(Photo by Mara von Kummer) hackedepicciotto (Alexander Hacke & Danielle de Picciotto) have shared details of a new album, “The Best of hackedepicciotto (Live in Napoli)”, that collates over 20 years of collaboration over two live performances recorded at the Auditorium Novecento, one of the oldest recording studios in Europe.

The album will be released on double vinyl, limited to 500 copies with exclusive signed print, and digitally on 1 November 2024, via Mute.

For over 20 years Alexander Hacke (Einstürzende Neubauten) and artist, musician and filmmaker Danielle de Picciotto (co-founder of Love Parade) have been working together. The album includes reinterpretations of tracks from all of their studio albums: “Keepsakes” (2023), “The Silver Threshold” (2021), “Perseverantia” (2016), “Menetekel” (2017), and “The Current” (2020).

This new collection is a mixture of industrial beats, electronic sounds with classical harmonies and melodies, with some throat singing, Hurdy-gurdy and spoken word. Daniel Miller of Mute goes on to say that “their music is a genre of its own, something new and very intriguing.”

Listen to “The Silver Threshold (Live in Napoli)”, the title track from their 2021 album.

hackedepicciotto Live Dates

• 1 Nov – Parma (IT), Borgo Santa Brigida
• 2 Nov – Pordenone (IT), Astro Club
• 3 Nov – Milan (IT), Arci Bellezza
• 5 Nov – Turin (IT), Blah Blah
• 7 Nov – Pescara (IT), Scumm
• 8 Nov – Campobasso (IT), Circolo Beatnik
• 12 Nov – Lyon (FR), Sonic Lyon
• 29 Nov – Malmö (SW), Inkonst
• 30 Nov – Odense (DK), Klub Golem
• 6 Dec – Athens (GR), Temple
• 7 Dec – Thessaloniki (GR), Eightball
• 12 Dec – Bratislava (SK), Pink Whale
• 13 Dec – Augsburg (DE), Provino Club
• 15 Dec – Bielefeld (DE), Movie Bielefeld
• 18 Dec – Berlin (DE), Berghain Kantine – Album Release Party

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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Twenty years ago, the German duo S.K.E.T. released their debut album on Hands, and now, two decades later, they return with their fifth opus, which has been seven years in the making. Despite the passage of time, S.K.E.T. remains as compelling as ever, perhaps even more eclectic in their sound. From old-school Industrial to Electro-Industrial and IDM-influenced tracks, the unifying thread throughout is the Breakcore rhythms that lend the work its intensity and drive. While S.K.E.T. hasn’t completely reinvented itself, the duo continues to captivate with their unique blend of styles. (Rate:7½).

Listen to “Call a Spy”:

About S.K.E.T.

S.K.E.T. is a German powernoise duo from Rostock, formed in 1994 by Kai Christian Hahnewald and Andreas Jäckel. The duo made its Hands debut two decades before “Empires Fall!”, with a discography that includes the album “Capitalism – Continuing Crisis” in 2017. “Empires Fall!”, released via Hands, is the band’s fifth album.

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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What began as a duo project (5F_55) and evolved into Mike Brun’s solo endeavor (5F-X) saw considerable success in the Industrial scene during the early 2000s. Now, fourteen years after the last release, 5F-X has re-emerged with an impressive album that could easily be considered its opus magnum. While rooted in Industrial, the sound is infused with Acid elements and a touch of Techno, creating a thrilling combination. The mesmerizing loops often lead to a transcendent experience that’s impossible to resist. While Mike Brun may not be reinventing the Industrial genre, he’s delivering a richer, more sophisticated sound. This album is bold and adventurous, and I admire artists who embrace challenges. “Robby Road” could very well be the Industrial release of 2024! (Rate:9).

Listen to “There Will Be No Android Messiah”:

About 5F-X

5F-X is the solo project of Mike Brun, the successor to his earlier duo project 5F_55. Active as 5F-X since the mid-2000s, Brun found success in the industrial scene with releases including “5F_55 Is Reflected To 5F-X” (2005), “The Xenomorphians” (2007) and “Flight Recorder 5.0” (2010). “Robby Road”, released via Hands, arrived fourteen years after his previous album.

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

Colombian EBM act Resistor returns with a powerful third album, marking their debut release under the Scanner label. Four years after their “Driving Force”-album, which was released on EK Product, Resistor delivers another solid entry rooted in classic EBM elements. The heavier tracks, driven by pure, old-school EBM basslines, are especially impactful and are sure to resonate with fans. While many of the songs feature Spanish lyrics, the title track stands out with its commanding German vocals, and other tracks are sung in English. Resistor doesn’t aim to reinvent the genre -something not typically expected in EBM, but with “Lieber Über Alles,” they’ve succeeded in refining their production, elevating the overall quality of their work. (Rate:8).

Listen to “Minimos Y Maximos”:

About Resistor

Resistor is a Colombian EBM project founded in Bogotá by Leonardo Jaime in 2011, joined later by Bryan Duarte on live sequencing and drums. The project debuted with the “Breathe” EP on Black Leather Records in 2015, before continuing on EK Product with the album “Driving Force”. “Lieber Über Alles” is Resistor’s first release for Scanner.

Inferno Sound Diaries

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

www.side-line.com

On 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!

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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!

side-line.com

“Les Couleurs D’Une Fièvre” is the debut album by the French Flagorne-duo. The album -which is available in a very artistic digipak,  features 5 hard cuts mixing Industrial elements and Dark-Ambient moods. The atmosphere leaves an apocalyptic impression, which is reinforced by the spooky, French, vocals. Some passages are driven by hard, driving Industrial rhythms. This is a solid starting album. (Rate: 6½).

Listen to “Dévore”:

Read the news on ‘Les Couleurs D’Une Fièvre’.

About Flagorne

Flagorne is a French duo formed by the experimental black metal artist Maquerelle, who handles voices, words, analog synths and samplers, and Afga06l, an industrial hardcore producer contributing additional voices and digital instruments. “Les Couleurs D’Une Fièvre” is the duo’s debut album, released via the French label Cioran Records on CD, tape and download.

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

This is the debut album by the German band Audiocall. “Know Your Murderer” brings a familiar Electronic sound that fluctuates between Electro-Wave and Wave-Pop with a Gothic touch on top. The choruses have an uplifting effect that is reinforced here and there with guitar. This is a very successful debut from a band with obvious potential. (Rate:8).

Listen to “Supreme World”:

About Audiocall

Audiocall is a German band working in Electro-Wave and Wave-Pop with a Gothic edge, blending synthesizers with guitar. “Know Your Murderer” is the band’s debut album, released via Scanner / Dark Dimensions.

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

Red Lokust have released a new album, “Hope is the Last Refuge of the Dying!”. “Hope is the Last Refuge of the Dying!” is Red Lokust‘s third studio album and is released by Distortion Productions as a limited edition CD and through all digital and streaming platforms.

Lyrically the album deals with themes of loss, cancer survival, war, infidelity and a doomed future. Also featured on this album is a cover of Dramarama’s “Anything, Anything”.

Since their last studio material, the band has played shows all over North America with performances at the Mechanismus Festival (Seattle), Dark Side of the Con (New Jersey) as well as shows in Madison, Brooklyn, Tampa, Pittsburgh, Washington, DC and Philadelphia.

About Red Lokust

Red Lokust is an American electronic music project founded by Jim Semonik in 2015. The band’s music blends elements of industrial, EBM (electronic body music), and synthpop, creating a unique sound that draws inspiration from the electronic music scene of the 1980s and 1990s.

Jim Semonik, known for his work as a musician, promoter, and organizer within the industrial music community, formed Red Lokust as a solo project to explore his creative vision in electronic music. Prior to Red Lokust, Semonik was involved in various musical endeavors, including serving as a member of the industrial rock band Rein[Forced].

Red Lokust made their debut with the release of their self-titled EP in 2015. Following the EP, Red Lokust released their debut full-length album, “The Repercussions of Shedding Your Skin”, in 2016. Read the review of ‘Hope Is The Last Refuge Of The Dying’.

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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(By our Norwegian correspondent Jan Ronald Stange. Photos by Tarjei Krogh, Truls A. Bakken and Jan Ronald Stange) After the successful shows in Langen, Berlin, Leipzig, Hamburg, Amsterdam, and Oberhausen earlier this year, Front 242 and Nitzer Ebb started November 2023 with the second round of the ‘Join The Forces’ tour.

They kicked off in Oslo, the capital of Norway, and then headed to Sweden, offering fans in Gothenburg the chance to experience this unique package. The tour’s final shows in Germany will take place in Munich and Heidelberg, being the last opportunity to see these two legends share the stage in a single evening.

The opening act in Norway and Sweden were the up-and-coming Swedish queen of EBM, REIN, bringing her aggressive voice and beats. Douglas McCarthy’s longtime collaborator Terence Fixmer will open the evening at the German shows.

Like many in the audience, I too was curious about the health of Douglas when Nitzer Ebb entered the stage and how it would affect his performance. We all noticed a somewhat frail frontman at the start, but as the show progressed and both audience and band were warmed up, he seemed better and better, leaving us very happy with their concert.

Front 242 started, as usual, with their waving flashlight in ‘First In/First Out’, and was energetic throughout their whole show. The highlight for most was ‘Headhunter’, making the whole audience jump and the floor literally moving!

Must also mention that Tarjei Krogh, the photografer of the NEP/F242 photos (here caught on camera himself taking these photos), also are a musician and producer in various EBM/electronic bands since the 80’s! Do check out his most recent project Norwegian Giants!

About Front 242

Front 242 formed in 1981 in Aarschot, near Leuven, Belgium, founded by Daniel Bressanutti (electronics, production) and Dirk Bergen (graphic design). Patrick Codenys (keyboards, programming) and vocalist Jean-Luc De Meyer joined in 1982, and Richard “23” Jonckheere (electronic percussion, backing vocals) joined in 1983 as Bergen moved into a design and management role. The band’s 1984 album “No Comment” was among the first releases to use the term “electronic body music” in its liner notes. Front 242 signed to Wax Trax! in the US in 1984, then released “Official Version” (1987) and “Front by Front” (1988) via Red Rhino Europe/PIAS, and “Tyranny (For You)” (1991) via Epic, its highest-charting album in the US.

Drummer Tim Kroker joined for live performances in 2008. The band’s most recent studio album, “Pulse,” was released via XIII Bis/Metropolis in 2003. In 2023, Front 242 co-headlined the “Join The Forces” tour of Europe with fellow EBM group Nitzer Ebb, alternating headline sets across dates including Berlin, Amsterdam, Oslo and Munich.

Front 242 announced its farewell “Black Out” tour in March 2024 and played its final three shows at Ancienne Belgique in Brussels on 23-25 January 2025. The live album “Black Out,” drawn from more than forty farewell-tour shows, was released via Alfa Matrix on 19 June 2026. The band’s final lineup was Bressanutti, De Meyer, Codenys, Richard 23 and Kroker. The 2023 tour paired Front 242 with fellow EBM pioneers Nitzer Ebb across European dates, with onstage crossovers between the two bands.

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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(Photo by Paul Husband) A Certain Ratio, commonly abbreviated as ACR, is an influential English post-punk band that originated in Flixton, Greater Manchester, in 1977. The initial formation featured Peter Terrell (guitar, electronics) and Simon Topping (vocals, trumpet), with Jez Kerr (bass guitar, vocals), Martin Moscrop (trumpet, guitar), Donald Johnson (drums), and Martha Tilson (vocals) joining shortly thereafter. In 1979, the band had the distinction of being among the first acts to debut on Tony Wilson’s iconic Factory Records, with their single “All Night Party” produced by Martin Hannett. During their early years with Factory, ACR achieved impressive success, securing seven Top Ten UK independent releases—most notably “Flight” and “Waterline”—and they initiated their album collection with “The Graveyard and the Ballroom” (1980).

In the late 1980s and early 1990s, the band transitioned through phases with major label A&M and Rob Gretton’s independent label Robs Records. During these periods, ACR’s activity varied. They made a notable return with their ninth studio album, “Mind Made Up” (2008), and have remained active in performance since, with their extensive back catalogue being reissued through a partnership with Mute Records. In September 2020, they released “ACR Loco”, their first new studio album in twelve years, followed by three EPs titled “A”, “C”, and “R” in 2021. In 2023, they released their eleventh studio album, aptly named “1982”.

Today, A Certain Ratio has unveiled a new remix by Emperor Machine—a moniker for close friend and collaborator Andy Meecham—of their track “Constant Curve”. This track will be part of their forthcoming 4-track EP, set to be released both on limited edition 12” vinyl and digitally on 22 September 2023 via Mute.

This remix sees Meecham revisiting “Constant Curve”, a song from the 1982 album that he originally co-wrote and contributed keyboards and electronic percussion to.

Explaining the process, Meecham says: “After the success of our previous collaboration, Martin [Moscrop] asked if I would record some synths for a new track. I loved it on first listen, so obviously I said yes. While working and writing some synths, I thought this is a great track, but it’s too short—it needs a Pettibone-style extended Dub mix, a proper extended 12” version with Donald [Johnson]’s drums more upfront in the mix, dubbed out guitars, and new vocal edit sections. I suggested this idea to the band, and thankfully they gave me free rein.”

The track can be found below.

The EP follows their latest album “1982” (released in spring this year), and includes three newly commissioned remixes of tracks from the album – Emperor Machine’s reworking, Werkha mix of SAMO, and Manchester producer Jade Parker’s remix of “Waiting on a Train” (feat. Ellen Beth Abdi & Chunky), alongside a brand-new track “Day by Day”, written and recorded with Ellen Beth Abdi.

A Certain Ratio recently announced a tour that celebrates 45 years of the band’s career. The dates will see A Certain Ratio perform two separate sets each night: the first set will represent the early years of their career from their Factory releases and A&M. The band will then reconvene for a set representing ACR from the early to mid-‘90s to 2024 including unreleased forthcoming material.

• 10 November – London, Moth Club – SOLD OUT
• 11 November – Preston, The Ferret
• 12 November – Glasgow, Stereo
• 15 November – Gateshead, The Sage
• 16 November – Reading, Face Bar
• 18 November – York, The Crescent
• 25 November – Brugge (BE), Cactus
• 2 December – Liverpool, 24 Kitchen Street
• 10 December – Manchester, Band on the Wall

A Certain Ratio will also be appearing at the following festivals:

• 19 August – Luna Festival, Coimbra, Portugal
• 26 August – Shambala Festival, Northamptonshire
• 27 August – Wrexfest, Wrexham
• 19 November – Shiiine On Weekender, Minehead
• 24 November – BBMix, Paris (FR)

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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(By our Norwegian correspondent Jan Ronald Stange / Techomancer press release. Photos: Tarjei Krogh) Out now is the new album from the Norwegian synthwave act Technomancer a.k.a. Alexandria “Alyxx” Digre (she/her). She debuted with the album ‘System Failure’ in 2013, and now, almost 10 years later, the second album ‘Hyperfuel’ is finally being released!

Originally from the Northern town of Mo I Rana, Norway, Alyxx moved to Sarpsborg in 2014 and had already started working on the album at that point. Realizing that the next album had to be of much higher quality than the debut album, Alyxx started working on honing her production skills, getting plenty of practice on her side projects Zone Tripper and Laboratory 5, as well as doing numerous remixes for bands/artists such as Die Krupps, Nitzer Ebb, Anne Clark, Naked Lunch, Attrition, Robert Marlow (RIP), Apoptygma Berzerk and several others.

After ‘System Failure’, a departure from the former sound was set almost immediately. The sleek futurepop style was cast aside in favour of a heavier influence from the 80’s, with The Sisters Of Mercy providing a strong influence on the new sound. Together with Zone Tripper, Technomancer adopted very much an early synthwave sound which since then has become a signature sound for Alyxx’ productions as a whole. The new album relies heavily on sampled guitars and drum machines to give a much heavier retrowave feeling, which should please fans of synthwave acts such as Dance With The Dead and Scandroid.

The album has been co-produced by Stephan L. Groth (Apoptygma Berzerk) and his brother Jonas Groth (Piston Damp, Apoptygma Berzerk) who both have also provided guest vocals on the album. Frequent collaborator Per Aksel Lundgreen (Angst Pop, Cronos Titan, Chinese Detectives, Shatoo) has also been involved.

Ole-Espen Kristiansen (OK Minus, Elec This!) has mastered the album and also mixed a couple tracks. Ole-Espen has also done mastering and live mixing for Apoptygma Berzerk and Piston Damp.

Wanting to know more about this release, we contacted Alyxx to have some questions answered.

S-L: You’ve gone from furutepop to synthwave – what’s the next step in your evolution?

Alexandria Digre: Well, I really don’t know. I’ve been listening to harder stuff lately. I especially loved REIN’s album, ‘Reincarnated’ and really loved that kind of old school EBM sound making a comeback. I also finally got around to listening to some Nitzer Ebb stuff, especially their legendary ‘That Total Age’ album. Some of my recent demos have been more in the vein of that, combined with some influences from Empirion.

I also saw Sierra in Gothenburg this summer and really loved the harder synthwave sound she had going. I’m definitely still in the synthwave scene and been listening to a lot of stuff there lately, so that might still be an influence going forward. I don’t think the next album will take a decade to make so I also doubt it will be as much of a new direction. But we will see, it all depends on where my writing takes me.

Right now I have some ideas for a new album but nothing solid, as I rarely do in the early stages. I actually wrote a few futurepop/techno tracks at the start of making ‘Hyperfuel’ that ended up not really fitting in, but I might use some of that for the next album if I can find a new sound they would fit in. But so far I’ve been wanting to draw more on early 90s EBM influences like Front Line Assembly and that early EBM sound.

S-L: How has the feedbacks on the album been so far?

AD: Well, even as the singles came out, it was usually positive. But as for the album, it really seems people are loving it. Everyone I’ve sent it to has enjoyed it and hasn’t really had much bad to say about it. Which is both flattering and a bit concerning. I really hope someone really goes into depth on the album at some point. I love praise and knowing people are connecting with the music, but I also love to know where I can improve going forward. After all, ‘Hyperfuel’ wouldn’t be the album it is without the criticism I got from ‘System Failure’.

S-L: You got some covers here – tell us more about how they came to life!

AD: ‘Puppets’ came to life as I was invited to contribute to a Depeche Mode tribute project. I made the original version on my own in my studio and on a journey with Stephan (Apoptygma Berzerk) I played it for him and Per Aksel (Angst Pop) and Stephan really loved what he heard. He not only advised me to release the cover myself, but also allow him to do it together with me. I was floored by the fact Stephan straight up asked to work with me on something, so naturally I agreed.

He spent a few days in his studio recording some additional synth riffs on his Korg MS-20 and recording the vocals, which we then added to the mix. We then spent a while in my studio producing the track with Per Aksel.

So yeah, very glad I didn’t just release it as a tribute album track. It ended up becoming a lot more than that, and I have so many good memories with ‘Puppets’. Only downside is I doubt I could perform it live without Stephan. It wouldn’t feel right, haha!

‘Ecstasy’ was a song I’ve wanted to cover for a long time. I’ve been a fan of Black Lab since I heard their cover of the Transformers Theme from their ‘Technologie’ EP, where ‘Ecstasy’ was also featured. I immediately connected with the song and it has always been my favourite Black Lab track.

‘Ecstasy’ was actually always intended to be on the album. I think it was on the first demo I brought Per Aksel right after I had moved to Sarpsborg. On the demo version, I did all the vocals myself, but I always wanted someone with me on it. Per Aksel suggested Stian Joneid as a candidate, and we also considered Dag Brandth (Shatoo) to do it with me. Honestly, Dag might have been perfect for it, but due to circumstances that never worked out, so I ended up choosing Jonas Groth (Piston Damp) since I was recording my final vocals in his studio for the song and he’s the best singer I know.

Jonas’ vocals really helped bring the song to another level and I am so happy we got to work together on it. Him and Truls Sønsterud did an amazing Piston Damp remix of it by the way that you can find on the single.

‘The Outsider’ was a song I originally did for a Psyche tribute album, ‘Unforgotten Rhymes’. It was also the second music video I did after moving to Sarpsborg, with Per Aksel directing and shooting it. It sort of became the first single from the album actually, featuring the signature sound I would be going for. It’s always been a song I connected with on a personal level, so having it on the album felt natural to me.

S-L: What’s next up for you?

AD: Working on a new Zone Tripper album and some other side projects. Lab5 has been dormant for a while and I am itching to get some of our material out there. Also working on a synthwave project called Neo Hyperdrive together with Hexebyte and Max Static from Lab5. There will also be a 2CD Deluxe Edition of Hyperfuel that will also be available on my Bandcamp. I’ll announce a release date for that later on.

The album was released digitally worldwide on November 4^th 2022, with a Deluxe Edition also available on 2xCD via Sector Industrial (www.sector-industrial.com) and digitally exclusive via the Technomancer Bandcamp, which includes 5 additional tracks and remixes by Machinista, Echo Image, Piston Damp, Substaat and Christian Espeland of Code 64. Release date for the Deluxe Edition will be revealed later.

Get it at Bandcamp along with more of the discography, or have a listen at Spotify!

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… 😉

www.facebook.com/jrstange

Out now is the all new album “Aerial Human” by Sapphira Vee. This is already the 5th album by Sapphira Vee and her second release on the Distortion Productions label. You can expect a darkwave / trip-hop sound evoking 4AD acts like Lush . You will equally hear EBM touches recalling classic Chris & Cosey on for instance the first single “What Is This”.

For the album Sapphira joined forces with Houston hip-hop artist Pee Wee P on “Fools”, Blue Eyed Christ’s John Norten on “Let the Arrow Break”, and Veronica Tam on the opening “White Aura” which was written by Jean-Marc Ledermen of The Weathermen. Also included are the three original tracks from last year’s “Duet” EP, featuring Chris Connelly (Ministry / Pigface / Revolting Cocks / Cocksure, etc.), Mike Reidy (W.O.R.M. / The Joy Thieves /Dogtablet), and Jim Semonik (Jimmy Semtex / Red Lokust / Rein(Forced) / creator of Electronic Saviors). In addition, Roger Ebner (Roger Ebner Band / Bitter Elixir / Yeti Rain) played the saxophone on “This Gift Was Not Meant For Me”.

New York native Sapphira Vee has been active since 2018.

You can check out the full album right below.

Bernard - Side-Line Staff

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

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The Operating Tracks have released a brand new video and single for the track “Poison ID” featuring Emma Anitchka.

For those not familiar with the band (a shame!), this Swedish combo – based in Stockholm – started in the fall of 2014 based on their musical roots which was in times when DAF and The Normal were revolutionary and when they, for the first time, heard about Orwell’s future theme.

In late 2015 and early 2016 the band released “Testify” that featured Rein (and that’s how we first got to hear about Rein actually) before her breakthrough in 2016 and the EP “Colliding Bodies” which held the such tracks as “Daniel”, “The Collider” and “Human Blood”.

After that everything went quiet. Carl Nilsson moved forward with Lucifer’s Aid and released a number of very hard electronic albums. Carolina Lindahl from her side re-appeared in 2020 with the new project The Brides of the Black Room. Andreas Jismark, who stayed in the shadows between 2014-2016, has since managed and worked with acts like Rein, Wulfband and The Lovers of Valdaro.

The band luckily reconnected in 2021 when Progress Productions asked if they could release “Testify” and “Daniel” as a 12″ vinyl. So they started to work with some other old songs as well such as “1000 Ways to Die” and “1001” which were two songs that the band recorded in early versions and played at the first live shows (with Youth Code in Stockholm) back in 2014. With two brand new versions of these tracks the 12″ soon turned into an EP.

The band also started writing songs again and added some brand new guests vocals to the material. The first one to discover is Emma Anitchka from the duo The Guilt who sings on the band’s comeback single & video “Poison ID”

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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(Interview by Simon Helm / photo by Krichan Wihlborg) Sweden’s love affair with EBM goes back a long way. Bands like Pouppée Fabrikk, Container 90, Kropp, Sturm Café and Spetsnaz have carried the torch for body music for many years.

The next generation of Swedish artists influenced by the sound has included Rein, Circumpolar and Strikkland. These acts have built on the beats of their predecessors by adding elements of electronic pop.

The last of these has started to release a series of singles and an EP independently in 2020. A duo composed of Henric Ceder (keyboards and computers) and Henrik Johansson (vocals), Strikkland has combined EBM and pop influences to striking effect. They have also leveraged Johannson’s skills as a videographer to ensure that their visuals are as dramatic as their sound.

We asked Ceder to tell us about Strikkland’s work and plans in the time of corona. 

SL: How did you come together as Strikkland?

S: Strikkland was started in Trollhättan, Sweden, in 2015. 

Henrik and I had been friends for a long time, and we shared a passion for electronic music. We had often talked about starting a band, since he had a background as a singer in a metal band and I had been mucking about with synthesizers since the mid 1980’s. In 2015, we actually sat down to make something, and the result was “Predatorial Right.” 

Unfortunately, Life™ intervened. I got divorced, moved to Gothenburg, and Predatorial Right ended up in a drawer until the summer of 2019, when it was played at a private Subkult Festival pre-party in Trollhättan.

The feedback we got was amazing, and in April 2020 it became our first single, released on all major streaming platforms. To our surprise, the single was nominated as a newcomer at the German Electronic Web Charts (GEWC.de) and aired at several Web radio stations across Europe and even in South America. That was like a vitamin injection for us that really sparked our creativity. So, here we are, seven months, three singles and one EP later.

The “Dance Like a God” video.

SL: How important is the visual element to you?

S: The visual element is pretty important. A reason for that is probably the fact that Henrik is a photographer by trade. The cover art of our releases are all photos taken by him. Our first (and, so far, only) music video (“Dance like a God”) is shot by his film production company and directed by his wife Sofie.

The obvious thing to do would be to go to a closed-down factory and take pictures in black-and-white, posing in combat boots in front of chimneys, rubble and cog wheels, and use that as cover art; but the visuals are an equally important part of our art (if we may call it art without sounding like  pretentious wankers). So, we do our thing just like we do with our music.

SL: Your style is based on old school EBM, but you have acknowledged influences ranging from metal to Depeche Mode. What do you draw upon to create your music?

S: We both love old school EBM, and it has had a huge impact on us in terms of influence, but we can never become another DAF, Nitzer Ebb or Front 242, even if we wanted to. We also have to confess that we love synth-pop, lush pads and solid melodies. I mean, I grew up in the 1980’s with Human League, Depeche Mode, Ultravox, Alphaville, Yazoo and all the other great artists like Vangelis and Jarre – that was the soundtrack to my youth. So, of course, that all sits in the back of my brain when I write the music. 

I also took classical piano lessons for more than a decade when I was young, so that probably has an impact, as well. I usually sit down with the intention to make a raw bassline on an analog hardware synth, but a few hours later  there are pads and melodies added. That is our workflow, by the way: I write the music and Henrik writes the lyrics and does the vocals.

SL: What is next for Strikkland? There seem to be remixes on the way?

S: There is another single in the making, which will hopefully be released in November. We will also be releasing some remixes of our music that other bands are working on right now. No ETA on those yet, though. We are also working on a remix for the amazing Swedish band Octolab, and we are making a cover song for a German compilation that will be out before Xmas.

There is a small Covid-safe live performance together with our good friends Peter and Robert of Dpoint scheduled for December 18^th. Hopefully, we can pull that one off, but of course nobody knows these days. Last but not least, we are looking for a label to help us to the next level – to release a full album on physical media.

SL: Are you happy with how your material has been received?

S: We are extremely happy and thankful for the amazing support and positive feedback we have received. Strikkland wouldn’t exist without it, and that is what sparks us to continue. With that said, we did expect some of the songs on the A Gift to Solitude EP to attract more streams and attention. I mean, “Kinky Sophisticated Gentleman” deserves to be a floor-filler, and “Truth Will Unfold,” where my wife Cecilia contributes with some vocals, is a pretty solid track with a 80’s vibe to it.

But, all in all, we are extremely happy with the reception of our music and we really want to thank everyone who helps making this journey possible for two fifty year olds!

Released so far…

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-electro, EBM.

Format: Digital, CD.

Background/Info: Four years have passed since the promising debut album “The Repercussions Of Shedding Your Skin”. Jim Semonik (label owner, creator of “Electronic Saviors”, member of /Rein[Forced]) and Lee Lauer (involved with Aslan Faction in a previous life) are back with a new opus inspired by paranoia, anxiety and insanity.

Content: The sources of inspiration clearly reflect the modern life of the Western world. The duo adapted these themes into a powerful electronic composition, where EBM and dark-electronics are constantly crossing each other. The vocals are rough and enraged, empowering the lyrical themes. The music is pumping from start till the end; the choruses are now carried by catchy tunes and then by harder, classical dark-electro leads. Some passages and even the production of the vocals are sometimes reminding me of Leather Strip. After the ten album track you’ll discover remixes by Inertia (Reza Udhin also did the mastering of the album) and 7^th Victim.

+ + + : The work takes off with the great “Lobotomy”, which is an absolute dancefloor killer. I especially like the EBM vibes running through this cut and the great chorus. Another essential song is “Point Of Healing (Antagonized)”. Globally speaking this work confirms the potential from the debut album and I must say that Red Lokust even improved most little details. This album is driven by power and would be the perfect club music.

– – – : In times of Covid-19 pandemic it must be very frustrating releasing such a danceable and powerful album while clubs are closed! About the content I just regret a few songs (like “Weep For Me” and “Madman”) which are driven by simplistic and ultra-cliché leads… while “Madman” has been released as a single! The remixes aren’t adding a real extra.

Conclusion: Red Lokust moves a step further with this new opus; this is a band to discover because it’s featuring two talented artists!

Best songs: “Lobotomy”, is “Point Of Healing (Antagonized)”, “The Way Back”, “I’m Not Here (Omnipresent)”.

Rate: (8).

Artist: www.facebook.com/Red-Lokust-734889406642643

Label: www.distortionprod.com / www.facebook.com/distortionproductions

About Red Lokust

Red Lokust is an American electronic music project founded by Jim Semonik in 2015, blending industrial, EBM and synthpop influences drawn from the electronic music scene of the 1980s and 1990s. Semonik, also active as a musician, promoter and organizer in the industrial scene, previously played in the industrial rock band Rein[Forced] before starting Red Lokust as a solo outlet; Lee Lauer, previously involved with Aslan Faction, later joined. The project released its debut album, “The Repercussions Of Shedding Your Skin”, before returning with “Whom The Gods Wish To Run, They First Drive Mad” on Distortion Productions in 2020, and went on to release a third studio album, “Hope Is The Last Refuge Of The Dying!”, in 2024.

Inferno Sound Diaries

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

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(Picture by Rein) Rein is back with a brand new single, the 1-tracker “Closer to Reality”. On this new single Joanna Reinikainen, aka Rein, makes a mix of more commercially tainted approach yet maintaining that edgy industrial sound. Perhaps not the most accessible track for the industrial crowd, but we are pretty sure this single will get her reaching out to a wider crowd.

Rein remains one of the most promising newcomers (I was quite under the impression when her work was pitched to Side-Line at the early start of her carreer), you get a fat production and excellent vocals. We only expect the best for her up- and coming debut album expected for later this year!

Here’s the new single!

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

Komputer, the Mute artists who joined the influential label in 1984 as I Start Counting, are rebooting for a live show in London.

Komputer will appear at TEC 006 together with the Queen of hard dance music, Rein (SE), and IMI (UK). Co-sponsored by Cold War Night Life and The Electricity Club, TEC 006 is the latest in a series of curated music events showcasing the best of current poptronica. It takes place at Electrowerkz, Torrens St EC1, London, on the 30th of November, 2019.

Tickets are available right here.

The chameleons of electronic music

The duo of Simon Leonard and Dave Baker developed a quirky, infectious style of poptronica that captured the imagination of label boss, Daniel Miller. He used his Synclavier to produce their first singles, “Letters to a Friend” and “Still Smiling”, which became classics of detuned, minor key pop.

Like Depeche Mode, who had just started to break into the US market with the harmonies of “People Are People”, I Start Counting’s style grew from experimental roots. Sampling technology gave them the opportunity to expand their sonic palette, but they avoided the trap of reproducing the sounds of other acts. They instead, recrafted sounds into sparkling, underground hits.

As their music developed, becoming more focused on the dancefloor, they evolved into Fortran 5. Shedding the skin of I Start Counting gave the duo relative anonymity in the emerging rave and acid house scenes, and they made a mark with groovy tracks like “Look to the Future” and “Persian Blues”. As Britpop consumed the rave scene, Baker and Leonard decided that it was time for another change.

If Oasis could ape The Beatles, then they could certainly make songs in the image of their own makers: Kraftwerk. Komputer was born with a sound that developed on the heritage of the German electronic pioneers. The project kept the duo’s sense of whimsy intact, and they drew from inspirations as diverse as the walking trail from Archway to Alexandra Palace (“Looking Down on London”) and the first woman in space (“Valentina Tereshkova”).

The band toured with Erasure and provided a remix of their hit, “Victim of Love”. Blancmange (“Cruel”) and Metroland (“Enjoying the View”) have also been reworked by Komputer.

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-electro, dark-EBM.

Background/Info: Red Lokust is a brand-new duo set up by Lee Lauer (Aslan Faction) and Distortion Productions owner Jim Semonik (also involved in multiple bands like Electronic Saviors and Rein[Forced]). “The Repercussions Of Shedding Your Skin” is the debut album featuring 10 tracks plus 2 remixes.

Content: The sound clearly finds its inspiration in the darkest realms of electronics and EBM. The sound might appeal to lovers of Suicide Commando, Leather Strip and related formations.

The production reveals cool sound blasts and typical icy melodies while the enraged vocal parts clearly are another typical element for this kind of music. I can’t say that Red Lokust is an innovating formation, but definitely driven by experienced artists. The work features great sound treatments and rough, danceable cuts.

Interface and Leather Strip both accomplished great remixes, but especially the remix by Claus Larsen is absolutely phenomenal. He transposed “Speechless” in a terrific, spooky cut while adding his vocals on the song.

+ + + : Red Lokust will clearly seduce the dark-electronic community. This is album is the perfect stereotype of a well-crafted and efficient dark-electro production. “Mistakes Were Made” is one of the absolute highlights, while the remix of Leather Strip is in my opinion one of the best made by Claus Larsen.

– – – : The main and single reproach about this album is the lack of originality in sound. It’s a cool work, but maybe a bit too stereotypical.

Conclusion: You directly notice Red Lokust are not beginners, but a mature formation dealing with pure dark-electronics. This is an interesting band to keep an eye on!

Best songs: “Mistakes Were Made”, “Speechless – Leather strip Remix”, “Factionless”, “Perspective”, “When we Knew You – Interface Remix”.

Rate: (7½).

Band: www.red–lokust.com / www.facebook.com/Red–Lokust-734889406642643

Label: www.distortionprod.com / www.facebook.com/distortionproductions

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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After the 5-track EP “Rein”, the Swedisch act Rein returns with a 1-track single called “I Don’t Get Anything But Shit From You”.

Rein is the project by Joanna Reinikainen and has been gathering quite some attention in record time, not in the least by the powerful “Testify” track she recorded with The Operating Tracks. From there on things seem to have gone uphill pretty fast.

You can check out the new track below, of course we have added it also to our Spotify playlist!

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