so who knows. 

Recording wise, we are planning some sort of special project, but I can’t tell you more about it for now. 

MG: We’ve received several offers since the pandemic (in America and Europe) but we’ve turned them all down for the moment, because we were running out of time and weren’t ready to go back on stage. Promotion is not something we really invest in. We have neither the time or the interest to ‘sell’ ourselves. But we are very touched when fans or ‘cultural agents’ approach us to talk about our work or to share about it. We are very honored that our music travels to many continents (and this, despite the fact that our lyrics are in French).

About present and future; we’re currently working on an EP that will be released on a Punk label.

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 visual is AI generated) In July 2024, German composer, musician and producer of electronic music Uwe H. Schmidt (aka Lassigue Bendthaus, Atom™, Atom Heart, or Señor Coconut) headlined the Russian Outline festival, which returned after its last edition in 2016, and this amid the ongoing conflict with Ukraine.

Run by the team behind Moscow club Mutabor, the house, techno and experimental festival took place last week (18-24 July) in Taldom, a small town on the outskirts of the capital. Playing were international acts like Atom™, Margaret Dygas and Le Syndicat Electronique who joined local DJs and live acts including Tim Aminov, Denis Kaznacheev and Sofia Rodina.

Present at the festival also was a military recruitment tent and vehicles marked with the letter “Z”, symbols associated with the Russian military effort against Ukraine.

Moscow region July 2023. Outline festival. I pointed out that u should remember those artists in the lineup. Can we tell now that they are officially support genocide of Ukrainians and act as an entertainment at the points of recruiting (mobilization) of russians for the war? pic.twitter.com/gxi5G6SgJf

— Maya Baklanova (@mayabaklanova) July 7, 2023

It didn’t take long before critics, such as Ukrainian activist Maya Baklanova, said that Western artists performing in Russia were normalizing the war and supporting the Russian regime by their participation.

Schmidt responded to the criticism by calling it a “smear campaign” against him. He defended his performance, implying that the accusations were unfounded and intended to damage his reputation. And he added: “It is also painful that at this point in my career I have, for the first time, to make a non-musical public statement of that sort, yet it seems that times require this to be done. (…) I consider myself a profoundly non- or rather trans-political person. Many years ago I had decided to take the path of making true human bonds through music. Unlike politics, which is the mode of separation, I had chosen music, which is the mode of connection.”

Surprisingly Schmidt’s recent performance in Russia was backed by an official support letter, issued by the German Embassy in St. Petersburg.

Liebe deutsche Techno-Community, um @Atom_TM_news, liebes deutsches Generalkonsulat in Sankt Petersburg @germania_online, habt ihr sie noch alle? Im kriegführenden russland die kriegsbejahende Masse mit deutschen Techno-Acts belohnen und damit diesen Terrorstaat normalisieren? pic.twitter.com/8BdGFjA7z8

— Ukrainki_UA (@Ukrainki_UA) July 28, 2024

This letter was accompanied by a meeting with the general consul Mr. Schimandl of which an official post was made on VK by the German Embassy itself. We took a screenshot of said post below.

Criticism continues as for instance even Russian techno producer Pavel Milyakov (aka Buttechno) accused the artists at the festival of attracting people to a war effort, stating that their performances indirectly supported the military budget used for the invasion of Ukraine.

Und wie wird sich versucht rauszureden? @Atom_TM_news will Verbindungen schaffen. Ich bezweifle, dass auf dem Festival Ukrainer sind. Zwischen wem werden also diese Verbindungen geschaffen? Zahlenden Kunden und einem deutschen DJ…? pic.twitter.com/9rfXdDRLaC

— Ukrainki_UA (@Ukrainki_UA) July 28, 2024

His official statements contains some disturbing clues, such as, “this link may be blocked in your free, democratic country,” “this situation, the one of being forced into political obedience,” and “(it) has poisoned music and other arts as it enslaves them to ideology.” He seems to suggest that condemning Russian aggression equates to political obedience.

And that is when, regrettably, we recognize a kind of responses that are typical among artists who support Russia, like for instance Simone Salvatori (Spiritual Front). It’s clear now that Uwe H. Schmidt decided to follow the Russian propaganda narrative instead of using is name and fame to condemn the Russian invasion. His defensive line as if music should be non-political is hereby completely destroyed. Rumor has it also that the DJs playing at the fest received exceptionally high fees.

Sad to see this happening from an artist we used to admire. Not anymore after this.

About Uwe H. Schmidt

Uwe H. Schmidt, born on August 27, 1968, in Frankfurt, Germany, began his musical journey in the early 1980s. Initially playing drums, he soon transitioned to programming a drum computer inspired by the sounds of the Linn Drum. In 1986, Schmidt co-founded the cassette label N.G. Medien, releasing works by international artists, including Frontline Assembly, and his own project Lassigue Bendthaus with “The Engineer’s Love”. His first official Lassigue Bendthaus album, “Matter”, was recorded over four years and released in 1991, establishing his early career.

Living in Frankfurt, Schmidt was influenced by the burgeoning house and acid house scenes. He adopted the alias Atom Heart and released several dance-oriented 12-inch vinyl records under various project names. In 1992, he produced tracks for DJs Pascal F.E.O.S., Ata, and Heiko M/S/O, contributing to the early trance movement. Collaborations with Tetsu Inoue led to the formation of the Datacide project in 1993. Despite challenges with record labels, Schmidt continued to innovate, founding his own label, Rather Interesting, in 1994 to explore diverse musical ideas.

In the mid-1990s, Schmidt collaborated with artists like Bill Laswell and Haruomi Hosono, producing albums under multiple aliases. He met Chilean musician Dandy Jack, and in 1997, they relocated to Santiago, Chile, where Schmidt completed the first Señor Coconut album, “El Gran Baile”. This period marked the creation of his “electrolatino” style, blending traditional Latin music with electronic elements. He continued to release a monthly album on Rather Interesting.

Schmidt’s last Lassigue Bendthaus album, “Pop Artificielle”, released in 1999 under the name LB included electronic cover versions of famous pop songs. His next major project, “El Baile Alemán” by Señor Coconut, featured cha-cha-cha versions of Kraftwerk songs and received approval from Kraftwerk themselves. The album’s success led to international tours, including Europe and an intended U.S. tour. During this time, Schmidt also released innovative works like Geeez ‘n’ Gosh and collaborated with Bernd Friedmann on the Flanger project.

Schmidt continued to remix prominent artists, including Depeche Mode and Air, while touring extensively with his 9-piece Señor Coconut orchestra. The album “Yellow Fever!”, featuring covers of Yellow Magic Orchestra songs, became a major hit in Japan. Schmidt also released the Señor Coconut album “Around the World”, collaborating with artists like Stephan Remmler and Louie Austen.

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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Celebrating 30 years in the music industry, Solitary Experiments have released a brand new remix of their hit single “Träumen”. This new rendition is titled “Träumen – Neuroticfish Albtraum Mix”.

Solitary Experiments, formed in 1994 in Frankfurt (Oder), is a prominent force in the melodic electro and EBM (Electronic Body Music) scene. Dennis Schober and Michael Thielemann began their musical journey in a small home studio, focusing on creating a unique sound characterized by melodic synth lines, driving beats, and harmonious vocals. Their early work quickly gained attention, leading to the release of their debut album, “Final Approach”, in 1999. The rest is history.

In further anniversary news, Solitary Experiments will host a special two-day festival in Berlin, featuring seven friends from the scene, special guests, and various surprises. This event is already sold out though.

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 avant-garde trio comprising Jac Berrocal (Nurse With Wound), David Fenech, and Vincent Epplay has unveiled their fifth LP, “Broken Allures” to be released on Cold Spring on the 30th of August. This latest release continues their approach to musique concrète, blending the sounds and techniques of each member.

The album is available in several formats via Cold Spring:

• CD in a matt-laminate flood-printed digipak.
• Limited edition of 150 copies on transparent yellow vinyl in a matt-laminate sleeve with a full-color insert.
• Black vinyl in a matt-laminate sleeve with a full-color insert.

French musician Jac Berrocal is renowned for his collaborations with Nurse With Wound, Vince Taylor, Jaki Liebezeit, Pascal Comelade, and Sunny Murray. For this project, the trio further enlisted the talents of two musicians: Cosey Fanni Tutti and Jah Wobble.

Cosey Fanni Tutti, known for her work with Throbbing Gristle, Chris & Cosey, and COUM Transmissions contributes vocals, cornet, and electric guitar, and has written lyrics for two tracks.

Jah Wobble, a founding member of Public Image Limited and a collaborator with a diverse array of artists including African Head Charge, Brian Eno, Björk, and Sinéad O’Connor, lends his industrial dub sound to the album.

“Broken Allures” includes the track “Outspoken Caress” featuring Cosey Fanni Tutti, with a video directed by Vincent Epplay.

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

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

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

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

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

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

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

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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“No More Flies On The Windscreen -The Chaos Machines part 1” has been released by Alfa Matrix and is the twelfth album by the Belgian Implant duo. At the same time, it is also -as the title somewhat indicates, the first part of a trilogy. IMPLANT releases a complex, intelligent yet danceable Electronic album. It is a varied work supported by analogue sound treatments that sometimes sound surprisingly dark. One song is featuring guest vocals by Noemi Aurora. From EBM to Space Electronics, IMPLANT is starting a promising trilogy. (Rate:8)

Listen to “I Feel No More”:

About Implant

Implant is a Belgian duo fronted by Len Lemeire, working across EBM, industrial and dark electro. “No More Flies On The Windscreen” opened the band’s “Chaos Machines” trilogy, continued by “Scratching The Surface” and closed by “Judging Sinners,” each subtitle drawn from a line in the trilogy’s first released track, “The Drive.”

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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Industrial bass artist Sinthetik Messiah has just announced the release of a new album and novel, “Lies, Secrets And Death”.

The story goes something like this: In a galaxy torn by strife, a hero rises but falls to tyranny, sparking rebellion. Amid chaos, a journalist’s death fuels uprising while another leader seeks peace. War looms between factions as a loyalist questions his cause amidst shadowy manipulation, setting the stage for a power struggle.

Musically Sinthetik Messiah here fuses industrial and drum and bass, hence ‘industrial bass’. “Lies, Secrets And Death” is available on all major streaming platforms. The companion book is available on Amazon.com.

Below is the video for “When The World Is On Fire“.

Behind Sinthetik Messiah we find Cajun songwriter and sound designer Bug Gigabyte. The project has had music released in collaboration with several labels such as Darktunes (compilations), Metropolis Records, Plasmapool Records, Side-Line Magazine (compilations). DSBP Records (compilations), Crl Studios, and Wicked Wonderland 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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Out 27 September 2024 via Downwards Records is the all new album by the post-punk outfit The Wolfgang Press titled “A 2nd Shape” (check this preview). It’s the band’s first studio album in nearly 30 years.

The new album features core members Michael Allen and Andrew Gray, joined by Stephen Gray, Andrew’s brother.

Talking about the new album, The Wolfgang Press explain, “This album arrived naturally and organically. The tracks came about from a measured process, and we feel A 2nd Shape is timely and essential. We also feel Downwards Records has fitted in perfectly with this process, their enthusiasm for this project has been tangible and encouraging.”

Talking about the recording process, they go on to say “For this project we wanted the record to be made without the use of computers. It was important for us that the tracks were recorded on tape and played live as a band, with very little tampering/overdubbing. We purposely limited ourselves in the number of tracks we could record by using an old ADAT 8-track machine and the result of how well this worked surprised us all.”

About The Wolfgang Press

Musically active since the late ‘70s, Allen and Gray were originally in bands that formed the cornerstones of the early 4AD universe, with Gray in In Camera and Allen in Rema-Rema and Mass.

The Wolfgang Press – Michael Allen (vocals, bass), Mark Cox (keyboards), and Andrew Gray (guitar) – debuted with the LP “The Burden Of Mules” in 1983, followed by 1986’s “Standing Up Straight”, which featured Elizabeth Fraser on “I Am The Crime”. 1988’s “Bird Wood Cage” included “Kansas”. 1991’s “Queer” included influence of sample-based hip-hop.

The band’s final album as a trio, 1995’s “Funky Little Demons”, was their last studio album. In 2020, “Unremembered Remembered”, a collection of unreleased recordings by Allen and Gray was released.

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 Eiril Osen Waerdahl) To be released on 4th July is the newest single by the Nordic-British post-punk quartet Permafrost. “Wrong Heart” is the lead single for the band’s brand new album, “The Light Coming Through”, the follow-up to the “Come Back To Surprise” EP, and expected to be released in October.

In addition to the single, Mental Overdrive (aka Per Martinsen) has remixed the single, which will also be available on 4th July.

Out already is the music video for “Wrong Heart”. The video follows four young girls as they set out to create a music video. Of the video they said: “In another dimension Permafrost could be a girl band. In this reality they are planning to create a music video. They have to drag their equipment into the forest to get to the preferred spot, making it into a road movie with a lot of obstacles on the way – like grazing sheep and deer in the blossoming Norwegian nature. When they finally arrive at the spot and want to start playing, the song finishes. All that work for nothing.”

About Permafrost

Formed originally in Molde, Norway in 1982 by school friends Frode Heggdal Larsen and Kåre Steinsbu, Permafrost has undergone numerous transformations over the years. Now joined by fellow Norwegian Robert Heggdal and Daryl Bamonte from the UK (who worked very closely with Depeche Mode and The Cure for several years), they deliver post-punk of the early ’80s.

Permafrost debuted with the “Godtment” EP in 1983, released on a limited edition of 50 numbered cassettes. In 2019, they followed up with the “Permafrost” EP on vinyl, later making it available digitally in 2021. Throughout 2021, the band dropped three singles. : “Femme Fatale”, “Closed Eyes” and “Restore Us”.

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 via Bureau B in October is the brand new Propaganda album, simply titled “Propaganda”. The new album will hold 8 tracks and will be out in 3 formats.

This self-titled set was co-written by Ralf Dörper and Michael Mertens. Recorded entirely in their native Düsseldorf it features guest appearances from Hauschka and Thunder Bae.

The album will be out on vinyl, CD and as a limited expanded digipak 2CD in a hand numbered edition of 1000 copies worldwide. The expanded version holds 5 exclusive bonus-tracks, namely “Not good for You”, “Solace in Sin”, “World out of Joint”, “I feel mysterious” and “The Calling”.

There will also be a double-vinyl edition. A first version on orange vinyl was already sold out on pre-order.

Below is the track “Purveyor of Pleasure“, the first of two single released already next to “They Call Me Nocebo“.

About Propaganda

Propaganda was formed by Ralf Dörper, former synthesist with electro-punks Die Krupps, and Andreas Thein in 1982, but it wasn’t until the addition of Düsseldorf Symphony Orchestra percussionist Michael Mertens that the outfit emerged as the dark synth-pop powerhouse which would see chart success as part of the ZTT machine.

Upon signing with Trevor Horn’s imprint in 1983, Propaganda, now comprised of vocalists Claudia Bruecken and Susanne Freytag alongside Dörper and Mertens, delivered their classic debut LP “A Secret Wish” and a string of international hit singles, such as “Dr Mabuse”, “Duel” and “P Machinery”.

After a late 80s hiatus spent escaping their unfavourable contracts, during which the singers went their separate ways, the project returned on Virgin in 1990, with a new line-up, including Betsi Miller on vocals and former Simple Minds rhythm section Derek Forbes and Brian McGee. Working alongside producers Ian Stanley and Chris Hughes, the ensemble delivered “1234”, featuring collaborations with Howard Jones and David Gilmour.

After this album, Dörper resurrected Die Krupps and Mertens moved into TV and Film composition and provided a conduit for Düsseldorf’s experimental electronic scene via his Amontillado Music label.

It was a 2015 remix request from Zang Tumb Tuum chum and former Frankie Goes To Hollywood frontman Holly Johnson which finally prompted the pair to revamp the band. Still, it would take them another 9 years to announce a new studio album, their third.

Bernard - Side-Line Staff

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

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Out on Metropolis Records on 19 July 2024 is the brand new album by the post-punk/goth legends The March Violets. The band signed to Metropolis Records in early 2024 and will release a brand new studio album entitled “Crocodile Promises” on 19th July. A single and video is available now, “Hammer The Last Nail”.

Describing the track’s lyrical content, singer Rosie Garland states: “There’s no time like now to break free of gaslighting; no time like now to untangle from toxic people. The March Violets are set to Hammer the Last Nail into damaging relationships that keep us in prison.”

The band will play seven UK dates in late July and early August prior to a US tour. Their schedule includes shows in London and Glasgow, the latter immediately preceded by a slot at Rebellion Festival in Blackpool (2nd August).

Regarding the band’s current line-up, Mat Thorpe (bass, vocals) joined band founders Rosie Garland (vocals) and Tom Ashton (guitar) as a permanent member of The March Violets in early 2024.

About The March Violets

The March Violets are a British post-punk band that emerged from the Leeds music scene in the early 1980s. They are often associated with the gothic rock movement and were contemporaries of bands like The Sisters of Mercy and Bauhaus.

The March Violets were formed in 1981 by Tom Ashton (guitar), Laurence “Loz” Elliott (bass), Simon “Si” Denbigh (vocals), and Rosie Garland (vocals). The band quickly gained a following with their unique sound characterized by a dual vocal approach and a blend of post-punk and gothic rock elements.

Their early singles, released on the independent label Merciful Release, which was also associated with The Sisters of Mercy, included tracks like “Religious as Hell” (1982) and “Grooving in Green” (1983). These releases helped establish the band’s dark and atmospheric style, marked by prominent bass lines, guitar riffs, and haunting vocals.

In 1984, The March Violets signed with a major label, London Records, and released the “Natural History” compilation, which included a mix of their earlier singles and new material.

Despite their early success, The March Violets faced numerous lineup changes and internal conflicts, which affected their stability and output. They released their only full-length album of the original era, “Electric Shades,” in 1985. The band disbanded in the mid-1980s but left a lasting impact on the gothic rock and post-punk scenes.

The March Violets reformed in 2007 and have since performed at various festivals and released new music. They released the album “Made Glorious” in 2013, which was funded through a successful crowdfunding campaign. The band’s recent work has continued to blend their signature gothic rock sound with modern influences. Read the review of ‘Crocodile Promises’.

The March Violets Discography

• Religious as Hell (1982)
• Grooving in Green (1983)
• Natural History (1984)
• Electric Shades (1985)
• Made Glorious (2013)
• Crocodile Promises (2024)

Bernard - Side-Line Staff

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

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Genre/Influences: Dark-techno, ambient-techno, IDM.

Background/Info: Jake Woodhouse is a British producer better known under the Pris moniker. He released multiple EP’s in a rather short lapse of time, but 2016 seems to have been his most prolific year so far. This 12” is an opportunity to discover 6 new tracks by Pris.

Content: One of the first and main noticeable elements is the dark sound blasts revealing an impressive production. The tracks have been progressively built up mixing obscure atmospheres and intelligent rhythms together. The ambient side of the work is pretty dominant and sometimes leading the listener into mysterious passages of anguishing techno music.

The sound sculptures reveal multiple little noises and details and sometimes makes me think of pure field recordings.

+ + + : Pris clearly deals with the dark side of techno music, which is carried by overwhelming ambient sound waves and terrific, resonating blasts. The technoid element is there to get it all more accessible and danceable although this is not the kind of production that will make you wild on the dancefloor. I like the scary passages, which reach their climax on “Sunk”.

– – – : The ambient aspect of the work is definitely dominant, which makes it not that accessible. “Love, Labour, Loss” becomes more a kind of work to listen to instead of getting you to dance.

Conclusion: When techno has been contaminated by ghost-like atmospheres you get a scary experience called “Love, Labour, Loss”. This is complex, but visionary music!

Best songs: “Sunk”, “Divinity”, “Feral Calling”.

Rate: (7½).

Band: www.facebook.com/prismusicuk

Label: www.a–v–n.com / www.facebook.com/AvianUK

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