Sweden’s electro duo Project-X is back after 16 years of studio silence. The new track “13:13” was written and performed by long-time members Torny Gottberg and Björn Lager in January 2026. During the recording, mixand, and mastering they were assisted by engineer Hans Olsson at Svenska Grammofonstudion in Gothenburg.

A second, alternative mix of the track has been created in collaboration with producer Carl Nilsson, better known from his industrial project Lucifer’s Aid.

Their previous EP “Needles and Control” was released in February 2010 via Memento Materia and included four tracks, among them “Needle (2010)” and a cover of Joy Division’s “She’s Lost Control”.

The new single will be out on 30 January 2026 via Progress Productions.

Live plans: festivals and club dates in 2025–2026

Since the vinyl reissue of “Modus Operandi” in 2023, Project-X have gradually returned to the live circuit. The band marked their first live appearance in roughly two decades at Sweden’s Subkult Festival, followed by a show at Germany’s NCN (Nocturnal Culture Night) festival.

In 2025, Project-X continued with selected festival appearances in Germany and Belgium, including a slot at Bimfest in Sint-Niklaas, Belgium. For 2026, the band is confirmed for the E-Only Festival in Leipzig and is planning a series of club shows in Sweden, marking their first domestic club dates in many years.

About Project-X

Project-X is a Swedish EBM formation from the Stockholm area, active since the mid-1990s. Over time the project has centred on vocalist and songwriter Torny Gottberg and musician/producer Björn Lager, with earlier line-ups also featuring Jouni Ollila, known from Pouppée Fabrikk and MZ.412.

From the outset, Project-X positioned themselves inside the harder, club-oriented side of Scandinavian EBM. Early releases appeared via the Swedish cult label Energy Rekords and later via Memento Materia and Trisol.

In the late 1990s they debuted with the album “Forbidden Desires” and the single “Fearless”, which held key tracks such as “The System Is Dead”, “Fearless”, “Cyberdome” and “Forbidden Desires”.

Around 2000, Project-X dropped the remix release “All Systems Dead EP”, featuring extensive reworks of “The System Is Dead” by acts such as Funker Vogt, Pouppée Fabrikk, The Nine, Deadjump and Rational Youth, plus additional tracks like “Ocean of Thoughts” and “Humanity”. This period also saw the compilation “Closing Down The Systems” and the “Infected/Reminder (Total Edition)” release.

In 2003 the band issued their second full-length album “Modus Operandi” on Energy Rekords in Sweden and on Trisol in Germany as a special two-disc edition. The album collected club tracks such as “Infected”, “Reminder”, “Last Notes” and “Lies 2k2”, several of which later appeared on EBM compilations including “Endzeit Bunkertracks“.

The mid-2000s period brought the “DJ Operandi EP” and “10 Years Anniversary EP”, consolidating ten years of activity with alternative versions and additional material. Their last studio release before the current comeback, the “Needles and Control” EP, arrived in February 2010 on Memento Materia, combining a Joy Division cover with new tracks and a remix by Claus Larsen (Leaether Strip).

Their 2003 album “Modus Operandi” was reissued in 2023 as a hand-numbered red vinyl edition limited to 300 copies, including a previously unreleased remix of “Infected” by Evil’s Toy. The reissue coincided with their first live shows in roughly twenty years and paved the way for festival appearances and the new 2026 single “13:13”.

Outside Project-X, key members have remained active in the Scandinavian electronic scene. Torny Gottberg founded the label Progress Productions in 2004, releasing artists such as Spark!, Xenturion Prime and Wulfband. In a 2021 we also published an interviews with Torny Gottberg in which he explicitly described his release strategy as “quality over quantity”.

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.

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Out on August 4 is a limited and hand-numbered edition (300 copies) on red vinyl of the 2003 album “Modus Operandi” by the Swedish EBM formation Project-X.

“Modus Operandi” includes such tracks as “Infected” and “Reminder” and was released by Energy in Sweden, and by Trisol in Germany (as a special 2CD edition). Now in 2023 the album see the light of day on vinyl for the first time ever.

As an extra this 20th anniversary release includes a previously unreleased remix of “Infected” made by the German EBM-act Evil’s Toy. It was made back in 2003 but never used due to late delivery.

Project-X was active from 1995 to 2010, with releases on Energy Rekords, Memento Materia and Trisol. 2 of its key members, are still very active in music (industry) until today: Torny Gottberg who later founded the band Cryo and the label Progress Productions, and Jouni Ollila who was also a founding member of Pouppée Fabrikk and Mz.412 and is still very active in various bands and projects.

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.

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Swedish artist Jouni Heikki Ollila aka Jouni Ulvtharm is a name that will for sure make ring a bell. He got involved with the legendary EBM duo Pouppée Fabrikk and the Dark-Ambient project MZ.412. He got also involved with other bands like Mr. Jones Machine, Project-X, Teleskop, Burg ao. By the end of last year he released the official debut-album of Ulvtharm entitled “Wrēkō”. This work released by Cyclic Law stands for a great, retro-like sounding production mixing Dark-Ambient and Industrial music. The atmospheres hanging over the work create an imaginary horror scape. The work has been accomplished by an impressive sound canvas resulting in a sophisticated production. “Wrēkō” is for sure one of the best albums in its genre from the past year.

(Courtesy by Inferno Sound Diaries)

Q: You’ve been involved with that much bands and projects dealing with very different music genres. So how do you explain the need to already start with a ‘new’ project like Ulvtharm? What does Ulvtharm stand for -and especially in comparison or addition to other projects? 

Jouni: I always have the need to create music, in any shape or form. Ulvtharm is really a derivative of demos that I initially made for the MZ.412 “Svartmyrkr”-album, but it did not fit the sound and mood so I put these aside. Once I listened back on the demos, I found a message in the music that needed to be shared, and this is want sparked the idea to make a solo project as ULVTHARM.

Q: I think to have read about the origins of Ulvtharm it all started when you were living in Malaysia, right? Tell us a bit more about it and in which way did it have an influence/impact on the music and the album you composed? 

Jouni: Yes, the Ulvtharm recordings were started in Malaysia, however only as demos. I did not start re-recording everything until I moved back to Sweden in 2019/2020, and at that time the world was hit with the pandemic. It was a particularly dark period in my life, it exposed the darker side of my psyche, and I think it heavily influenced the impending doom and end-of-times themes on the album.

Q: I think it’s interesting to see how different places and different cultures can have an influence on artists. It all looks like a very personal mental process. What’s your experience and perception? And are there specific places you would like to stay and/or visit to get inspiration? 

Jouni: For me, moving back to Sweden has helped a lot with inspiration; in these parts of the world, we spend the majority our days surrounded by darkness with very little sunlight in the autumn and winter. This helps to spawn new ideas and draw energy from the cold void; it’s refreshing and helps me focus on the music that needs to be done, especially when doing Dark-Ambient and Industrial music.

Q: “Wrēkō” sounds like a very personal and even intimate work. Can we speak about a conceptual work or what is it all about? What have been the different stages in the writing and production of “Wrēkō”?

Jouni: “Wrēkō” is indeed very personal, it is a revenge on my own self, on my ego, for not taking these creative steps earlier. It is the Alpha and Omega.

Q: The dark atmospheres recovering this album but also the global sound treatments and production have a very explicit retro-like feeling, reminding me to early 80s artists dealing with Industrial/Dark-Ambient music. Tell us a bit more about the ‘sound’ properly speaking and what equipment and gear did you use? 

Jouni: I use a lot of hardware instruments and synthesizers when composing; for me it is only natural since this is the way I have been making music since the 80’s. My eurorack modular system plays a very important role on the album; many of the electronic buzzing and harsher passages are made on that system. For me, the modular synthesizer is key when creating heavy drones and Dark-Ambient passages, only my imagination is the limit when it comes to sound design. Also, there is a lot of acoustic instruments and field recordings heavily treated by both my modular system and effect pedals, a wide array of soundscapes which are then later puzzled together in my computer which serves as an advanced multitrack recorder.

Q: I’m always fascinated when an artist is involved with that much projects/bands and music genres. How do you switch from one project till the other and where does this eclectic side comes from? Are there specific genres you still want to explore? 

Jouni: This is a cyclical thing really depending on the state of my mind and from where I draw my influences. As an example, after making the Ulvtharm album my ideas were completely depleted, and I needed to feed my mind other influences to cater to the urge to compose new materials. At this point, it was natural to change genre; my artistic and creative senses need different input depending on the music I need to make. It was easy for me to move to Burg, to start working on the “Pendulum Swing” album which had sensory inputs like popular science, sci-fi books and movies. I switched my mind to these new influences and started my musical journey on a completely different project. I have found over the years that I cannot walk in the same shoes musically; I need to make these changes else I will quickly get bored and there will be no music made at all.

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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Progress Productions is a Swedish label set up in 2004 by Torny Gottberg. Torny already had some label-experience as he worked before for the legendary Energy Rekords. We still know him from his involvement with bands such as Project-X, Cryo ao. Progress Productions is the home of EBM, Dark-Electro and Electro-Pop bands such as Agent Side Grinder, Cryo, Henric De La Cour, Spark!, Necro Facility, Dupont, Code 64, Kite, Wulfband, Sturm Café, System and many more.

(Stéphane Froidcoeur / Courtesy by Inferno Sound Diaries)

Q: Was there a kind of ‘philosophy’ when you set up your label and did it evolve over the years? How would you define your label activities today?

Torny: Progress Productions started in 2004, but already before that, I had ideas of starting something of my own as I was not really happy with the way that Energy Rekords where I worked was going. I have always been more interested in building something from the very beginning and to evolve with bands while Energy Rekords in the end I felt was more about licensing stuff for the Scandinavian market.

But April 20^th, 2004 I finally took the step to form Progress Productions. I always loved the way labels like Cold Meat Industry and Ant-Zen were setup. That many bands together build sort of a family and that we grow together reaching small goals that we setup. To be honest it´s really the same way I work with the bands we have today. We never thought of ourselves as a label vs. band thing. It´s really a collaboration between label and bands. And the great thing is that so many bands have become friends over the years as we have no internal competition and that’s the way we really wanted it. The funny thing is that when I started Progress I did reach out the other labels we had in Sweden back then as the scene is so small and I had the idea that we all could maybe work together to make the scene a little bit bigger and everyone told me more or less ‘You will not have a chance, you will not last a year’ etc. Well, here we are 17 years later…

But the idea and philosophy behind the label is still exactly the same. Finding new interesting bands, working together and building slowly. I do believe in the ‘quality over quantity’ thinking. Something I think a lot of people should really think about. For me every release is of equal importance and it does not matter if it´s a newcomer no one knows about or one of our more established artists. If I have decided to work with something, it deserves my full attention, and that’s also a reason why we NEVER release more than one record at a time, so nothing drowns or disappear.

Of course, it means that we don’t have several hundred releases in our catalogue, but at least I know that every single one of the releases we have made have been given the time it deserves. So, in that way we have maybe not evolved since the start, but of course one has learned and adapted a lot since 2004, but we are 17 years in more active than ever I would say.

Q: I can imagine you must have specific and explicit criteria to sign an artist/band. Can you give us more details about this aspect and how important is it for you to know the person(s) hiding behind the ‘artist(s)’?

Torny:  Well, for me it has always been really important that I like what I hear. It´s hard to explain, but there is something special I feel every time I find a new act that I want to work with. Something just clicks. After this I normally have a meeting with the band several times to get a feel for the persons behind it if it´s not someone I know since before. Just so we know where we both have each other and that we feel that we are both interested in working toward the same goal. Even though we intend to have a lot of fun together it is always mutual work to reach the goals that we set up together.

I think talent and attitude are of equal importance for me. There are several bands that I really like, but I have felt that it simply will not work out in the end and in those cases I would rather see that someone else can release it and I will support and buy it rather than to release it via Progress. Earlier I always asked the other already signed acts what they thought about something when I found something that I felt was interesting. I still do this from time to time. Of course, I will have the final word in what to do/not to do but it feels important that a new band also fits in well with the other acts and I really respect and value their opinion.

But I don’t really look to, and I really don’t give shit about how many followers a band has on Facebook or Instagram or something. This is something that we build together as we go along. Good music and great attitude gets you there… not followers on Instagram. Or at least it´s what I want to believe. That good music is the foundation for something.

Q: You are already active for numerous years now so you must have seen a lot of things changing and evolving; think about social media, streaming platforms, Youtube channels… but also economic crisis etc. What are the pros and cons of these changes/evolutions and in, which way did you had to adapt/change your strategy and activities?

Torny: Well I don’t know how many that knows this; but I also work a fulltime job within digital distribution in Sweden as a senior label manager/marketing besides Progress. I also founded Border Music’s digital distribution and at the moment we are building a brand-new independent platform for labels. So, I’m very aware of anything new that’s happening. Also, one should have in mind Spotify is a Swedish player, so I have more or less at least weekly contact with them on what’s going on etc. So, in this aspect we are of course very up-to-date on what is happening.

However, I think streaming is something that both has brought good and bad with it (like many other things) as I always have considered labels to be sort of a quality filter for music and nowadays anything can be added to these platforms and the listeners can more or less drown in material. It´s really a double-edged sword. On one hand I like it as anyone has the potential to reach people quickly and that you more or less, at least compete on similar terms. But like I said, on the other hand the scene has been overflooded with material which I think is not ready to be released yet. No quality filter, just straight out.

Of course, the whole marketing strategy has moved a lot as well. From in the early days; placing adverts in magazines (which we still do though) to doing more digital promotion. A big pro is of course that this is a cheaper and much, much, quicker way to reach people, but on the other hand it´s harder to get people’s attention nowadays than before as we are simply pumped with information. I think it´s in the movie “Seven” they say: ‘To get people’s attention nowadays you can’t just tap them on the shoulder, you need to hit them with a sledgehammer’ and in a way this is true. As record labels we also have a lot of new things that compete for consumer spending. People spend more money on other stuff than buying records. So, we as smaller independent labels are of course always struggling. But on the other hand, it´s also an interesting challenge for us. We can’t sit on our ass doing nothing we need to follow / learning / evolve with technology which I think is interesting and good.

But I still try to keep maybe not a whole foot but at least a few toes in the old-school promotional way of working, sending out physical promos etc. I think they key is ‘Don´t be afraid of changes, embrace them’. I mean look what happened with Napster. If the major labels would have understood it´s true potential directly instead of fighting them for years we would never have had any piracy. Thankfully Spotify and other services have more or less eliminated that scene. But I was never afraid of piracy and really never cared if people illegally shared files/music. You just needed to make sure that you released stuff that was WORTH buying. Not having 2-3 good songs and 10 fillers on an album. I know this might sound a little controversial, but the major labels really created this problem themselves and the independents as usual had to pay for their mistakes. And today an average person spends 110 Euro / year on a Spotify account and that’s far more money spent per person than the music scene has had for a long time. And I do believe that people that are still interestedin buying music will continue to do this. Physical sales will never disappear. I mean just look at all the vinyl selling on re-released material. Once again…. don’t be afraid…. Embrace!

Q: The ongoing pandemic has affected all artistic life and activities so what’s the true impact on your label activities and do you think it will also affect your long term objectives?

Torny: Well, a lot of things that were planned did not happen, that´s for sure. We were about to have loads of parties all over the world for our PROCD100-celebration. All of course, got cancelled. But who I really feel the most for during this pandemic are all the venues, tour personal etc. Thankfully Sweden has been pretty generous in supporting people/venues etc. with money and even though it´s not enough it´s still something but I can’t even understand how hard it must have been on them. And I really hope, to be honest that when venues are opening up, that people are not cheap asses asking for guestlists etc. A ticket is not so expensive so do support them when we all get there.

But for Progress I pretty quickly made the decision not to let Covid-19 have any effect on at least the release schedule. I think maybe now it’s more important than ever and that people need new music. Touring and the promotion will have to come later. So, no I don´t see it affecting us in the long run. We more tried our best to do something during these weird times. I created something called “One Hour With”… which is an hour where we invite fans/listeners from all over the world to join their favorite artist/band for an hour to hang out with them, ask questions etc. This has really been a huge success and people have really enjoyed it. But of course, all the bands are missing playing live a lot. But we really just need to hang in there, things will turn for the better and then we will all be back. But like I said what I really find somewhat devastating is record shops, venues, concert agencies, tour/crew personal etc. I really hope we all get the vaccine during the Summer so we can all meet and party in Autumn. However, this is still wishful thinking on my part, but I hope… I really do. Culture is important and we all need it.

Q: Do you think media (magazines, online platforms etc…) still have an impact and a role to play today? What’s your relationship with ‘journalists’ and how important is their work?

Torny:I still think this is really important. At least personally. We are operating on such a small scene so I think we as labels should be extremely grateful for ALL support that we can get. And 99% of people that work for smaller online zines/blogs etc. don’t get payed at all and most work is done on pure passion. This is something I highly respect and also a reason why I still do send physical records to quite a lot of people, at least it´s a small appreciation and something for their hard work. I’m sorry, but I can’t do it for everyone even if I wished I could so don’t feel bad if I sometimes just send you a download link. It´s very expensive for us to send stuff out. Funny enough it’s the postage costs which are the worst in this case.

With this said I don’t know what kind of impact it does have today as so many can listen on Spotify/YouTube or other streaming sites so easy, but for me (40+ year old dinosaur) I still read/check and discover things through these platforms. I try to treat all journalists fairly and nice as I know (I used to run a physical magazine myself) how much work it is behind it. Even though it´s online it´s still a shitload of work behind it. And like I said a BIG, BIGGER, BIGGEST even ENORMOUS hat off to all of you people keeping the scene alive with magazine, fanzines, blogs or podcasts etc. You are worth your weight in gold in my book. Keep up the excellent work and I promise I will try to do my part of delivering music your way.

Q: What do you consider as your biggest accomplishment(s)? Do you have specific goals/dreams you want to achieve and how do you prepare and see the future of the label(s)? And what are your biggest regret(s)?

Torny: Well, this will sound cliché like hell. But I do think every time we reach a small goal we set up and when we reach it it´s a big accomplishment. And honestly I’m always extremely humble every time someone gives me the chance to work with their art. I think this is way a record label should think. You should be grateful that people give you this chance. Even though it´s a lot of co-work they still have chosen YOU as a label to work with something they might have spent YEARS doing.

My biggest dream was however to build up a label that has a friendly attitude where we all respect each other within the label. And I could not have wished for better people to have with me on this journey. I really love all the people that are in the bands on the label. But we of course always aim to reach more people / new people and constantly develop together with the music market. But my objectives from start I think we have nailed and I’m really so grateful for this. In regard to the future of labels, I think we will see more labels like Progress in the future where you simply are not just a person that releases the music, but work with setting strategic goals/aims together with the artists. I’m not afraid of getting my hands dirty doing merchandise on festivals, being a stagehand, booking agency. The 1980/90s ‘label bosses’ I think/hope will go away and never come back.

Regrets….. hrrmmmm…. I don’t know. Maybe I could say it would have been smart doing Progress earlier in my life, but then again life is too short for regrets and you need to see the result that has come out of what/when you actually did something. It´s always better to look 1 day in the future rather than look back 1 day as we all learn as we go. If you stop feeling that you learn or loose your drive, then I see no purpose in doing this. As it´s for sure not the money that drives or motivates me running Progress Productions. 

Last words: I really hope you all stay safe out there, and that we soon can catch up and enjoy together what we love the most: MUSIC. Meanwhile don’t forget to support the independent music scene. Buy something without pre-listening…. Take a chance… who knows….. it might be the BEST thing you have done. Or if you have a specific release you like…. Surprise a friend with a gift which lasts longer than a coffee or an expensive IPA….

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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Genre/Influences: Black-industrial, dark-ambient.

Background/Info: MZ.412 (formerly known as Maschinenzimmer 412) gained recognition as the so-called inventors of ‘black-industrial’ music. Set up in the late 80s by Henrik Nordvargr Björkk (Nordvargr, Pouppée Fabrikk, Anima Nostra ao), Jouni Ollila (Pouppée Fabrikk, Project-X ao) and Jonas ‘Drakh’ Aneheim “Svartmyrkr” stands for the ‘studio-resurrection’ of the Swedish giant. It’s the first new full length since “Internal Affairs” (2006). The album is inspired and dedicated to Northern mythology and more specifically to the hell of the North (cf. “Helheim”) and the Goddess ruling over it (cf. Hel).

Content: “Svartmyrkr” features 10 songs. After a short intro you might feel the sensation to really entering hell. Dark-oppressive sounds joined by ritual drones and growls (instead of vocals) are progressively joining a climax. It perfectly symbolizes the entire work, which is much more than a new ‘dark’ opus. MZ.412 knows the way to create tormenting music. Drones and orchestral arrangements mixed with vocals, which are sometimes like appealing for evil forces are emerging from the speakers. I noticed a guest contribution of Kristoffer Oustad on guitar.

+ + + : “Svartmyrkr” feels like moving throughout a sonic danger zone. The album has a strong visual appeal, but some of the faced images might feel like a totally surreal and horror-like vision. MZ.412 strikes back with extremely haunting work, which is the outcome of a sophisticated song writing. The tracks are progressively evolving towards multiple climaxes accentuated by the vocal parts. The overwhelming sound atmospheres make you feel forget reality to join the hallucinogenic space of Northern mythology. Drones and ritual passages only reinforce the total sensation of the work. I also want to say a word about the artistic digipak of this album, which is also available on vinyl and cassette format.

– – – : A few cuts can’t totally convince me, but that’s maybe because you can’t expect a new climax at each track.

Conclusion: This music is dangerous and might provoke a cardiac arrest or bring you into a higher state of consciousness. Well, I like taking some risks when it’s worthy to experience unique sensations!

Best songs: “She Who Offers Sorrow”, “Ulvens Broder” “Oppna Helgrind”, “We Are Eternal”, “Lokastafr Ablaze With The Thorns Of Death”.

Rate: (8½).

Artist: www.facebook.com/MZ412official

Label: www.coldspring.co.uk / www.facebook.com/coldspringhq

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

Genre/Influences: Electro-pop, body-pop.

Background/Info: Minor Key saw the daylight somewhere in the midst of the 90s and got reactivated after a long break. Anders Sandberg got involved in different band and projects; Project-X probably being the most famous one. “This Feudal Enterprise” is the debut album of Minor Key, symbol of the band’s resurrection.

Content: Minor Key is revisiting and reworking different elements of electro-pop music. The tracks move from body-pop to technoid arrangements to sophisticated sound treatments. You now get the impression that this Swedish project is inspired by Pet Shop Boys (for the most poppy and happy side of the album) and next influences by Haujobb (for the sound intelligence).

+ + + : Minor Key achieved an atypical production, which is easy to label as ‘electro-pop’ music, but quite diversified in its format. Andreas Sandberg is not exactly reinventing this music genre, but he accomplished an interesting mixture between different influences. I also fully enjoyed the impressive welfare in sounds and the cool effect on the vocals’ production. “This Feudal Enterprise” is a cool surprise revealing a band with a creative approach and promising production.

– – – : The work is somewhat different from the familiar ‘pop’ standards and that’s maybe an element that makes the work less accessible for a wider audience. Some parts are maybe too complex to be simply labeled as electro-pop music, but the main point according to me is that there’s no real ‘hit’ song featured.

Conclusion: Minor Key created a kind of pop synthesis, which is assembling and mixing different elements. I like the band’s creativity and even if there’s a hit missing, I noticed multiple cool and accomplished songs. I can only, but encourage Minor Key to go on!

Best songs: “Diplomacy”, “Beacon”, “Parisyte”, “Acclimatize”.

Rate: (7½).

Band: www.facebook.com/minorkeey

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