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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Watch the clip from “Another Grace”

Inferno Sound Diaries

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

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Out on April 1st is “The Vinyl Collection” by the Belgian cult minimal wave act Pas De Deux. The release comes as a limited edition double vinyl with a special etched D side. The CD version is titled “The CD Collection”.

Pas De Deux is best known for their participation in the 1983 Eurovision Song Contest with the excellent track “Rendez-Vous”. The song caused quite a stir and protest in the national pre-selection at the time. It only features the phrase “Rendez-vous, maar de maat is vol en m’n kop is toe” and when it was chosen by the jury to represent Belgium, riots almost broke out in the venue where the show was taking place.

Here’s a video of said evening, which most Flemish readers will remember really well, it was the talk of the town for weeks. Top entertainment.

On this complete collection you’ll find songs which were made between 1982 and 1983, including the cult hits “Cardiocleptomanie”, “Mani Meme” and various versions of “Rendez-Vous”.

Also included are some new photos from the band’s first video and all the info, credits and lyrics of the songs. The track “Rendez-vous in München” is being released for the first time ever here.

The band performed “Rendez-Vous” accompanied by the Dieter Reith Orchestra, directed by Freddy Sunder, on a backing track with synthesizers and drum machines. Apart from the Eurovision broadcast on 23 April 1983, there is a (mono!) recording “Rendez-vous in München” which is being released for the first time ever here together with 4 other alternative versions of the original song.

Pas De Deux consisted of Walter Verdin, Dett Peyskens and Hilde van Roy. The band was founded in 1982 in Leuven.

After Pas De Deux Walter Verdin continued as videomaker and graphic artist. Hilde Van Roy became a journalist and worked for the TV1 news, among others. Dett Peyskens remained active in the music world and later became part of Red Zebra, among others.

Bernard - Side-Line Staff

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

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(Photo by Hans van Dijk / Anefo) Telex and Mute have announced a new partnership that will see a comprehensive reissue series of the back catalogue, starting with “This is Telex”.

“This is Telex” is a brand new 14-track compilation which comes out on 30 April 2021. It features singles from across the Belgian synthpop trio’s career, from their debut single, “Twist à Saint Tropez” (1978) through to their final album release, “How Do You Dance?” (2006).

All of the tracks on the compilation are newly mixed and remastered from the original tapes by band members Dan Lacksman and Michel Moers. The newly mixed and remastered tracks have been augmented with two recently discovered and unreleased tracks, their take on The Beatles’ “Dear Prudence” and Sonny & Cher’s “The Beat Goes On”. Also added is their writing collaboration with Sparks and cover of the Sparks hit “The Number One Song In Heaven”.

“This is Telex” tracklisting:

1. The Beat Goes On:Off (Unreleased)
2. Moskow Diskow (New mix)
3. Twist à Saint-Tropez (New mix)
4. Euro-vision (New mix)
5. Dance To The Music (New mix)
6. Drama Drama (New mix)
7. Exercise Is Good For You (New mix)
8. L’Amour Toujours (New mix)
9. Radio-Radio (New mix)
10. Rendez-Vous dans L’Espace (New mix)
11. Beautiful Li(f)e (New mix)
12. The Number One Song In Heaven (New mix)
13. La Bamba (New mix)
14. Dear Prudence (Unreleased)

Watch a new version of the video for “Moskow Diskow” below.

About Telex

Telex are Marc Moulin (1942- 2008), Dan Lacksman and Michel Moers. The band formed in 1978 in Brussels, just one of a handful of synthpop pioneers at a time when electronic pop was regarded as novelty, with suspicion, as a harbinger for future dystopia and alienation. Telex were concerned about the consequences of new technology for human communication, their name taken, ironically, from a now obsolete piece of communications technology, adding a retro-futurist air to their legend.

It was on their cover versions that they deliberately played up the disparity between the ice-cool electronic approach and the sweaty, fleshy, frenetic passion of pop. Their cover versions – from the Yé-yé of Les Chats Sauvages’ “Twist à Saint Tropez” to the psychedelic soul of “Dance to the Music” (Sly and the Family Stone) from the rock n roll of Bill Haley’s “Rock Around the Clock” and “La Bamba” to the disco of Sparks’ “The Number One Song in Heaven” and beyond – see Telex embrace a wide history of musical genre.

The band famously entered the Eurovision Song Contest, representing Belgium with “Euro-vision”. Moers says he regarded their entry as “very Situationist International, the worm in the apple.” and they resolved either to come first or last. They didn’t achieve that goal, but became part of the Eurovision saga. Moers saw Johnny Logan (who went on to win the contest twice for Ireland) and told him, “you’re going to win”, Logan replied “Yeah. But if I win it’s good for me. If you win, it’s good for music.”

Telex announced their retirement in 2008, following Moulin’s death.

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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Belgian keyboard player, producer and EBM pioneer Jean-Marc Lederman has revealed an interesting story earlier today on his Facebook page from the time he was living in London back in the early 80s.

Here’s what happened: “It’s a funny little story… which i share 1% for ego massage and 99% because it’s a fun story. Back in the days, I passed an audition to get in Roxy Music. It was around the time they had recorded Avalon. I went down to Phil Manzanera’s studio where I had a rendez-vous with the engineer in charge of scrutinising the candidates. After a few minutes talking with him, his reply still has me laughing decades later: ‘The last thing Bryan Ferry wants is another Eno in the band.'”

After that the young Lederman (on the left a picture from that era) went on to play with The The and Gene Loves Jezebel. During his entire career he would work with numerous bands, including Fad Gadget, The Weathermen, Belgian rock band Streets, and Front 242 to name just a few. Roxy Music from its side was dissolved in 1983 by Bryan Ferry and the band members devoted themselves full-time to solo careers.

But who knows how the band could have sounded if that EBM guy from Brussels had been part of it…

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: Cold-wave, post-punk.

Background/Info: Hailing from one of the most beautiful capitals in the world, the Parisian band Rendez-Vous was set up by Francis Mallari, Elliot Berthault, Maxime Gendre and Simon Dubourg. They previously released the 12” “Rendez-Vous” in 2014 on Zappruder. “Distance” is their next maxi featuring 6 new cuts.

Content: Rendez-Vous clearly had an appointment with some legendary new-wave ghosts. The music and global spirit of the production both awake great memories reminding to bands like March Violets and The Cure. The songs are carried by this unique mewing guitar playing, which was that particular for the new-wave movement.

The global work sounds dark and the vocals are pretty cavernous. A few raw electro sounds only reinforce the icy sound of this band.

+ + + : Rendez-Vous is another fascinating emulator of the 80s, which has found a new home at the promising Avant! Records. “Distance” brings the magic of the 80’s alive and one more confirms it was a unique decade to live in and especially to compose music. The A-side of this disc is simply outstanding.

– – – : The only regret I can point out when listening to “Distance” is the discrepancy between an outstanding A-side and a less inspired (although still cool) B-side. Originality in sound are totally absent, but if you don’t know anything about this band you for sure will swear to have discovered a forgotten 80s formation.

Conclusion: Rendez-Vous has been announced as a promising and talented new band and I can only agree. They don’t simply play 80s music, their production simply reflects the spirit of the 80s.

Best songs: “Foreseen Death”, “Distance”, “Workout”.

Rate: (8).

Band: www.facebook.com/rendezvousrendezvous

Label: www.avantrecords.com /  www.facebook.com/AvantRecords

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